What comes to mind when watching Gina Kaufmann’s play”Temptation,” written by Vaclav Havel’s is a mixbetween Goethe’s “Faust” told from theperspective of Stanely Kubrick, if he worked inside an officeenvironment. Thursday Oct. 30 was the opening night ofKaufmann’s “Temptation.”

The theater and dance department’s latest production tellsthe gradual deterioration of Dr. Henry Foustka played by Thomas J.Engstrom.

Dr. Foustka is a brilliant scientist at a science institutewhose penchant for power steers him into a pact with a demon inexchange for knowledge. “Temptation” is set inside theinternal workings of an Institute, where scientists work to destroythe ever-present “irrational tendencies” of theirsociety. Despite their work, these doctors participate in theso-called irrational tendencies that they strive to eradicate.Making themselves hypocrites of their own irrational goals.

The scene movement and sexual fascinations of the characters areas analytic as Kubrick’s style of introspection with NicoleKidman and Tom Cruise in “Eyes Wide Shut.” For example,Dr. Foustka and his girlfriend Vilma, played by Kim Brauer, explorethe boundaries of a machoistic relationship where they both delightin an erotic routine of shouting, which culminates when Dr. Foustkagives Vilma a black eye. But that behavior is all right in theirrelationship.

“It hasn’t been that good between us for a longtime,” Vilma said to Foustka.

In this scene, Foustka and Vilma play head-games with eachother. The other takes on the role of a jealous partner and pullsat the heartstrings of the other in a masochistic ploy to make theother one jealous or angry, just to satisfy some hidden urge in theother.

While watching this play feelings of alienation and asubconscious fear that your job may come to possess your soul areall suspicions that may surface in the viewer. When Foustka joinshis role in society he sits at an office building with hiscolleagues at the Institute. All scientists sit in assembled orderwearing a white laboratory gown from head to toe, the uniform ofthe group, the conformity.

While the Institute’s scientists assemble outside of theirwhite laboratory coats at a office Christmas party, hosted by theirDirector, the restrained movements from the ensemble castrepresents the peculiar way the scientists are confined in theirbodies, their world as well as their place in society.

Kaufmann’s vision of their confined movement reflectsthese restrictions. While dancing and joviality occurs on theforeground of the stage, the silhouette of Vilma’s bodyslowly turning around and swaying inside the doorway of theballroom created a surreal image presiding over the lovescene-taking place with Dr. Foustka and Marketa played by KateCastor.

The relationship between the actor’s space and the setseems to take on a silent role all its own. The actor’s stagemoved between acts, walls slide forward and backwards on hiddentracks on the stage floor creating the impression that their worldwas constantly changing and folding over on itself. Just like theirgrip on morality was also diminishing between themselves and theircolleagues as each scene progresses.

Stage performances from Greg Gallagher as Dr. Alois Neuwirth,Kate Castor as Marketa, Kim Brauer as Vilma, Nick Avdienko as Dr.Vilem Kotrly, Emily Neal as Dr. Libushe Lorencova, Kyle Richlin asThe Director, Robert Phillips as Deputy Director all play intricateroles that explore the human condition to err despite one’sextraordinary attributes.

As the play proceeds, Dr. Foustka becomes more self-absorbed inthe dark recesses of his own mind that he alienates himself fromthe rest of his colleagues-and his girlfriend.

He destroys the bond between Vilma and himself during a shoutingmatch gone too far and becomes a demon incarnate more corruptedthan his mentor demon, Fistula played by Angelina LaBarre.

The final scene of this performance represents true emotion. Thetango performed between Vilma and her new lover, Jon Shaffer, wasas inspiring as Al Pacino and Gabrielle Anwar in “Scent of aWoman” in 1992.