The intersection of artificial intelligence (AI) and the arts is a conversation that has been brewing for decades, encompassing everything from philosophical debates to theatrical interpretations. The recent buzz generated by two prominent theatrical productions—Ayad Akhtar’s highly-anticipated *McNeal*, featuring Robert Downey Jr., and Matthew Gasda’s *Doomers*—brings to light the evolving relationship between human creativity and AI. As I awaited the curtain in Lincoln Center, I couldn’t help but reflect on Karel Čapek’s seminal work from 1920, *R.U.R. (Rossum’s Universal Robots)*, and how its legacy informs contemporary art and discussions surrounding AI.
Čapek, who is often credited with introducing the term “robot” into the lexicon, crafted a narrative that warned against the unintended consequences of human innovation. The black-box ethos of *Doomers*, which touches on recent tumultuous events within OpenAI, echoes Čapek’s themes of rebellion and existential dread. By revisiting the idea of an entity that we create ultimately overpowering us, Gasda has managed to manifest the anxieties surrounding AI in a relatable and modern context. The portrayal of internal conflict within the organization forms a microcosm of broader societal chaos—an apt reflection of the digital age in which we find ourselves steeped.
Just as *R.U.R.* was a cautionary tale of the android apocalypse, *Doomers* brings forth questions about ethical responsibilities in technological advancement. It tackles the tumultuous weekend when OpenAI’s nonprofit board controversially removed CEO Sam Altman, only to witness an employee uprising that led to his reinstatement. This Shakespearian upheaval, as described by Gasda, showcases the rich tapestry of human emotions and ambitions that come into play when technology’s promise is played against its peril.
While Gasda’s *Doomers* plays on the chaotic power dynamics within an organization, Akhtar’s *McNeal* adopts a broader lens on the personal struggles faced by creative individuals in an AI-infused world. Downey’s character, Jacob McNeal, symbolizes the modern artist wrestling with addiction—not just to substances, but to the intoxicating allure of AI-generated creativity. The exploratory nature of *McNeal* not only illustrates a descent into obsession but hints at the seductive yet potentially destructive relationship creative minds may forge with AI tools.
Akhtar, a Pulitzer Prize-winning playwright, acknowledges in interviews that extensive engagements with large language models (LLMs) have enriched his writing process. This admission raises engaging questions around authenticity in artistic creation. When the lines between human creativity and machine-generated outputs blur, does the essence of a narrative become diluted? Or does it evolve into a richer, more nuanced form? Akhtar’s decision to grant ChatGPT the play’s last word is both a provocative and an ambiguous invitation for audiences to grapple with these new realities.
In both productions, the audience is challenged to interpret not just the actions and motivations of the characters but also the implications of AI on human society and creativity. Gasda’s characters, through their distractions of alcohol and psychedelics, perhaps suggest an escapism that resonates deeply with our current zeitgeist. It’s a commentary on how individuals and organizations react when faced with the complexities of modern dilemmas. Similarly, Akhtar’s McNeal accentuates how dependence on AI could lead to moral degradation and alienation from one’s self, raising the question: in pursuit of greater creativity, at what cost do we commoditize our artistry by outsourcing it to machines?
As these productions continue to entertain and provoke in New York and beyond, we stand at a precipice, watching the realms of AI and the creative process intertwine. They reflect not only an artistic exploration but a societal conversation that extends into Silicon Valley and beyond. Should artists and technologists not only embrace but critically assess the tools that they wield, learning from the narratives spun on stage?
As we contemplate the future, it’s crucial to recognize that these theatrical explorations serve as a window into a rapidly changing cultural landscape. AI tools are not merely instruments; they are partners that redefine the creative act. The dialogue fostered by Gasda’s and Akhtar’s works plays an essential role in how we think about authorship, intention, and expression. As we navigate this uncharted territory, the arts may very well lead the way in examining the ethical and existential questions that arise with our digital counterparts. In doing so, they not only entertain but ultimately enrich our collective understanding of what it means to be human in the age of AI.