Lauren Gunderson’s play ‘The Half-Life of Marie Curie’ premieres in the Philippines—a merging of science and art

Ayrton was known for receiving the Hughes Medal for her work on electric arcs and ripple marks in sand and water. In one of the play’s amusing scenes, Ayrton recalls how she surprised the Royal Society by being the Mr Ayrton they expected to receive the award.

The Half-Life of Marie Curie explores the complexities of the female psyche and emotions in the context of the limitations women have in society, not to mention the perennial problems of misogyny, discrimination, and gender disparity. Moreover, Curie was subjected to xenophobia during this period in her life, although this was a mere false accusation as she was Polish by birth. Ayrton, who had a Jewish upbringing, shared her frustrations with Curie on these racism issues in the play, making her the protagonist’s vocal conscience and soundboard.

“Both Marie and Hertha had the unconditional loving support from their husbands, who clearly understood that equality didn’t mean less recognition for them but rather a better chance for improvement, in the sciences as well as society in general,” Kiara Pipino, renowned playwright, director and academician who directed the Philippine debut of the play.

Pipino shares how Gunderson’s plays continuously beguile her. “I had the pleasure of directing The Revolutionists a few years ago and was humbled and honoured when I got to interview Gunderson for my book, Women Writing and Directing in the USA, published by Routledge,” she says.

Pipino first watched The Half-Life of Marie Curie in its original staging in 2019 at Minetta Lane Theatre in New York. “I loved it so much that I immediately started thinking of a way to direct it... a few years and a pandemic later, here we are, and I couldn’t be more thrilled and thankful for the opportunity of working on such a powerful script with such amazing artists, friends, and formidable actors.”

Both Borromeo and Maramra channelled the characters’ strong personalities, stellar achievements, and nuanced philosophies based on Gunderson’s text and available research materials. But the amusing dynamics of the two historical characters made this play worth seeing and talking about.

The monologues and dialogues transition smoothly through an impressive lighting design by Jethro Niraten, complemented by the sound design by Jessy Gardner. Emphasis would be given to some ‘poetic’ lines thrown to the audience as Curie relates her life and concerns with some scientific theories, methods, and discoveries. At the same time, Ayrton juxtaposes her achievements with their relevance in society and the divisive reception she has received. Meanwhile, the linear narrative that wove the plot seemed like impressions scattered throughout Curie’s life through minimal adjustments and objectives in the costumes designed by Bethany Marx, Pipino’s production design, and GA Fallarme’s video projections.

“I love the way it portrays true friendship. I love the way it shows that strong women can also be vulnerable. I love the way it celebrates two extraordinary human beings, two geniuses, two scholars, two mothers, two lovers, two women,” Pipino comments.

The play raises the issue of how women get unrecognised despite having heavily contributed to several scientific fields. “Like many women, [Ayrton] has been mostly uncelebrated and underappreciated. This piece of theatre wants to be a testament to her and to all the women who got tossed aside or whose achievements have been attributed to men,” Pipino says.

With her sharp tone and quick reflexes, Borromeo has made Ayrton’s character shine alongside Maramara’s Curie—not as a mere shadow but as an equal and even a haunting mirror at times. Borromeo’s vitality on stage gave the play its amusing notes and sociopolitical context, but Maramara remained a reliable force on stage that grounded the play to its provocative objective of resonating with the audience.

“In their own way, both Marie and Hertha have fought for equality and for freedom. Hertha was a feminist and a suffragette. She marched, protested... and went to jail for it. Marie was the first woman to win the Nobel Prize. She was also the first person ever to win two Nobel Prizes. Marie and her daughter Irene (who also ended up winning a Nobel Prize) helped France during World War I as specialised nurses and technicians and drove ambulances with portable X-ray machines on the battlefields. They saved lives,” Pipino says.

These impressive achievements were raised in the play, a powerful punctuation to Marie and Hertha’s resilient spirits and determination in their altruistic advocacies. However, the most affecting element of the play is how the friendship’s conflicts due to particular differences in one’s approach to life, grief, and bliss unfold throughout the play. For decades, Ayrton and Curie's friendship had its ups and downs, but the women’s utmost respect and admiration for each other remained. How their similarities and differences reflect today’s modern society’s outlook on women is what Pipino attempted to exorcise in this production. How it resonates with the Filipino audience—whose culture has been ingrained with stellar female icons throughout history and matriarchal family traditions amid enduring cases of violence against women—is something worth pondering.

“Time has passed, we are a decade short the 100th anniversary of Marie Curie’s death, yet inclusion and equality seem unattainable for women in most fields. Sure, legally there has been some positive change, but in truth, representations continues to be a struggle,” Pipino says. “This is yet another reason why plays like The Half-Life of Marie Curie are important. They give voice to women and teach younger generations of women what their future can be like, what they can achieve... and what they might have to overcome,” she concludes.

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