Review: FISHEYE, Omnibus Theatre

In a post-apocalyptic age, AI has become the saviour of the few remaining people, who now live a perfect existence in a digital universe.

Alecks and Murphy don’t have to worry about diseases, war, or any of the conventional problems they faced on Earth. Mankind’s answer to human pain is a virtual Garden of Eden, a tech called IONA. One day, Murphy meets a presence named Phi in the space her boyfriend has created for them. Phi gradually exposes Murphy’s buried earthly desires that Alecks could never fulfil. Sam Pout writes a captivating piece, featuring a clear-cut exploration of the meaning of life through a brilliant transposition of the Christian creation myth. 

Phi becomes the serpent who drives Murphy away from Alecks, while the latter becomes increasingly obsessed with IONA, introduced as a godlike presence who rules their system. As their idyll reveals its sinister side, Murphy acknowledges the pull of her free will and follows it. Quick wit and sardonic exchanges build a snappy, beckoning script that touches upon a plethora of themes. From sexual disconnect to precise observations on orientation, identity, religion, and spirituality, Pout achieves an impressive result in just over one hour.

The text comes alive in an exquisite production directed by Rosa Higgs with stunning performances by Flora Douglas (Murphy), Ruaridh Aldington (Alecks), and Clare Noy (Phi). A shiny silver dot in the crook of their elbow is the only element that separates the couple from Phi. Noy’s uncanny valley vibe is at odds with their humanity, but mellows slightly as her relationship with Murphy evolves. She shares a delicate chemistry with Douglas, who juggles black humour and the dark subject with deft dexterity.

Aldington goes from the healthy provider of a better chance at survival to an indoctrinated follower who’s ready to put his life on the line to prove his allegiance. He manipulates Murphy and uses IONA and his role in the switch to virtuality as leverage to control hid girlfriend. The character gives the opportunity to establish a show-stopping critique on devotion, addiction, and how power dynamics may affect the frantic search for a higher entity. 

Fisheye is the crown jewel of the first edition of Omnibus Theatre’s AI Festival. If expanded and developed accordingly, it might have the reach and impact of a new earth-shaking classic. Pout’s world-building is ambitious but consistent and decisive, as are his attention to detail and allegoric flair. It’s easy to see the future it will have.

Fisheye runs at Omnibus Theatre until 9 July.

Photo credit: Alicia Bridge

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