An ambitious exploration of autonomy and identity elevated by its strong central performanceRating
Good
zoë.exe presents a sharp, ambitious exploration of autonomy, identity, and connection in the digital age. After the loss of Jo’s (Rachel Duncan) girlfriend, Zoë (Rhiannon Lucy Bird), her housemate and close friend Zack (Izaak Hamilton-New) signs up to trial new technology developed at his workplace that creates AI robots to ‘replace’ loved ones. With the ‘return’ of Zoë’s likeness, if not Zoë herself, Jo and Zack find themselves navigating the emotional minefield that is their relationship to her and each other.
Central to the show’s success is Bird as the AI Zoë, who delivers a grounded and engaging performance. She navigates the script’s tonal shifts with confidence, bringing emotional coherence even when the writing pulls in multiple directions. It’s a performance that anchors the production, ensuring that its most affecting moments land with sincerity.
However, zoë.exe struggles to fully realise the breadth of its ideas. The script gestures towards two central threads, a narrative of a man exploiting a woman’s autonomy, and a queer relationship drama, but neither is given sufficient space to develop. As a result, both feel underexplored, hinting at more complex and interesting territory without ever fully arriving there. A more focused approach, or simply allowing key moments room to breathe, would strengthen the overall impact.
Andrew Atha’s writing is itself energetic and often witty, though occasionally it feels overly eager to prove its cleverness. Jokes arrive in rapid succession, sometimes at the expense of clarity or payoff, with certain character beats not quite landing as intended. Slowing the pace and trusting the material enough to let moments sit would allow the humour and tension to resonate more fully.
The production is at its most compelling when it directly follows Zoë, whose existence and agency are constantly shaped and challenged by the forces around her. The most striking moment comes during her climactic monologue, where the question of autonomy becomes a focal point with clarity and urgency. It’s here that the play’s ideas coalesce, allowing both the character and the audience a moment to truly grapple with what has been at stake all along. The careful use of lighting throughout reinforces this thematic core, shifting perspective and identity in subtle but effective ways, and giving visual weight to Zoë’s internal struggle. A deeper exploration of these thoughts, which feel unique and striking, would really push the production to the next level.Despite some shortcomings, there is much to admire in zoë.exe. Its ambition, paired with strong performances and thoughtful commentary, makes it an engaging watch. With a tighter script and a willingness to linger on its most compelling ideas, it has the potential to become something truly memorable.
Director: Jasmine McHayle
Playwright and Assistant Director: Andrew Atha
Producer: Julia Blomberg
Associate Producers: Mahogany Allen & Ada Alia
Production Assistants: Niki Jiler & Ella May Gobern
Produced by Day Job Theatre
Zoë.exe has completed its current run at Theatre Peckham as part of Peckham Fringe
