The questions arise immediately in Jiehae Park’s world premiere “The Aves” at Berkeley Repertory Theatre. And they continue throughout.
What does the title mean? (“Ave” is Latin for bird, and this is a play about birds and humans—sort of.)
Is it significant that the lilies in the large, beautiful lily pond swirl in a counterclockwise direction most of the time but not all the time? (The gorgeous scenery, including a marble bench on a raised platform, wild grasses, barren trees, is by Masha Ginsberg.)
What exactly is the mysterious “procedure” that’s mentioned? (The answer to that becomes clearer as this futuristic play continues, but never quite clear enough.)
Why are birds so important? (The wonderful talking bird puppets are by Erik Sanko and others, expertly manipulated by the actors and the sound design by DJ Potts.)
How exactly are the four seasons meant to illuminate the timeline of the play? (The seasons are depicted viscerally in this non-realistic world as the play progresses; the dramatic lights are designed by Masha Tsimring.)
Most importantly, who are the four characters who occupy a park bench at various times interchangeably during the 80-minute play, and do we really care about them?
Initially, a long-married couple played by Bill Buell and Mia Katigbak lounge on the bench. He looks relaxed and blissful; she’s a bit combative. He loves birds. “I hate birds,” she says.
Then, another, younger couple, played by Laakan McHardy and Daniel Croix, replaces them. At first, they seem to be strangers. Then not.
As the play moves from scene to scene, there’s heated discussion, among both pairs, about a treatment, advertised in a brochure, apparently something to do with reverse aging. The timeline is confusing, though. Is all this happening during a single year? Are the younger pair iterations of the older pair? Other issues are hinted at: memory loss perhaps associated with this new-age procedure. Other losses.
Theater lovers can see the influences of mid-20th-century playwrights in “The Aves.” Characters on the bench saying they’re “waiting”—very Beckettian.
An extended discussion of bananas between the two women seems to echo the banal dialogue of theater of the absurd. One bird tells the other, “I hate humans.” Much discussion of “Will it rain or won’t it rain?” (It actually does, quite wetly, with sound effects.)
The older couple argue about whether doves and pigeons are the same creature, or not. (Some of the dialogue between the older pair is repeated as the actors mix and match.)
The dialogue is sometimes amusing, sometimes merely perplexing, sometimes intriguing (“Feelings are really just bodily sensations”), but never developed.
Ultimately, “The Aves”—despite a provocative and slightly comical scenario that interweaves birds and humans and vaguely hints at the possibility of eternal youth—is frustratingly perplexing.
Despite fine acting under Knud Adams’ direction, excellent production values and an enticing but undeveloped mystery at its core, you’re not likely to care about the humans onstage. And that’s never a good thing.
Berkeley Repertory Theatre’s “The Aves” continues through June 8 at Peet’s Theatre, 2025 Addison St., Berkeley. Tickets are $25 to $134 at berkeleyrep.org.
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