In a world in which AI has seemingly infiltrated every aspect of life, it is not hard to imagine a lab like the one featured in Kipp Koenig’s The Glitch. “Future Child” allows want-to-be parents to interact with DNA-based projections of their teenage offspring. The technology orchestrated by Aurora — an AI combination therapist and diagnostic program — is still a work in progress. The simulation developed for their ninth client hit a raw nerve and resulted in an unanticipated traumatic reaction. After a great deal of upgrading and testing, company founder Wyatt and his more cautious second in command Wendy feel prepared for client #10. But when she turns out to be a woman from Wyatt’s past, the outcome of If/Else commands becomes even less predictable.
Though the question of whether AI is capable of improving our quality of life drifts along in the background, front and center are more approachable and relatable topics. What parent isn’t terrified of giving birth to someone who might not be “good” in the way they envision? What child doesn’t say something hurtful in haste or engage in a rash act of rebellion? And who hasn’t experienced that moment of horror when the sound of their parents comes flying out of their own mouths?
Koenig has clearly drawn from his years working in technology to concoct the plausible atmosphere of a visionary and delicate start-up. Scenic design by Josh Oberlander featuring hospital-white blocks and levered doors gleaming under Zack Lobel’s bright florescent lighting accompanied by Philip Glass-y music brings us right into the scene. Director Mark Koenig (no relation) makes clever use of the aisles to expand the movement of the highly conversational script. Though there are a few too many short cuts in the plotting, they are necessary for squeezing all the required thought and sentiment into a tight 100 minute package.
As Hailey the holographic daughter, Hannah Rose Doherty is a revelation, striking the perfect vocal tone of a tween at once loving and frustrated. At times she was little more than 3’ from me. Covered in silvery sparkles, she remained engaged and reactive: physically exploring her “projected” body, flipping her hair before she was given arms, and quivering with excitement as she was allowed to develop. The comic relief lands primarily in the feet of Jacquie Bonnet’s Wendy. Both the actress and the character deserve a more meaningful domain given the story arc. A grounded Sunny Makwana brings warmth and the right touch of neurosis to the Omar Sharif-loving Wyatt, providing sufficient credibility to the string of coincidences in the story. This makes for a less persuasive connection with Danielle Augustine whose Amy sounds forced. To be fair, the actress is challenged by prolonged interaction with a disembodied voice and having to express a complex emotional life based on falsehoods. The commanding presence of Aurora is given breadth and wit by Amilia Shaw, who takes a well deserved bow with the rest of the three dimensional cast.
At a time when so many playwrights are exploring current events with fear and loathing, it’s refreshing to see playwright Koenig take a different path. The Glitch proposes that with kindness and compassion tempered by a dose of healthy skepticism we are still capable of doing good for one another. You can experience this for $50 ( $70 if you’d like to increase your support to premium level). Performances are 2PM Wednesdays, 4PM Fridays and 6PM Sundays. The limited engagement at The Theater Center, 210 West 50th near Broadway, ends November 2nd. Visit https://theglitchplay.com/ for a sneak peek and purchasing information.
The Unforgettable Line 