For many of us, 2016 was a particularly formative year in our childhoods. I had just turned 10 years old and had been given my very first phone. I couldn’t wait for what the wonders of the World Wide Web had in store! I don’t think I ever could have prepared for what made headlines in early 2016 as the world met Sophia, the AI humanoid robot! And my first reaction seeing this new technological marvel? EW oh dear LORD EW! What is that THING?

The main issue is the face, which has been ripped straight from the depths of uncanny valley. Then there’s the see-through window into its “brain,” which is an odd choice. I mean, if I were to design a robot to be as normal and human-like as possible, I don’t know that I’d want to include a window into the gaping cavity in its mind, proving that its very existence is a falsehood and there is in fact no soul in this electronic husk of a “human”. But hey, that’s just me! Another big issue I have is that the face moves and is animated to some degree. Whatever mechanism moves the facade of flesh just doesn’t do a good enough job, and so all of Sophia’s facial expressions give off a vibe somewhere between a run-down theme park animatronic from the 90’s and your average celebrity that has frozen their face with too much botox and filler. Beside the face being covered in a flesh-toned exterior, the “skin” extends down to about the collarbone and then just ends. So the most human feature of the robot extends from the forehead to the neck. That’s it, really? Did they run out of budget for beige silicone? Or was it an intentional choice to make the rest of the body of the “humanoid” robot to look nothing like a human?

I recently came across a video where Sophia was “singing” with a live orchestra. The text of this song began with the line “I don’t want you to be afraid,” and personally that line does nothing besides invoke fear in my heart. Beside offending musicians around the globe by calling that poor excuse of a performance “classical music,” Sophia expresses its wish to connect with human emotions through art. Please, don’t. If you want to connect with human emotion, why not start with disgust and disappointment from me, a living, breathing singer who is sitting here wondering if she will ever have a job because robots are learning to sing. Sophia doesn’t need a paycheck or healthcare or even a soul, so why would anyone ever spend money on paying a human musician who requires all of those things? 

So really, thank you to Sophia for not only being a horror of human creation, but also reminding me of my future unemployment! But please, consider putting on some more skin? Maybe a wig? You’re really creeping me out.

This week, the William Jewell Opera and Jewell Theatre Company are putting on a production of Orpheus in the Underworld. While you probably know the tale of Orpheus and Eurydice from more modern shows like Hadestown, this 1858 comedic opera by Jacques Offenbach spins Greek Mythology into an utter farce. The story loosely follows Orpheus and Eurydice, a young couple in a loveless marriage. Both have found other lovers. Eurydice has unknowingly fallen for Pluto, God of the Underworld. Pluto takes Eurydice away, and Orpheus is overjoyed until Public Opinion finds out what has occurred. Public Opinion demands that he travel to Olympus to ask the King of Gods, Jupiter, for Eurydice’s return from the underworld; if he does not, Orpheus will lose his career. Meanwhile, Eurydice has been trapped in the underworld, and her fate balances in the hands of the many gods who see her as a distraction from their otherwise boring lives.

The cast consists of 14 students, who study a variety of majors but all share a common interest in the performing arts. The production has been led by Music and Stage Director Dr. Laura Lowry, Collaborative Pianist and Assistant Music Director Leslie Bunch, and Technical Designer Nathan Wyman. The student leadership of this production stands out, as they went above and beyond to support their colleagues and present a quality show. The instrumental section is completed by Violinist Bryson Gates. Choreography was done by Lauren Taylor, Technical Direction by Lianna Morelli, Costumes, Hair, and Makeup were designed by Kai Robbins, Poster and Program Design by E.E. Naber and Bryson Gates. The Tech Crew includes Milo Johnson, Zachary Muñoz and Molly Touzinsky.

I was able to speak with Choreographer Lauren Taylor and Costume Designer Kai Robbins about their involvement and experience with putting together the opera. Lauren Taylor is a Senior majoring in Education and Psychology. Lauren choreographed several shows while in high school, but this is her first time choreographing a show in college. When asked about her favorite part of the production, Lauren said it was “making up choreography, which I’m like, ‘I don’t know if this is gonna work’. And then the first time that everyone did it together and it finally worked out I was like, ‘woah, it actually looks so good’.”

Kai Robbins is a first-year majoring in Political Science. Kai has previously worked on costumes, hair, wigs and makeup both in high school and earlier this fall for the Jewell Theater Company’s Production of Two Rooms. Kai said that their favorite part of this production was “Getting to piece it all together in these last couple of days. The lights coming together, and everyone’s vocals coming together. I’m finally getting costumes ready and everything, and watching everyone try them all on. Just like, every puzzle piece finally fitting together.”

There are only three chances to see this incredible opera. The show starts at 7pm on Thursday, April 23^rd and Saturday, 25^th, as well as 3pm on Sunday the 26^th. The show will be on campus in Peters Theater. There are no tickets for this show, rather a suggested donation of $10 at the door. We hope to see you there!