Tom Hanks‘ “this World of Tomorrow” at The Shed: A Nostalgic Trip with Mixed Results
A new play co-written by and starring Tom Hanks offers a charming, if somewhat uneven, exploration of time, love, and the allure of the past.
“This World of Tomorrow,” which premiered tonight at the Shed, is a curious and ultimately heartwarming production. Adapted from Tom Hanks’ 2017 short story collection, “Uncommon Type,” and co-written with James Glossman, the play follows Bert Allenberry, a tech entrepreneur from 2089, as he repeatedly travels back to June 8, 1939, captivated by Carmen Perry at the New York World’s Fair. The premise, steeped in nostalgia and romance, is undeniably appealing, and the presence of Hanks and Kelli O’Hara elevates the experience. The stage, unlike film, allows for nuanced reactions on stage, even during moments of silence, a luxury not afforded by the editing of film. The supporting cast, featuring seasoned New York stage actors like Ruben Santiago-Hudson, Jay O. Sanders, and Donald Webber Jr., further enriches the production.
The play’s narrative draws primarily from Hanks’ story “The Past Is Important to Us,” interwoven with elements from other tales in “Uncommon type.” This blending results in scenes set in a 1953 Olympic Diner, where Bert and Carmen reconnect, and where the diner’s owner, Costas (Sanders, a standout), offers a poignant observation: “She is waiting for tomorrow. And you? You are here looking for yesterday.” This line encapsulates the play’s central theme – the human tendency to romanticize the past.
Compared to the original stories,the stage adaptation streamlines and alters certain details.As a notable example, the play reimagines Bert’s relationship status, replacing a marriage to a younger wife with an “Intimate relations Contract” with Cyndee (Kerry Bishé), a change seemingly intended to soften the character’s motivations. The play also leans heavily into futuristic jargon, with Bert’s success attributed to co-developing the “Organic Interface Aggregation,” a concept that feels more convoluted than innovative. As one character bluntly puts it, Bert has “gone prostrate at the throne of Nostalgia in worship of Chronos, the god of Time.”
Much of the play is devoted to a detailed recounting of the 1939 World’s Fair – the Lagoon of Nations, the Trylon and Perisphere, Elektro the Moto-Man, and, of course, the Futurama exhibit itself. Bert and Carmen’s repeated visits to these attractions, often accompanied by Carmen’s niece Virginia (played by Kayli carter, despite the character’s intended age), become a recurring motif. The production team has meticulously recreated elements of the Fair, including a 1930s elevator and subway car, enhancing the immersive experience.
The future, however, remains less vividly realized. The most compelling futuristic element is ELMA (External Learning Machine Associate), an Alexa-like AI convincingly portrayed by Jamie ann Romero. Ultimately, the play suggests that, for Bert, and perhaps for humanity, yesterday holds a more potent allure than tomorrow.
“This World of Tomorrow” runs at the Shed through December 21, with tickets ranging from $45 to $269. The production is written by Tom Hanks and James Glossman, directed by Kenny Leon, and features scenic and projection design by derek mclane, costume design by Dede Ayite, lighting design by Adam Honoré, and sound design and music composed by Justin Ellington. The cast includes tom Hanks as Bert Alleberry, Kelli O’Hara as Carmen Perry, Kerry Bishé as Cyndee/Woman cashier, Kayli Carter as Virginia Perry, Ruben Santiago-Hudson as M-Dash, Lee Aaron Rosen as Lee/Tommy/Doorman/Sandor, donald Webber as Baumgarten/Percy/Clarence/Bud/Sweepr/Alvin/Assan, Jamie Ann Romero as ELMA (External Learning Machine Associate)/Sylvia, Michelle Wilson as Honoria/Late-night cabbie, Paul Murphy as Dr. Tanner/Howard/Nico, and Jay O.Sanders as Max/costas/Booming Voice.
