HUMAN_ERROR

HUMAN_ERROR
By Angus Cameron. Baker’s Dozen Theatre Company. Meat Market, North Melbourne. June 29 – July 8, 2017.

I was a tad concerned heading into North Melbourne’s Meat Market for Baker’s Dozen Theatre Company’s new piece HUMAN_ERROR.  I had brought my mother along, who is a somewhat proudly self-proclaimed ‘non-play person’ and ‘prefers not to think’ when engaging in any kind of entertainment.  So you can imagine my trepidation at taking her to a play about the looming threat of artificial intelligence (AI) and the human race’s inevitable plunge into singularity.  It is a credit then (and to my surprise) that this production manages to manifest what is an intellectually provocative, stimulating and highly political piece of art, which at the same time manages to present and delve into questions which are not only relatable, but also very human. 

Modern science fiction often receives criticism for its inability and/or unwillingness to convey stories which are believable.  The scientists are inadvertently (or lazily) depicted as fools, who, through taking a more logical approach, could easily have avoided their major crises in the first place.  Perhaps more alarming is the trend for these works to focus so closely on impressive and fancy visuals, that they sacrifice realism in favour of blockbuster.  ‘HUMAN_ERROR’ avoids both of these pitfalls through the careful and measured synthesis of its writing, direction and performances, and, as a result, succeeds in creating a story in which characters face dilemmas that are both realistic and at times, deeply unnerving.

Angus Cameron’s writing treads effortlessly and without pretence, a significant challenge when engaging with such higher-order topics.  The script will prompt inevitable post-show discussions, from criticisms and praise of neoliberalism and its relationship with AI, to questions of life, death, God and how far we might be willing to go and sacrifice for love. Certain ideas in this production will resonate based on an individual’s personal experience and relationship with technology, and no one demographic is exempt from engaging with the concepts in its own way.  Cameron’s characters are complex and developed, and through a clever disjointed time sequence, the audience are granted unique insight into their needs, wants and perspectives towards one another.

But it is not entirely owing to Cameron’s writing that this piece resonates so strongly.  Without some carefully constructed performances from its actors, HUMAN_ERROR could have gone very wrong.  There is a particularly lengthy and treacherous monologue towards the middle of the piece, requiring an outstanding performer to do it justice.  Yvette Turner’s character, ‘HEART’, faces a quandary with ramifications far beyond the scope of this review, and throughout this decision-making process, the audience are kept on the very edge of their seat.  Turner shows significant restraint in her expressive skills, focussing on conveying authentic and believable emotion, which serves only to heighten the tension and mood of this thought provoking scene.  Cait Spiker delivers an equally sophisticated and measured performance as the complex scientist’s assistant ‘MIND’, through whom we consider many of the philosophical and political questions associated with artificial intelligence.  And finally, Ross Dwyer gives a truly inspired and transformative performance as the tragic character ‘BLOOD’. This actor’s commitment to the role is to be very highly commended, particularly when the opportunity to exaggerate and enter into the realm of the overly absurd exists so tantalisingly within reach of a character like this.

It is impossible to avoid talking about the stagecraft in this piece, which does a lot to enhance the mood and overall eeriness of the play.  Robert Smith’s moveable set allows for the quick transition from scene to scene, as the audience is taken from a somewhat 60s looking apartment with working coffee machine, fridge, microwave and a television which plays Netflix, into the hospital where ‘HEART’ must make her impossible decision, and finally the appropriately bleached laboratory lobby, where a lot of the discussion between the characters takes place.  Partnered with Smith’s set is Siobhain Geaney’s lighting and Tom Backhaus’ sound design, which play a large and important role in generating the tension of many scenes.  Kim Ritchie’s costuming is appropriate and dramaturgically accurate for the Melbournian context of this play.

Director Justin Nott and his team have put together a special and important piece of theatre.  The questions and discussions prompted by this piece are highly disconcerting, and whilst they might not have you lobbing your phone into the Yarra just yet, they will certainly have you considering it – and I think this is the point.  One can only hope that the types of conversations presented in this play are being had by those in power, and if they aren’t – perhaps it is already too late.  Do not miss the opportunity to experience HUMAN_ERROR.

James Young.

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