Plenty of FREE on-site parking (LINK to video showing the way) / ADA accessible. Performing at the Little Theatre at Kennedy Catholic High School, 140 S 140th St., Burien, WA.
R.U.R. (ROSSUM’S UNIVERSAL ROBOTS) – BAT dedicates the rest of the RUR run to Mary Springer.
An adaptation of a play written by Karel Čapek, February 13 thru March 8, 2026 (NO performance on February 20 or 27.) Shows are Friday and Saturday at 7:30 pm and Sunday at 2 pm.
AI is on the rise. Written in 1920, this brilliant satire examines what could happen when robots free humans to pursue “…things such as perfecting themselves rather than toiling long days just for bread.” With sharp wit, provocative ideas, and eerie relevance to today’s AI boom, Čapek’s prescient masterpiece is a cautionary tale for all.
Some adult content and gunshots.
Order TICKETS online OR EMAIL BAT WITH YOUR TICKET REQUEST – HERE! OR CALL AND LEAVE A MESSAGE AT BAT: 206-242-5180. (If ticket prices are a barrier, please contact us at info@BATtheatre.org. Free/reduced access supported by 4Culture’s Public Free Access program.)
Run Time: about 2 hours, with an intermission. (Contains some adult content.)
A special shout-out to 4Culture, the City of Burien, and donors like YOU who sponsor this production. Special thanks to Kennedy Catholic High School and The Evergreen Ballet.
REVIEWS:
Burien Actors Theatre’s production of R.U.R…or Rossum’s Universal Robots is an engaging and thoughtfully realized staging of a foundational work of science fiction. It balances visual cohesion, committed performances, and thematic clarity to deliver a piece that feels both classic and strikingly relevant. More than a century after its debut, Čapek’s warning still resonates—and in this staging, it lands with unsettling clarity.
Every member of the cast positively shines in BATS interpretation of Capek’s play. To completely immerse the audience in a world of robots is no small feat, but the cast took us there, expertly playing both the smug arrogance of scientific innovation and the subtle horror of realizing the truth of what they have done.
The production not only entertains but also provokes critical thought about the nature of humanity, the essence of creation, and the ethical implications of technological advancement. As audiences engage with this timeless narrative, they will locate themselves questioning the very fabric of their relationship with technology.
If you missed the opening night talkback by Onur Bakiner, the Director of the Technology Ethics Initiative at Seattle University! WATCH TALKBACK HERE. Onur Bakiner is a professor of political science. His book Governing AI: A Primer (Cambridge University Press, 2026) reflects his ongoing work on governance models to mitigate AI risks and harms.
MEET THE CAST:
Domin, Timothy Duvall, though he specializes in film and photo work as a full-time freelancer, once every couple of years, Timothy will pop his head above ground to partake in a theatrical production.Previous works include “Tartuffe” and “Let There Be Love” at Centerstage Theatre, “A Midsummer Night’s Dream” with Act 1 Theatre, and a series of uncredited daily motivational monologues in front of the mirror every morning that “everything is going to be ok.”
He is honored to work alongside such a wonderful group of dedicated and kind individuals. He also apologizes in advance for playing a character that really needs to learn to shut up.
He also doesn’t know why he feels the need to write this bio as though he were Bob Dole.
He will mull this over backstage.
Helena, Dani Davis is a Seattle-Born-and-Based actor and a graduate of Willamette University’s theatre program. You may have seen her recently as Mina in Dracula with Renton Civic Theatre, or as Annie in The Vibrator Play with Well Behaved Women and Co. She is thrilled to be joining the cast of R.U.R. for her first production with Burien Actor’s Theatre! She also wishes to assure you that no robots were harmed in the making of this play.
Dr. Hallemeier, Phillip Keiman has lived and worked in the Pacific NW since emigrating from his native England in 2012 and is very happy to be returning to the BAT stage – in his 6th production and 3rd venue! He is thrilled to be a member of this amazing cast and part of this thought-provoking play, and among all the productions he has been a part of, this is without a doubt the most recent.He has performed on stage, radio, and in film & TV on both sides of the Atlantic and is a proud member of British Actors Equity.
Previous Theatre credits include: Abraham Van Helsing (Dracula: Renton Civic Theater), The Creature (Dr. Frankenstein: BAT), The Visitor (The Christmas Spirit: BAT) Alan (God of Carnage: Phoenix Theatre, Edmonds) Niels Bohr (Copenhagen: SSR) Sidney Bruhl (Deathtrap: SSR), Macbeth (Macbeth: Mad Dogs & Englishmen, UK tour), Enobarbus (Antony & Cleopatra: Cambridge Shakespeare Festival, UK), Balthazar Higgins (The Clockwork Professor: Pork Filled Productions, Seattle), Lloyd Dallas (Noises Off: BAT), Beeson/ Galgalim (A Maze: Theatre Battery, Kent), Prince of Verona (Romeo & Juliet: Seattle Immersive Theatre).
