In the final weekend of its run at Long Beach Playhouse, “Ada and the Engine” may offer a quiet respite from all the July 4 pyrotechnics.
It’s a story of the first glimmers of computing, which is timely as we enter an A.I. revolution. And it’s a love story between a smart, spirited young woman and a genius older man — not loud and explosive like fireworks but a substantial and simmering affair of the heart.
Playwright Lauren Gunderson’s poetic writing shines through in this portrayal of real-life heroine Ada Byron Lovelace, a 19th-century British math prodigy and daughter of poet Lord Byron. Jenna Palermo French embodies Ada beautifully and brightly in this production, delivering her lines melodically in accented English and even singing amazingly toward the end.
And Brian Pirnat does justice to the character of mathematician Charles Babbage, who in real life developed a prototype of the first computing machine, or “analytical engine.” Ada, just 18 years old, is smitten with his mind and vision. They meet at a party for unveiling the computer model and proceed to discuss “maths,” much to the consternation of Ada’s mother Lady Byron (an excellent Holly Jones), who just wants Ada to find a husband.
Hanging like a dark cloud over them both, especially Ada, is the legacy of her father Lord Byron, who had abandoned the family when she was a baby. Ada’s mother criticizes him for womanizing and what she calls insanity. Still, Ada idolizes him, clutching a volume of his poetry and awestruck when her mother points out a poem he wrote for her.
Fortunately for Ada’s mother, the staid Lord Lovelace (Giovanni Navarro) takes a liking to Ada and marries her, though she and Babbage continue their correspondence and visits over the years (even after two children) while developing and writing about the computing machine and programming.
She envisions that the engine could be programmed to compose music. He figures it would be more efficient if such programs were fed into the machine on punch cards. In an imagined metaphysical scene toward the end, she realizes programming would be most efficient if composed of ones and zeroes.
In that scene, she also gets to meet and reconcile with her father Lord Byron, played more flamboyantly by Navarro. And Ada sings sweetly here as well. One only wishes there had been such singing earlier in the play to illustrate her interest in music. But her keen interest in the future does take flight in this scene, catching her up to the present, though not beyond.
As directed by Kelsey Weinstein, “Ada and the Engine” is a rich and memorable play — not only because of its historical interest but also its portrayal of the intricate and enduring relationship between Ada and Charles. Brought to life by these intrepid actors, especially French as Ada, one feels the excitement of human achievement and imagination, even as A.I. may be poised to take us yet another giant leap into the future.
“Ada and the Engine” continues in its final weekend at Long Beach Playhouse’s Studio Theatre, 5021 E. Anaheim St., with shows Thursday, July 3 at 8 p.m. and Saturday, July 5 at 8 p.m (no performance July 4). For tickets, call the box office at 562-494-1014 or visit lbplayhouse.org. Free parking is available in the theater’s rear lot. Run time is 2 hours and 10 minutes, including intermission.
