Eden reveals paradise of theatric satire
Something old, something new, something borrowed … from the Bible? Searching for Eden: The Diaries of Adam & Eve presents an idiosyncratic and fascinating look at history’s first and most infamous couple.
Playwright James Still’s script combines the familiarity of the biblical tale and the relevance of modern-day relationship myths. The result is a hilarious and touching story of two people discovering and then becoming comfortable with love.
The first act, “The Beginning of Time,” features a whimsically decorated set with vibrant corrugated cardboard and plastic representations of the primeval garden. Opening the play with an indecipherable yelp and the inability to keep still, Adam, played by Thomas Prior, enters the stage and introduces the carefree nature of the first man. Not to be outdone, Eve, played by Deborah Hope, rises from the steamy abyss of a waterfall and immediately begins coining new words.
Before the two even meet, the dichotomy of their personalities emerges in comical fashion — Adam is satisfied with just himself and the creatures of the garden, but Eve feels lonely and wonders why she is the only animal that does not come in a pair.
When they finally do meet, the shock of seeing another human causes both to flee. As their courtship develops, viewers see that Still’s idea of how Adam and Eve fell in love is not much different from John Gray’s Men Are from Mars, Women Are from Venus conception. Adam laments that Eve talks too much, and Eve finds Adam useless but amusing.
After their disagreements eventually escalate into an argument, the two go their separate ways, but — in true romantic comedy fashion — realize how much they miss each other and reunite.
The second act is entitled “Thousands of Years Later,” although in the play’s time, only about 20 years have gone by. The couple has had kids, Cain and Abel, whose names are casually brought up but never fully integrated.
Adam is a therapist, while Eve is a multitasking mogul in the entertainment industry. They return to Eden — now a resort — and in the nostalgic context of the garden and their anniversary, the two renew their vows.
Compared to the pun-happy first act, the jokes in the second act are more subtle. Writer Still evokes satirical, Hollywood-esque imagery with constantly ringing cellular phones and costuming — the couple sports “E” robes at the resort because Eden has been shortened to the hipper-than-thou single letter.
The overall tone also matures in this act. Eve, exhausted from her career, focuses more on her scripts than on her husband. Adam has to bring Eve back to her former self, represented by the diary he gives her for their anniversary.
Although the plot itself may sound trite, the actors and the playwright deserve credit, because nothing in this play is boring or dull. Still reinvigorates the romantic comedy genre by centering the story around only two characters. This focus allows more time for the characters to develop and makes their arcs more believable.
Hope has an uncanny and seemingly innate ability to communicate with the audience and act within the scene
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