On the Evolutionary Function of Shame

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D.A. Mindell’s new play, On the Evolutionary Function of Shame, a play of ideas based on future scientific discoveries parallels two Edens and two sets of Adams and Eves. First we meet the Biblical Adam and Eve after they have been expelled from Eden for eating the apple off of the Tree of Knowledge and have discovered shame for the first time. In the present or near future we meet Eve 2, a scientist working at The Eden Project, “the world’s preeminent institute for genetic engineering.” Eve and her colleagues are trying to make the world a more perfect place through gene therapy. How much happier would people be if there was no acne, no autism, no food allergies, no migraines?

Eve’s interest in genetic engineering may have been inspired by her twin having had gender dysphoria, that is severe distress over feeling that one’s gender identity does not match one’s sex as registered at birth. Her twin has transitioned to Adam and has become pregnant by their partner, the non-binary Fox. Adam has come to Eve’s clinic, actually Eve’s lab, after having had a previous miscarriage. However, Adam has second thoughts about being at the Eden Project when Eve reveals that she and her colleague Margot have found the genetic marker for gender dysphoria, in other words she can now prevent Adam’s child from having the same unhappy childhood. Adam’s attitude is that “trans people don’t need fixing” but more toleration from the rest of the world.

While the cast is fine and certainly believable in these possibly demanding roles, director Jess McLeod has not decided if the play is a comedy, parody, drama or tragedy. Should we laugh at Adam and Eve worrying about finding more and more clothing and how should we react to the modern Adam being the first man to give birth to a child? The tone of the play is inconsistent with lines verging on the comic not getting their laughs and serious business being treated as humorous.

The author complicates the issue by bringing in autism (Margot) and Alzheimer’s (the unseen father of Adam 2 and Eve 2.) When asked if she would want her autism cured, Margot answers: “I might. Plenty of people would. I’m fine with who I am, but it’s also undeniable that the world only became truly accessible to me when I entered a specific tax bracket.” Ridding the world of Alzheimer’s wouldn’t help Adam and Eve’s father who is too far gone but might help the next generation. However, Adam feels betrayed by his sister’s research that would “give transphobic parents the option to prevent their kid from being trans before they are born.” He feels he is being eliminated.

While engrossing, the play has many flaws. The Biblical sections of the play are not tied strongly enough to the modern sections, and the concept of shame is not really handled the same way in both. The play is much too schematic having two of everything and with most scenes being two-character discussions. Not all of the play’s science is totally real: we are told that Adam 2 accidentally became pregnant after a one-night stand but for this to happen, a trans man would have had to stop taking testosterone for four months, surely something that one would have to plan in advance.

Jordan Barbour and Elizabeth Ramos are initially amusing as the Biblical Adam and Eve trying to negotiate their new world in which they have knowledge they do not fully understand; later when things like the death of their younger son come into their lives, they and the play turn darker. Cody Sloan’s Adam 2nd Ryan Jamaal Swain’s Fox as the modern couple are quite engaging though Adam 2’s relationship with sister Eve 2 (played by Kayli Carter) is much too refined and polite to the point that they have fights without ever raising their voices. Imani Russell as the autistic and unemotional Margot is too low-key and bland, unless this is intentional to show that autistic people do not express things the same way as other people.

The production team has done a fine job. You-Shin Chen’s various sets (outside of Eden, Eve 2’s lab, Adam and Fox’s apartment, and the garden of Adam 2 and Eve 2’s father’s home) are elaborate but at time feel too small for the large Irene Diamond Stage at The Pershing Square Signature Center. Hahnji Jang’s costumes extend from the witty costumes of Adam and Eve after Eden, to Fox’s chic over-the-top outfits, to the doctors’ monochromatic uniforms. The lighting design by Barbara Samuels and Keith Parham offers subtle variations for the various locales.

While D.A. Mindell’s On the Evolutionary Function of Shame is an admirable effort, it brings in too many topics, not all of which are dealt with equally. While Adam 2’s pregnancy is a given, the consequences of Eve 2’s discovery is not pursued. The hard-working cast cannot overcome the parts of the story that seem not to have been written. The play engages our minds with its ideas but not our hearts with its emotions.

On the Evolutionary Function of Shame (through March 9, 2025)

The Second Stage

The Irene Diamond Stage of The Pershing Square Signature Center, 480 W. 42^nd Street, in Manhattan

For tickets, call 212-541-4516 or visit http://www.2st.com

Running time: 90 minutes without an intermission