“The Singularity Play” explores the terror that the rise of artificial intelligence should and does strike in the heart of all sentient creative professionals.
Madison Hill, Christina Gorman and Ashley Neal in “The Singularity Play” by Jackalope Theatre at Berger Park Cultural Center. At one point in “The Singularity Play,” the best drama I’ve yet seen about the terror that the rise of artificial intelligence should and does strike in the heart of all sentient creative professionals, a character named Denise has something of a tantrum. Everyone knows she is well prepared, having boned up on every play ever written in the English language.
They are writ large here. Stull has been smart enough here to traffic in the most terrifying subset of dystopian works: near-future scenarios that always remain credible enough to be believable. The questions in this writers room from hell, coming soon to a TV show or theater workshop near you, begin with the uber-question: Where does human consciousness end and machine consciousness begin?
But director Georgette Verdin sure teases out some powerful performances from actors who, I’d wager, are drawing from their own fears. Ashley Neal and Madison Hill are especially intense, Patrick Newson Jr. deliciously smug, and Collin Quinn Rice has a kind of mercilessly clinical quality that certainly fits this world. But, really, the whole cast is all in, all night long. Lucy Carapetyan plays a playwright in the rough game for 15 years or more and now faced with … this.
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