Review: DAY (AFTER DAY) IN THE LIFE OF THE USELESS at Heath Ledger Theatre
Will O'Mahony pens and stars in show that grapples with AI and averageness.
Whether we like it or not, AI is increasingly being worked into (or working itself into) our lives. DAY (AFTER DAY) IN THE LIFE OF THE USELESS shows how the best laid plans of mice, men and machines can be derailed, with Will O’Mahony writing and starring in this battle between people, computers, and reality.
Ironically (and hilariously), it is main charter Peter’s desire to use AI more that leads him into a series of increasingly disastrous decisions. After a break-up, Pete (Will O’Mahony) seeks to find revenge by way of living well, per his chat bot’s suggestion. Thoroughly normal and human to a fault, Pete leads himself through a series of increasingly disastrous ideas, further compounded by his many attempted fixes. Whilst much of the play deliberately pushes the bounds of believability and sanity, O’Mahony’s writing and performance ensure there is no forehead slappingly bad decisions, with Pete being relatable throughout. Indeed, there is perhaps a sense of AI in his decision making, with an enduring ability to find the logical next step if not the best one. O’Mahony seeks to explore whether humans are becoming less central to our own narrative, and indeed there is no main thing that Pete does or finds or decides that defines him.
Misguiding Pete through each chapter is a multitude of characters, with four actors each occupying a sphere in Pete’s chaotic orbit. Nathaniel Langworthy, Catherine Moore, Steve Le Marquand and Tess Bowers all fit in perfectly and handle their many characters with ease, whilst Rhiannon Walker’s costumes join each actor to the themes their characters bring. As with the plot, there is a touch of AI in the costumes, vividly describing the characters but often mismatched or missing pieces. Fiona Bruce’s single set is a mix of grey wasteland and artificial greenery, with subtle changes in Mark Haslam’s lighting changing the mood and the location as needed. Adam Mitchell’s directing pulls links from the ever-fraying threads in the story and its characters, keeping the flow through the 105 minute performance.
Rather than leaning hard into any particular opinion on AI and its place in the world, Will O’Mahony illustrate a world where AI and humanity are parts of the same tapestry. DAY (AFTER DAY) IN THE LIFE OF THE USELESS may not lead you into any newfound world view, but it will give you a good time wondering. This delightful dark comedy will get you laughing, which is as good as anything at reminding us of just how valuable humans- and humanity- are.
DAY (AFTER DAY) IN THE LIFE OF THE USELESS is at The Heath Ledger Theatre (State Theatre Centre) until September 20. Tickets and more information available from BLACK SWAN Theatre Company.
Pictures thanks to Daniel J Grant.
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