PREVIEW: EGO
PREVIEW: Ego
Ramin Akhavijou’s production, Ego, premieres at The New Hazlett Theater on March 20th and 21st. Ego is a revolutionary musical journey through the intersection of identity and technology. Seamlessly blending avant-garde music with psychological explorations of how the different facets of personality are influenced by Artificial Intelligence, Ego is a mind-bending musical masterpiece you won’t want to miss
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Melissa Cardello-Linton: How did the concept for Ego come to life, blending music, psychology, and technology?
Ramin Akhavijou: The concept for Ego came from my interest in Sigmund Freud’s psychological theories, especially the dynamic between Id, Ego and Superego, and how artificial intelligence and technology might affect our sense of self and identity. I’ve been working with technology for a long time through designing instruments, creating digital music, and exploring interactive media, and when I was thinking about the overall structure of this show, I thought that identity technology and the textural music that I’m creating fit very well, and they can complete each other.
MCL: What role does AI play in the narrative, and how do you see it influencing the characters identities?
RA: Ego is about technology, and a part of the narrative is about technology and artificial intelligence. In Ego, technology represents the bridge between life and death and also exploring the self and consciousness. It gives Ego the power to control Id and Superego, stretching the limits of identity through AI and technological experiments. The show challenges how we traditionally understand consciousness and questions our existence and autonomy.
MCL: Avant-garde music is a unique feature of this production. Can you describe how the music elements enhance the storytelling?
RA: Usually, we ask the question of how music can enhance the story, but sometimes it can be this question of how the story can enhance music, and it’s happening in this show, because Ego is about music. It’s about sounds, it’s about vibration, perception, and music. Ego acts as a kind of agency connecting people and senses, and it shows how music can be powerful, or how much more powerful it could be. In avant-garde music, and this type of music that I’m creating for Ego, it’s sometimes about colors, it’s sometimes about text, graphics, and maybe sounds.
MCL: The intersection of identity and technology is a timely thing. How does Ego address current societal conversations about AI and selfhood?
RA: Ego explores the tension between technological advancement and human experience, and it shows how AI can redefine identity. It touches on the current concerns about AI’s role in our shaping of personal choices, autonomy, and even altering the definition of life and consciousness.
MCL: Can you tell us about the challenges that you faced in creating a seamless blend of music, narrative, and technological themes?
RA: I would say the biggest challenge was balancing between the abstract nature of avant-garde music and psychological depth of narrative. Also, I wanted Ego to be not just theater, opera, and not even pure music, I wanted to create something where they support each other, and they talk to each other. I wanted to create a music that’s talking about the space between nothing and everything, and that was the biggest challenge. It’s happening in the story because we don’t want to tell everything to the audience because we don’t want to make it one direction, we want to have a collaborative space for both like the audience and the show, because at the end of the day it’s about the interpretation.
MCL: Can you share a particularly memorable moment from the creative process of developing Ego?
RA: I remember the day that Hazel Carr Leroy accepted the role of Ego, and that was game changer, and I was super happy. The way that we collaborated together, she’s wonderful, we all know that, and it even changed the overall structure of the show.
MCL: How do visuals such as lighting and projections complement the themes and tone of Ego?
RA: The projections are really important in Ego. I mean not just in Ego, but in I would say almost any production because it’s one of the ways we communicate to the audience and how we give information to the audience. It’s the same in Ego because it’s about information data, and the visuals in Ego are not just something that we see on the screen, it’s about how they interact with music and how they feed off each other.
MCL: Is there would you say there’s an ideal audience for Ego?
RA: Ego combines the elements of music, theater, technology, visual arts, and interactive media. It’s for anyone who is interested in exploring new and different things
MCL: What do you hope audiences feel or reflect on after experiencing Ego?
RA: I hope the audience walks away questioning their own relationship with technology and identity. Ego is really meant to spark introspection about how we control or are controlled by our desires and the digital worlds we are part of.
MCL: What’s one question you wish someone would ask about this show, but hasn’t yet?
RA: One question I wish someone would ask is, “What is the significance of the silence in Ego?” And I would say, “You’re gonna have to come to see the show and figure it out.”
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My Sister’s Lipstick runs at the New Hazlett Theater: January 30 at 8pm, January 31 at 10am, 8pm.
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C Ramin Akhavijou Composer, Co-Writer, Co-Director, Creator, CSA Artist 25
Melissa Cardello- Linton, Co-Director
Cast
(in order of appearance)
Hazel Carr Leroy
Sarah Steranka
Allyson Honeycutt
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Accessible seating and assistive listening devices are available for all CSA Season 12 productions.
The New Hazlett Theater is also eager to invite student groups to the theater, including talkbacks with the artists.
Please email Nathan Wagner with any questions.
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Season art & design: Bootstrap Design Co. | CSA Season 12 Artist Portraits: Matt Dyak | Performance photos: Renee Rosensteel
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About Community Support Art (CSA)
Since 2013, the New Hazlett Theater’s CSA Performance Series has brought emerging and mid-career performing artists to the stage. We’re passionate about providing a space for Pittsburgh’s amazing pool of creative talent to develop, collaborate, grow, and flourish. From dance to music and original plays to experimental animation, our CSA pushes the boundaries of performance at every show. For more information, visit https://newhazletttheater.org/csa
About The New Hazlett Theater
The New Hazlett Theater is more than a beautifully restored historic building. We’re a nonprofit organization working to nurture and promote art in Pittsburgh through innovation and collaboration. As a creative hub for a diverse range of artists, audiences, and performances, we provide vital resources to creators to enrich our cultural community. For more information on who we are and what we do, please visit www.newhazletttheater.org