Pig Iron Theatre Company presents Robert Quillen Camp and Dan Rothenberg’s Franklin’s Key

The show is grounded in Ben Franklin’s legacy, taking us on a tour of historic Philly sites, nailing Philly accents and attitudes, and portraying an underdog hero’s journey. The script by Quillen and Pig Iron cofounder Rothenberg (who also directs) blends realism, history, futurism, and mythology in a fun and believable way. The play’s universe is a heightened, sci-fi version of Philly created by projections of a secret underground (video design by David Tennent) and featuring creations like a Greek chorus of “Gogglers” and later giant robots that come to life.

A fast-paced underdog adventure

The story’s underdogs are Philly born-and-bred teens Temple (the quietly powerful Jameka Monet Wilson), a budding scientist, and her sidekick brother Arturo (the equally excellent Alton Alburo), a gifted cellist. Thanks to the great writing and these spot-on performances, the play doesn’t feel over-the-top. There’s a sweet, heartfelt realness anchoring the story, which portrays the siblings’ believable rivalry as well as their deep affection for each other.

As any mythic fairy tale demands, the siblings are orphans who initially can rely only on each other for protection and survival. The action begins with Temple’s inadvertent discovery of a power source technology that Franklin left hidden centuries ago. When Temple enters a science fair with a hefty prize, something strange happens, revealing her unique ability to channel this lost technology. Meanwhile, mysterious blackouts are plaguing the city, and Temple becomes determined to find out what’s behind them. She and Arturo must team up to save their city as secret factions try to take possession of the new power.

Their fast-paced adventure, with its twists and turns and encounters with colorful characters, is an homage to classic 1980s adventure movies like The Goonies and Indiana Jones with a touch of Scooby Doo. Franklin’s Key is not a children’s play, but it works on multiple levels of comedic and thematic understanding. The elementary-age kiddos I saw in the audience were completely enthralled—as were the adults.

Wonderful performances, (mostly) stellar design

The whole ensemble is wonderful, with standout performances by Chris Thorn (Fordhook) as an offbeat graveyard tender turned villain, and Alice Yorke (Prentiss), who nails a recognizable kind of high-strung arts professional. They’re so good I could imagine them bringing the story to life on a simple stage, but Rothenberg achieves the delicate balance of design and performance required by this kind of spectacle-theater—the stellar technical elements never overwhelm the actors.

Special-effects designer Skylar Fox (known for his work on Broadway’s Harry Potter and the Cursed Child) brings the same kind of magical digital energy to this production, pushing the boundaries of what a stage production can be, with help from sets by Anna Kiraly, lights by Amith Chandrashaker, and sound by Chris Sannino. The costumes by Maiko Matsushima were one of my favorite elements. Her eye for detail dresses the teens in a very Philly look (as a parent, I know those jeans) and gives Prentiss the kind of purse that has a life of its own.

But the lighting design does have a significant misstep: several times during the performance, there are blaring, blinding lights that come on suddenly like sirens to indicate danger. I’m not particularly photosensitive and don’t have any sensory challenges, but the lights actually hurt my eyes. This detracted from my experience of the play and took me out of the action. My plus one had the same experience. If the lights were turned down a notch, they’d still have the desired effect without stinging our eyes. I wonder if Fox’s experience designing for a large Broadway theater was a mismatch in scope for the much more intimate space at Plays & Players.

A timely look at power

Overall, I appreciate this production and especially the play’s timely and uplifting message. Temple learns that power is not meant to be hoarded. This show was certainly years in the making, but it arrives right on time, as the current federal government usurps power in unprecedented ways. I’m grateful that both the children and adults who experience Franklin’s Key can leave the theater imagining a new legacy of sharing power to benefit us all.