\n<\/p>\n
Caryl Churchill\u2019s, A NUMBER<\/strong>, had a shocking impact when it debuted at London\u2019s Royal Court Theatre in September 2002. At that time, the ethics of cloning was being fiercely debated in the public sphere. Dolly the Sheep had been created a few years prior and was still dominating global headlines.\u00a0 And the idea of human cloning felt like an imminent, terrifying, threat, depending where you stood on the issue.<\/p>\n In her writing, Churchill, rather than relying on flashy headlines or sci-fi tropes, creates true stun factor through minimalistic intensity exploring identity, parental betrayal and what it actually means to be a human being. Funny thing about that, is in 2026, we\u2019re having the \u201chuman being\u201d conversation again with artificial intelligence. So, A NUMBER, feels really relevant.<\/p>\n The title, A NUMBER refers both to a single numeral and an indeterminate mass-produced quantity of identical copies, which is what is being discussed as the story begins. A son, Bernard (Damien Midkiff) is confronting his father, Salter, (Michael Muniz Vodde) with the startling discovery that he has been illegally, genetically cloned. A \u201cconsiderable amount\u201d of copies had been made of himself. He is merely one of \u201ca number\u201d. And wonders if he was the first and also if he or the relationship with his father is even real.<\/p>\n Each vignette of this play reveals another clone and another piece of information that Salter is forced to own up to in his pursuit to try and re-create a beloved dead son, through cloning the perfect new one. And as each scene progresses, it is clear, that regardless of morality issues, nature versus nurture and love, expectation and idealization are very different from grounded reality. The substance of love is based in real-world connection. Something Salter never quit achieves with any of the clones.<\/p>\n James Paradise\u2019s direction in this psychological, one-act, two hander, keeps the reality simple, if not always interesting. There is a seeming light touch by the director allowing the actors to make all the choices minus the movements on stage. Midkiff (Bernard 1 & 2 and Max Black) and Vodde play well with one another. As the tense, relational chemistry between them builds in each scene, performances reach a faint crescendo. One that most pointedly leaves Salter, with more confusion than answers. The audience too. <\/p>\n Actor choices are modest here and well done, albeit that Midkiff has the more difficult task of distinction between cloned versions of himself. But otherwise, A NUMBER is a well-realized production.<\/p>\n \u00a9 2026 Copyright GiaOnTheMove.com. All Rights Reserved.<\/a><\/p>\n Photo by Sue Connor Paradise: Michael Muniz Vodde (with goatee) and Damien Midkiff.<\/em><\/p>\n Playing September 18 through October 11, 2026 at the Madnani Theatre.<\/p>\n Tickets<\/strong>: https:\/\/events.thestagecrafts.com\/projects\/15047<\/a><\/p>\n 70 minuts. No intermision.<\/p>\n A NUMBER by Caryl Churchill. Directed by James Paradise. Produced by James Paradise and Damien Midkiff. Featuring Damien Midkiff and Michael Muniz Vodde. <\/p>\n Set Design: Jeff Rack<\/a>. Lighting Design: Greg Crafts<\/a>. Sound Design: Nick Foran. Costume Design: Michael Mullen<\/a>. Production Stage Manager: Mia Condon.<\/p>\n2002 vs 2026<\/h6>\n
Double Meaning<\/h6>\n
\u201cI can\u2019t get no\u2026\u201d<\/h6>\n