Dark Comedy, AI Anxiety, and the Search for Human Connection

Sushant Nair discusses 21 Days at The Cockpit, The Courtyard Theatre, and Etcetera Theatre

After the success of our 2025 Camden Fringe Interviews, we thought it only right to attempt a repeat for 2026. So throughout July we’ll be publishing new interviews each day to give a taste of what to expect from London’s best fringe theatre festival. The festival starts Monday 3 August this year, so we may give ourselves a couple of days off inbetween the end of the interviews and the first shows… then again, we might not.

You can find out more about Camden Fringe, along with details of every show playing this August here. You can also find all of this year’s interviews as they are published here.

What happens when an increasingly tech-obsessed world forces us to confront how truly disconnected we’ve become? Set in the near future of 2030, 21 Days brings a sharp, witty, and emotionally charged dark comedy to The Cockpit, The Courtyard Theatre, and Etcetera Theatre for Camden Fringe 2026.

Written by and starring Sushant Nair (Actinium Media Ltd) alongside co-star Alanya Hotchkiss, and directed by Geir Thomassen, 21 Days blends sitcom-style banter with poignant drama. Following Jay, a socially awkward man struggling with loneliness in an AI-driven society, and May, a direct and matter-of-fact counterweight, the play explores self-assurance, sobriety, and personal growth across a tight, compelling 60-minute journey.

We sat down with Sushant to talk about the platform moment that inspired the play, navigating tech anxiety in 2026, and why a plastic banana holds the key to Act II.

If you had to describe the vibe of your show in just one sentence, what would it be and how does it manifest on stage?

21 Days is essentially a dark comedy set in 2030, blending sitcom-style humour with compelling drama that delivers a powerful message around self-assurance and personal growth in this day and age where we are surrounded by technology.

Why is 2026 the perfect time for this show to be seen?

2026 feels like the perfect time for this show because its themes speak directly to contemporary audiences. We live in an era of increasing reliance on technology, which can leave us feeling disconnected from one another and searching for a way to reset. As AI continues to evolve and learn from itself, perhaps it is time for humanity to pause, reconnect, and relearn what it means to be human.

What was the ‘eureka moment’ that made you realise this story had to be told right now?

I once saw a man with a fractured leg using his mobile phone at one end of a platform, while a woman with a similar injury stood at the other. I found myself hoping they would board the same carriage, strike up a conversation, and connect, but they didn’t. That was my ‘eureka moment’: I realised I had a story to tell about the rise of AI and our growing need to reconnect as human beings.

How challenging has this role been for you?

The character I portray, Jay, is very different from who I am in real life. We approach conflict, relationships, and personal challenges in almost opposite ways. Interestingly, I see much more of myself in May, played by Alanya, particularly in her direct, matter-of-fact approach to difficult situations. Portraying someone who struggles with loneliness and social awkwardness in a technology-driven society, and who longs for something tangible and genuinely human, has therefore been both challenging and deeply rewarding.

Being fringe and a festival, we all know sets have to be bare minimum, how have you got around this?

The show places a strong emphasis on technology, yet tells its story through a minimalist approach to props and set design. Most of the action takes place inside an apartment. The lighting and sound have been carefully curated to create an atmosphere of curiosity, helping audiences understand the relationship between the two characters and how their worldviews change over the course of the 60-minute performance.

If your show had a soundtrack, what songs would definitely be on it?

Interestingly, Buckingham Nicks’ “Crystal” features at a pivotal moment in the story. As the play blends drama with romance and biting sarcasm, its soundtrack would also include Mariah Carey’s “Without You”, Lord Huron’s “The Night We Met”, Hwasa’s “Good Goodbye”, and Nerina Pallot’s “We Should Break Up”; each reflecting a different layer of the characters’ journey with an element of irony and subtle humour.

What’s the weirdest or most unconventional prop used in your show, and how did it come to be part of the production?

I don’t want to give too much away, but the show’s most unconventional prop is a plastic banana. It appears at a pivotal moment that reveals Jay’s state of mind, and we hope audiences will enjoy its unexpected use. The idea came from our Director, Geir Thomassen, who felt it was important to introduce a touch of humour at the beginning of the second act.

What’s the most valuable piece of advice you’ve received during your career, and how has it influenced your work on this show?

When discussing character development, my screenwriting tutor once told me, “The golden rule of screenwriting is that if a character says one thing but does another, they are lying.” That advice has shaped me not only as a writer but also as an actor, helping me explore a character’s true intentions through what they say, how they say it, and, most importantly, what they ultimately do on stage.

Many thanks to Sushant for talking to us. 21 Days plays across three venues in August; The Cockpit (Sunday 9), The Courtyard Theatre (Thursday 13 and Friday 14) and Etcetera Theatre (Saturday 15).