By AJ Jaffari

What happens when humanity’s greatest invention learns to outgrow its maker? Rossum’s Universal Robots at Foothill Theatre Arts reimagines Karel Čapek’s groundbreaking 1920 play with startling modern relevance, exploring the thin line between creation and destruction in an age defined by artificial intelligence. Often cited as the origin of the word “robot,” Čapek’s work remains chillingly prescient more than a century later, posing the question “what can technology do?”

Set in a factory that manufactures human-like machines designed to serve, the story follows Helena Glory, a young activist determined to understand the ethical implications of the robots’ creation. But as the line between man and machine blurs, and the robots begin to question their purpose, the world faces a reckoning that feels both fantastical.

There’s definitely an audience out there for this play. Don’t get me wrong—I’m not opposed to AI or stories that explore its implications. However, in my humble opinion, the script leaned a bit too far into fantasy and didn’t leave quite enough open to interpretation by the end. That said, there were several aspects of this production that really stood out for me.

The star of the show, for me, was Daniel Cardenas (Rossum), who brought a wonderfully quirky, nervy energy to the owner of the world’s largest robot manufacturing company. His performance was comedic, grounded, and genuinely enjoyable to watch. From the moment the show began, Cardenas gave the factory life and packed each scene with charisma and spark.

Another standout was Tiffany Walters (Sulla), who shone as the leader of the robot rebellion. I was surprised to learn she hasn’t performed much, because she fit seamlessly into this story. Her stage presence was strong, engaging, and a joy to watch—I truly hope to see her in more productions down the line.

Ron Gasparinetti is truly a master of his craft—the scenic design for this production was perfectly suited to the story and beautifully executed. I especially loved the special effect of the incinerator, which added a great touch of drama and visual flair. The costumes, designed by Robin “Dutch” Fritz, were equally terrific. I really appreciated how all the robots were unified by their simple overalls and the distinctive black badge on their chests—it was clean, effective, and thematic.

The lighting design by Reina Ferrante worked seamlessly alongside Tina Vo’s sound design, both of which captured the tone and time period with precision. I personally love when music helps set the mood of a show, and in this case, it did so perfectly—enhancing the tension, emotion, and rhythm of each moment on stage.

Rossum’s Universal Robots runs through November 23 and tickets are available here.