Privacy: if you value yours, don’t
consent to the jaunty request in the email that follows your ticket
booking. For you would be agreeing, in this case, to be publicly
data-mined before a live audience. To illustrate its themes of state
and corporate surveillance, James Graham’s play includes an onstage
cyber-techie who repeatedly demonstrates how, just by granting access
to your mobile phone’s wifi connection, you allow metadata (yes, this
is what that means) to be collected showing where you’ve been and when,
with whom, your purchasing history and, weirdly, even the likelihood
that your parents may have divorced during your childhood.
It’s a big, baggy subject, for which Graham has decided that the best
way through is a kind of playful honesty. He has created an onstage
caricature of himself, “the Writer” (played by Joshua McGuire),
researching this very play and goaded by a domineering succubus of a
Director (Michelle Terry, not impersonating actual director Josie
Rourke). He interviews media, political and technological figures, and
a psychoanalyst, to build up a collage regarding how we got to this
point in the information age, why and what the consequences may be.
The weightiest part of the evening, which deals with Edward Snowden’s
security leaks, is also the section which steers closest to
straightforward verbatim theatre. Elsewhere, matters get jazzed up,
with the cast of six self-parodically switching between characters to
portray the Writer’s confusions and distractions (he has a surreal
William Hague fixation), and even jumping in on each other to
deliberately create an inconclusive babble. Nuggets of trivia stud the
proceedings, such as a sung jingle extolling Article 8 of the European
Convention on Human Rights, or the fact that iTunes’ standard
terms-and-conditions agreement is about as long as
The Tempest. At the other extreme,
we see Snowden-sourced slides from actual NSA and GCHQ presentations on
cyber-snooping.
The audience involvement aspect can get sticky: this is not the first
show faced with a lose-lose choice between risking appreciable abuse of
a spectator and copping out by sidestepping the problem. Nor is there
any ending to speak of, since this is a path we are all still
collectively negotiating. But the overall puckishness, and in
particular the whizz-bang geekery, keep up the stimulation as well as
the apprehension. Information, contradiction, digression, lack of
conclusion… it’s just like the Internet itself. Only without the porn.
Written for the Financial
Times.