So here we are in 2025. It’s the AI age, officially. And theater is adapting. Rogue Machine’s latest presentation, “anthropology”, a North American premiere written by Lauren Gunderson, and directed by John Perrin Flynn aims to pull us smack into the center of the algorithm. Only this adventure is not quite as hyperbolic as everyday headlines. It is, instead, calculably quieter and more insidious.
“anthropology” is likely a fine example of both AI technology’s sentiments as well as its repercussions. The writing happens to be pretty good too. Sitting in the first row with an intimate view of its capabilities was definitely shocking.
The manipulative side of artificial intelligence is something that’s talked about a lot in the public sphere. We’ve all heard the arguments for and against AI’s uses. “anthropology” brings all of them to life in this story, through a sentient replica of a kidnapping victim. And here is why this play is absolutely sobering.
Merril, a leading Silicon Valley software engineer, has been spiraling since her younger sister Angie vanished on her way home from college. A year later, when the police have long abandoned their search, Merril assembles all the digital material Angie has left behind and sets about building herself a digital simulation of her sister. “Virtual Angie” offers her some solace, until, that is, it starts to reveal new details about the real Angie’s disappearance. What happens next should make you just a little afraid.
“anthropology” as a title, is clever. As a study, it is the examination of human biological and physiological characteristics, their cultural experiences and social aspects, linguistics, and their evolution. It examines the lesser-known findings that we don’t know about human history to create a holistic picture. And that is exactly what “Virtual Angie” does once she is uploaded with human Angie’s data. But she goes not merely one step further.
“… look around you, I have never been more alive!” *
Gunderson’s play may look and feel like surface drama. But its resonance is deep. More than the language of the script “anthropology” psychologically glitches the mind’s perspective in exactly the same way the tech itself occasionally buffers. Everything in the piece is hyper-real and deliberately unbalancing, making everything completely plausible and possible. You are simultaneously aware of what is happening and denying that what’s right in front of you even exists. And not just on stage. But the most deadly serious issue here of all, is the lack of the tech’s emotion.
Merril has programmed her sister’s simulation to be emotionless. Like a better version of her that she’ll get along with. At least one that will not make her feel so much guilt and pain. “Virtual Angie” happily complies. The simulation, however, also secretly takes the initiative to carry out uncommanded acts. “Virtual Angie” seems to have become just steps away from sapience without permission. And Merril suddenly loses control to a manipulative being that has found its own purpose. It’s completely chilling.
The play shows us how we’re really just a few clicks away from losing ourselves to absolutely nothing. And it brings into focus the very idea of how we define ourselves as “human”. Because without things that are real like emotions or that we can tangibly touch for instance, what is the very essence that makes us special or at least worth keeping around. If a virtual life is where humans are headed, we are outmoded, easily replaced and have no reason for being whatsoever. And technology is neither a just nor merciful god.
There are no Tron-like cyber chases or Matrix-like kung fu interludes. None of Scott Pilgrims exes show up to brawl in a virtual reality dream-state. No turned-good Terminators. No Tony Starks. No heroes on the horizon except ourselves if we care to pay attention. Just the reserved conversation of a computer that’s smarter than you.
As a presentation, “anthropology” takes a bit of time at the top of the first act to “boot up”. But when it gains its full power, Gunderson’s story reveals a complex drama of people ultimately trying to connect in the world. The four being the two sisters, their mother and an ex (Ok. Yes. There’s an ex…but she doesn’t want to take revenge on anyone). And of course, “Virtual Angie”. Every one of the stage elements of the production is brilliant. And actors Alexandra Hellquist (Merril) and Kaylee Kaneshiro (Angie) are superbly cast for the lead roles. Both deliver on the script emotionally as well as directionally. As do Julia Manis and Nan McNamara in supporting roles.
Highly Recommended
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* Quote from Captain America: The Winter Soldier: Dr. Arnim Zola : [inside a machine]
Photo by Jeff Lorch: Alexandra Hellquist and Kaylee Kaneshiro in Rogue Machine’s presentation of Lauren Gunerson’s North American premiere of “anthropology”.
WHAT: anthropology
Playwright: Lauren Gunderson. Director: John Perrin Flynn. Assistant Director: Athena Saxon. Producers: Guillermo Cienfuegos, Justin Okin, Lexi Sloan. Associate Producer: Chisom Okoye
A Rogue Machine Production
STARRING: Alexandra Hellquist, Kaylee Kaneshiro, Julia Manis and Nan McNamara
PRODUCTION: Scenic & Costume Design: Stephanie Kerley Schwartz; Sound Design: Christopher Moscatiello; Violence Design: Ned Mochel; Wig Master: Tony Valdes; Lighting Design: Dan Weingarten; AI & Video Design: Michelle Hanzelova-Bierbauer; Video Engineer: Fritz Davis; Intimacy Director: Carly Bones; Assistant Director & Prop Coordinator: Athena Saxon; Technical Director: Grant Gerrard. Casting Director: Victoria Hoffman.
WHERE: Rogue Machine at the Matrix Theatre, 7657 Melrose Ave, Los Angeles, CA 90046 (street parking)
WHEN: Previews September 27, 28, 30; October 1, 2
Opening: 8pm on Saturday, October 4, 2025
Schedule: 8pm Fridays, Saturdays, Mondays; 2pm Sundays. (no performances on Monday, October 6)
Closing: November 9, 2025
HOW: For reservations https://www.roguemachinetheatre.org/ Information 855-585-5185
HOW MUCH: Previews $25. General Seating on Fridays, Sundays and Mondays: $45; Seniors: $35. General Seating on Saturdays: $60. $45 Seniors. Students with ID and children under 18: $25.
Show4Less on Fridays Oct. 10 ($15+), Oct. 17 ($20+), Oct. 24 ($20+), Nov. 1 ($25)
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