Tom Hanks' latest project, "The World of Tomorrow," dives headfirst into his well-documented fascination with the past, but does it offer anything genuinely new? Hanks, often compared to the quintessential American everyman James Stewart, has always seemed more at home in period pieces. Think of his roles in historical shows like "Band of Brothers" and "John Adams," not to mention his directorial debut, the 60s-themed "That Thing You Do!" And let's not forget his typewriter obsession! So, a play about time travel to the "good old days" feels like a natural, perhaps inevitable, progression.
"The World of Tomorrow" is based on a short story by Hanks, and while it tackles the familiar territory of time travel, it only partially succeeds in bringing a fresh perspective. The core idea revolves around a man deeply enamored with the past who gets the chance to live it. But here's where it gets controversial... is nostalgia always a good thing, or can it blind us to the realities of the past?
The play introduces a unique set of rules for time travel. First, it's incredibly expensive, making it accessible only to a select few. (The play makes some bleak observations about the future, painting a not-so-rosy picture of the world 60 years from now.) Second, travelers can only visit specific locations at specific times, relying on fixed spaces and "echoes" to facilitate movement. Hanks plays Bert, a scientist who becomes increasingly obsessed with visiting the 1939 World's Fair in New York after meeting Carmen (Kelli O'Hara), a local woman enjoying a day off with her precocious niece (Kayli Carter). And this is the part most people miss... the play subtly hints at the ethical implications of privileged individuals potentially exploiting the past for personal gain.
Bert's motivation isn't just love at first sight; it's also a deep-seated nostalgia for a bygone era – the newspapers, the lower prices, the quaint expressions. He's drawn to the idealized promise of a future that never materialized. Each time he returns to the present, he excitedly shares his ideas for a better future with his skeptical colleagues. While the play initially leans towards whimsy, it doesn't completely shy away from darker themes. Bert's idealized view of the past is challenged by his Black colleague and longtime friend, M-Dash (played by Ruben Santiago-Hudson), who points out that the "good old days" weren't so good for everyone. It's a poignant reminder that racial inequality was rampant in 1939, with Black workers often relegated to service jobs. Moreover, the play is set in the summer of 1939, with the looming threat of World War II and the rise of Nazism already casting a shadow over America.
But Hanks, along with co-writer James Glossman, ultimately prioritizes the romance, focusing on the thrill of an impossible love story. It takes a while to fully understand Bert's motivations for repeatedly risking the expensive and potentially dangerous trips back in time, even with O'Hara's captivating performance. Before intermission, the narrative lacks the depth needed to fully connect with Bert's obsession. The setup, reminiscent of Hanks' classic rom-coms like "Sleepless in Seattle" and "You've Got Mail," could have easily veered into creepy thriller territory.
However, the second half is significantly stronger, drawing the audience into the romance. Tony-winning director Kenny Leon's guidance ensures a visually smooth journey. While his recent production of "Othello" may have been underwhelming, his choices here are far more astute, benefiting from what appears to be a substantial budget. The stage is transformed with rectangular pillars displaying various video-screened backgrounds, from futuristic conference rooms to humble Bronx apartments. Despite a minor prop malfunction that Hanks himself skillfully salvaged, the production feels as seamlessly transporting as a big-screen adaptation. Its commercial appeal suggests a potential for a Hollywood transfer, perhaps with a tighter script that could eliminate the somewhat grating niece character and some unnecessary diner and home scenes. (At over two hours, the play could benefit from some trimming.)
Hanks, who previously appeared on the New York stage in Nora Ephron's 80s-set newsroom drama "Lucky Guy," develops genuine chemistry with O'Hara in the final act. O'Hara masterfully captures the period intonation without resorting to caricature. Hanks is comfortably within his element, delivering his lines with his signature charm, but avoids the autopilot performance that can sometimes plague actors known for sticking to certain character types. He might be drawn to the past, but it's easy to get caught up in his enthusiasm. Does this play offer a truly fresh take on time travel, or does it rely too heavily on nostalgia? And what are the ethical implications of romanticizing the past, especially when it wasn't a positive experience for everyone? Share your thoughts in the comments below!
