Review: East is South, Hampstead Theatre

Beau Willimon’s East Is South promises to dive deep into the urgent issue of Artificial Intelligence, a theme that’s timelier than ever as AI continues to reshape our world. With the creator of House of Cards at the helm and a cast led by Kaya Scodelario and Luke Treadaway, expectations were high. I, for one, had been looking forward to this one for weeks.

Unfortunately, what should have been a gripping exploration of AI’s impact on humanity feels more like a missed opportunity than a ground-breaking commentary on our tech-driven future. Willimon’s ambitious script blends complex philosophical and technological ideas (read: jargon) with clunky execution, leaving the play caught in limbo between intellectual challenge and character-driven drama – and failing to excel at either. What we’re left with is a lacklustre production that struggles to maintain any momentum. By the end, the only thing you’re wondering is whether the intelligence was ever really there, or if you just missed the point entirely.

The plot centres on Lena (Scodelario) and Sasha (Treadaway), two programmers tasked with writing a “kill code” to disable Logos, a self-learning AI that could pose a catastrophic threat if it escapes control. Lena, a gifted coder with troubled origins in a Mennonite community, wrestles with the ethical implications of her work. Sasha, a Russian dissident with a shadowy past, complicates both their professional and personal lives. When a security breach raises suspicion, Lena and Sasha are placed under intense scrutiny by Samira, a government agent with a layered identity, and Ari, Lena’s eccentric mentor who harbours his own secrets.

Scodelario and Treadaway both give solid performances, but unfortunately, the material never allows them to truly shine. Scodelario nails moments of despair, especially when recounting Lena’s traumatic past, but the script doesn’t provide enough depth to bring their characters to life. In a play about AI, it’s curious that the humans feel oddly devoid of humanity. For all their talents, neither actor gets the space to fully explore their roles, which is a shame given what they’re capable of. Had the characters been given more nuance and their relationship explored in more depth, East Is South could have delivered something far more compelling.

Cliff Curtis, however, stands out as Ari Abrams, the only character who shows any real personality or humanity. His larger-than-life performance is captivating, but it only highlights the lack of depth elsewhere. The rest of the cast feels underdeveloped, with one character who might as well be a prop for all the dialogue they’re allowed to contribute.

Outside of the performances, Alex Eales’ set design deserves high praise. The two-tiered structure, featuring a sterile interrogation room below and a surveillance room above, beautifully underscores the power dynamics at play. The attention to detail gives the set a distinctly American feel, with US SmartWater in the fridge, those recognisable chunky light switches, and doors slightly wider than UK standard. These small touches ground the world in reality and subtly enhance the tension.

Ultimately, East Is South fails to deliver on its promise. Despite its timely subject matter, a strong cast, and potential for intellectual and emotional depth, the play falters under its own ambition. It struggles to connect emotionally and intellectually, leaving more questions than answers. While there’s potential lurking beneath the surface, it feels like a missed opportunity. Two stars, but with plenty of room for refinement.

Written by: Beau Willimon
Directed by: Ellen McDougall
Design by: Alex Eales
Lighting Design by: Azusa Ono
Sound Design by: Tingying Dong

East is South plays at Hampstead Theatre until 15 March.