Review:  [computer], The Water Rats 

Camden Fringe

In the dim light of The Water Rats, a motley crew of strangers eye each other warily, trying to discern who among us might be the tallest. We’re not here for entertainment or to watch a show. No, we’ve unwittingly become guinea pigs in [marketing company]’s grand experiment to uncover the unifying human experiences that will maximise investor profits.

The way technology isolates us and how algorithms reduce our complexity to easily defined boxes has become a well-worn path in contemporary storytelling. From Black Mirror‘s dystopian warnings to Dave Eggers’ The Circle, we’ve been inundated with cautionary tales about the perils of our digital age. Yet [computer], the latest offering from Harbinger Theatre, manages to breathe new life into this familiar narrative by turning the audience into active participants in its exploration.

The premise is simple yet effective: respond to prompts by either sitting on stage for “yes” or standing in the designated area for “no”. Questions range from the mundane (“Are you an only child?”) to the provocative (“Are you the most attractive person in the room?”) and the deeply personal (“Have you ever thought about ending your life?”), with each round punctuated by a loud noise, sending participants scurrying back to neutral ground.

The show’s strength lies in its ability to foster a growing sense of camaraderie among strangers. At first, there’s a palpable awkwardness as participants hesitantly climb onto the stage, casting furtive glances at one another. But as the night progresses, this initial discomfort gives way to a surprising intimacy. Superficial differences in age and appearance dissolve, replaced by unexpected commonalities. 

There are moments of levity, such as when the ‘computer’ asks any Gemini to step on stage, only to add “Do not trust them.” However, the real joy comes from the audience’s evolving interactions – from nervous laughter at the start to hearty cheers for the brave soul who claims the “most attractive” title. By the time we’re working together to determine the tallest or highest-earning participant, the earlier hesitation feels like a distant memory, replaced by a shared sense of introspection.

Unfortunately, the show isn’t without its flaws. Despite its interactive nature, [computer] struggles to fully adapt to its audience. The finale, featuring a light show and musings on human isolation accompanied by AI-generated ads about loneliness, loses some of its intended poignancy when it fails to account for questions that received unanimous responses. On the night I attended, every participant identified as a feminist and considered themselves a good person, rendering the ending’s assumptions about isolation somewhat moot.

The creative team has crafted an atmosphere that effectively evokes a dystopian focus group. However, there’s room for improvement in making the experience more responsive to audience input and in addressing safety concerns about frequent movement in low light.

[computer] offers an intriguing glimpse into the potential of interactive theatre. While it may not fully realise its ambitious goals, it succeeds in prompting reflection on our shared humanity in an increasingly digitised world. With some refinement and true interactivity, this concept could evolve into a profound exploration of connection in the age of algorithms.

Managing Director: Bailey Cummings
Artistic Director: Codi Jaques
Technical Director: Josh Rogers

[computer] has finished its run at The Water Rats as part of the Camden Fringe.

Further information about Harbinger Theatre can be found here.