Busman/Radius, Jalyn Green is ecstatic to be returning to be back at BAT to be a part of this incredibly relevant show! Previously at BAT, you’ve seen him in On the Market, Good Morning Bill, and with a movable hump as Igor in Young Frankenstein. A UW graduate, his acting and directing work has been seen up and down I-5, including at Taproot Theatre, Book It Rep, Renton Civic Theater, Bainbridge Performing Arts, and Secondstory Rep to name a few. Big thanks to Caitlin and James, and to this amazing cast and production team! Be Excellent to Each Other!
Sulla/Nana, Lisa Stromme Warren is thrilled to be doing her first show with BAT! Favorite roles include Little Women (Marmee) with Renton Civic Theatre, Damn Yankees (Sister) with Reboot Theatre, and James and the Giant Peach (Aunt Spiker) with Tacoma Musical Playhouse. Other highlights include The Prom (Olivia Keating) and The Music Man (Pick-a-Little) at Tacoma Musical Playhouse, 110 in the Shade (Bandleader) at Reboot, A Year With Frog and Toad (Turtle/Ens), and 9-5 The Musical (Margaret Pomerance) at Twelfth Night. Many thanks to Taylor, who just keeps believing in me. Love to Luke, Lucy, and Charlotte.
Alquist, John Clark has been performing in the Seattle area and beyond for… well, quite some time now. He has appeared at The Seattle Rep, ACT, Village, Sound, Empty Space, Pioneer Sq., Renton Civic, As If, and Driftwood theaters, among others. He has had the honor and privilege to portray Ebenezer Scrooge in A Christmas Carol for 12 seasons at SecondStory Repertory.
Taylor Davis (Stage Director) is honored to be directing this intriguing and thought-provoking play! She holds a BFA in Musical Theatre from the University of Oklahoma and directs, choreographs, and performs in and around Seattle. Select Directing Credits: Little Women (Renton Civic Theatre), The Christmas Spirit (BAT), A Midsummer Night’s Dream (GreenStage); Return to the Forbidden Planet (CenterStage), and 9 to 5: The Musical (Twelfth Night Productions). An overwhelming thank you to Maggie and Eric for being so flexible and supportive, so I could be involved in what I love so dearly. Thank you, Jack, for being a superhuman; the incredible design team; and the stellar cast for being a dream to watch as they bring this story to life. All my love to Jesse and Baby Bella! “You unlock this door with the key of imagination. Beyond it is another dimension—a dimension of sound, a dimension of sight, a dimension of mind. You’re moving into a land of both shadow and substance, of things and ideas. You’ve just crossed over into the Twilight Zone.”
Artistic Director Notes:AI seems to be everywhere. It may be more ubiquitous than pumpkin spice at Halloween.
So, the question came up: Did anyone see this coming? Before long, we were reading Karel Čapek’s 1920 play R.U.R.: Rossum’s Universal Robots.
RUR was the first time the word robot was used in print. The root word for “robot” is the Old Church Slavonic word rabota, which means “forced labor” or “servitude,” think serfdom.
The choice of the word was deliberate, as it reflected the idea of artificial beings created to serve humanity.
106 years ago, Karel Čapek saw the rise of robots, ostensibly to aid humans. In just a few minutes, you will see how he thought it would work out. (Let’s say, keeping tech support on speed dial may not be a bad idea.)
What is telling to me is that the Rossum’s Robots were universal; they did not speak different human languages. They were mass-produced as a single type of biological organism and were not differentiated by nationality or language. As things appear to come off the rails, the answer? The “new” robots would not be universal. They would speak different languages. That way, they would fight among themselves, going to war with each other, rather than the humans.
I hope you enjoy this 106-year-old morality play as much as we enjoyed building it and offering it to you.
Thank you to Onur Bakiner for leading BAT’s opening night talkback! Don’t miss OPENING NIGHT, Friday, February 13, 2026, for a free post-play talkback by Onur Bakiner, the Director of the Technology Ethics Initiative at Seattle University! Onur Bakiner is a professor of political science. His book Governing AI: A Primer (Cambridge University Press, 2026) reflects his ongoing work on governance models to mitigate AI risks and harms. 
