★★★★
Yes, Lauren Gunderson’s latest play shares an almost identical premise to that of Black Mirror’s “Be Right Back”, but anthropology’s curious interrogation of patterned, human behaviour (amongst many other ideas not explored in the 48-minute Netflix episode) means it’s actually rather ironic if you point out the parallels between the two.
While the season two opener of the hit anthology series saw Hayley Atwell’s Martha use software to ‘revive’ dead partner Ash (Domhnall Gleeson) after he died in a car accident, in Hampstead Theatre’s new production it’s MyAnna Buring’s (A Very Expensive Poison) Merril using AI to create a version of missing sister Angie (Dakota Blue Richards, off The Golden Compass). There’s the same sarcastic tone of voice, concerned loved ones asking what’s going on, and questions over just how ‘real’ it all is, though anthropology is certainly more comprehensive and current than its coincidental counterpart from a decade ago.
The timeliness and intrigue comes from its points on perpetuity. How long before the AI Angie façade falls apart? How can Merril ever make peace with loss if hope and digital reanimation serve as endless distractions, like a heightened kind of ‘doom-scrolling’ for the grieving? What hurts more: closure or endless fantasy? Add to this one striking line from AI Angie about the patterns and repetition in human behaviour (and, therefore, our predictability), and the extent to which we all just keep going becomes hauntingly apparent.
For the avoidance of spoilers, the final few scenes of this 100-minute play are just as thought-provoking as the AI pronoun game (is it ‘she’? ‘I’? Is there a difference?) intensifies. In keeping with the theme of perpetuity, it’s thrilling wrapping your head around the gaps in time AI Angie can fill in, and the sense of ‘catch-up’ us humans have to do when it seems this advanced technology is always one step ahead. Part of the suspense established by Gunderson and director Anna Ledwich plays on our distrust of AI Angie, and that she may well be hiding something from us and Merril.
That sentiment is encouraged by the appearance of Merril’s ex-partner Raquel (Yolanda Kettle) and mum Brin (Abigail Thaw), both called to the scene through texts sent by AI Angie. While Buring’s Merril is emotionally erratic and precarious, Kettle’s Raquel comes with an unspoken concern for her former girlfriend, the implication being that their relationship was driven apart by Merril’s breakdown over her missing sister. Thaw’s Brin, meanwhile, is cringeworthy and temperamental, abandoning her scepticism of her daughter’s project the moment she hears Angie’s voice, and bursting into tears at the first sign of rejection. It’s bizarre, given her turbulent experience with drugs and her initial bluntness would suggest a far stronger exterior to crack. Even when most of her time is offstage, Richards gives a solid performance as the AI interface, and is equally barbed when she’s onstage too.
Then again, Gunderson – whose play I And You saw a teenage character utter the laughably unrealistic phrase “of course-alutely” – is still prone to embarrassing dialogue here, presenting Angie as a brash woman primarily through her colourful language, rather than a difficult upbringing. The worst offending line in this instance is AI Angie’s suggestion to “detective the s*** out of this” – yes, Richards actually has to say this.
At first, the blank canvas set design by Georgia Lowe is underwhelming, even if it is to be interpreted as a way of focusing in on Merril’s psyche. It proves far more useful in terms of Daniel Denton’s glitzy video design in later scenes, when Merril’s world quite literally opens up the more she falls down the digital rabbit hole.
The mystery is enough to pull us along with her; the play’s social commentary enough to keep our brains whirring throughout. We keep moving on, just like Merril and Angie.
Will you compare it to Black Mirror, but nonetheless find something engrossing in its premise? The probability is very high.
anthropology is now playing at Hampstead Theatre until 14 October. Captioned and audio described performances are scheduled for 10 and 14 October respectively.
Production Images: The Other Richard.
Disclaimer: I was invited to watch ‘anthropology’ for free in exchange for a review of the performance as a member of the press. I did not receive payment for this article and all opinions stated above are honest and my own.
Liam O'Dell 