Review: THE NETHER at Renaissance Theaterworks

Renaissance Theaterworks is known for producing thought-provoking theater, and it's latest offering - “The Nether” by Jennifer Haley is a beyond-perfect example. The ideas and characters in this complex story about the potential of artificial intelligence in today and tomorrow's realities will not be leaving the audience's mind for a good long time, if ever.

Considering the theme, it seems appropriate to see what ChatGPT thought of the play. Here's how its "review" begins.

"Jennifer Haley’s The Nether is a haunting, thought-provoking play that navigates the intersection of technology, morality, and human desire. Set in a near-future world where virtual reality has evolved into an all-encompassing escape, the play invites us to question the very nature of identity, ethics, and the boundaries between the virtual and the real."

Accurate, but not surprisingly, it doesn't touch on the feelings involved in the (in this case riveted) audience's interaction with the work, or the characters' interaction with each other.

Revealing too much of the plot would be a disservice, but in "The Nether," a detective investigates an online realm that offers those with the darkest proclivities a place to express their desires without real-world consequence - to themselves or "offline" children.

Elyse Edelman's direction matches Healey's writing in its delicacy and complexity. The topics are, to say the least, not easy, and Edelman addresses them with frankness, but keeps a distance that prevents exploitation.

The cast Steve Koehler, Laura Gray, C. Michael Wright, DiMonte Henning, and especially Josephine Van Slyke, skillfully walk the same tightrope with grace - and power.

"The Nether" never stops challenging or surprising the audience. The AI world is seemingly everywhere and after you've seen "The Nether," you won't be able to see it in the same way again.

Note: The play contains references to murder and sexual abuse, but no explicit depictions.

Photo caption: Josie Van Slyke and DiMonte Henning. Photo by Ross Zentner

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