In a sleek Silicon Valley break room, two user experience designers speculate that their company’s mysterious, strictly-confidential new project may “streamline” their department, putting their jobs at risk of being automated.
Matthew Libby’s new play “Data,” directed by Tyne Rafaeli, speaks to fears that many have. Between the rise of artificial intelligence and an increasingly depressed job market, anxiety around job hunting is palpable. But for young engineers Maneesh (Karan Brar) and Jonah (Brandon Flynn), their fears stretch beyond the threat of having to find a gig at the local Apple store.
During the rhythmic, fast-paced dialogue that opens the play, Jonah tells his mentee Maneesh over ping-pong volleys that the level of secrecy around their latest assignment is abnormal, even for Athena Technologies, their employer that frequently bids for major tech projects. The ping-pong ball acts as a metronome, as the two steadily and continuously speak in time with each bounce. The play’s cold open puts audiences in a similar position to the characters — questioning exactly how much power this enigmatic tech giant has, and in what spheres.
Brar, known for his iconic Disney Channel roles like Ravi on “Jessie” and “Bunk’d,” or Chirag in “Diary of a Wimpy Kid,” balances Maneesh’s genius mind with humility and thoughtfulness. He hesitates to reveal too much about the revolutionary predictive algorithm he created in college. After receiving offers from lobbyists and oil companies, Maneesh chose to hide the project away.
But the head of data analytics at Athena, Alex (Justin H. Min), has other plans for Maneesh’s algorithm. Conniving and manipulative, he persuades Maneesh to join his team, letting him in on the nature of the NDA-protected project. As Maneesh wrestles with questions of morality and complicity that arise from the assignment, Alex carefully calculates each of his moves and attempts to quell Maneesh’s doubts. Min thrives as Alex, bringing an authoritative, sinister air to the stage.
Rounding out the cast is Sophia Lillis as Riley, a convincingly distressed member of the data analytics team, and Flynn as Jonah, who embodies all the swagger and arrogance of a frat-boy-turned-tech-bro.
In addition to strong performances, costumes designed by Enver Chakartash allow all four actors to fully inhabit their characters. One of Jonah’s outfits, featuring a T-shirt, jeans and a crewneck sweatshirt draped over his shoulders, is taken straight from the fraternity textbook. Jonah’s youthful look contrasts that of Alex, who sports more formal collared shirts, often layered with a sweater or quarter-zip and paired with slacks.
Marsha Ginsberg’s intentionally bare set minimizes on-stage distraction, emphasizing performances as the actors play against white windowless walls reminiscent of Apple TV’s workplace mystery “Severance.” The only set pieces are simple white desks, chairs, an occasional lamp and the ping pong table.
With such spectacle occupying every moment of downtime between scenes, “Data”’s impact does not fully set in until you step out onto the sidewalk afterward.
Technical theatrical elements work to enhance the audience’s immersion in the tech-driven world of the play. Between each scene, techno music blares loud enough to make the audience jump as lights snap to blackout, which is especially impactful when following the reveal of another layer of Athena’s project. Daniel Kluger, sound designer and composer of the show’s original music, mirrors the structure of another of his successful projects, the Broadway hit “Oh, Mary!”, while showcasing a completely different side of his musical talent.
Amith Chandrashaker’s lighting design cleverly leaves characters in the dark at points when they seek information, then fully illuminates the stage at critical moments when pieces drop into place. Some of Chandrashaker’s best work comes in these darker moments when characters are alone with technology. With actors lit in dim pools at the corners of the stage, their devices shining blue light on their faces, he draws attention to the way that technology can simultaneously give us insight into the world around us and keep us isolated.
During on-stage blackouts, Kluger and Chandrashaker’s designs are at the peak of their collaboration, giving the theatre a nightclub feel. Pipes of LED lights lining the stage’s proscenium flash and zip in time to the electronic music’s bumping bass, a pulse that vibrates all 295 seats of the theater.
With such spectacle occupying every moment of downtime between scenes, “Data”’s impact does not fully set in until you step out onto the sidewalk afterward. The play leaves its audience to consider whether the story is a warning for the distant future or a window into the tech companies shaping society today.
Running 100 minutes with no intermission, “Data” plays at the Lucille Lortel Theatre off-Broadway until March 29.