As technology continues to evolve at breakneck speed, the arts are undeniably impacted by these advancements, especially in the realm of artificial intelligence (AI). The recent productions of Ayad Akhtar’s McNeal and Matthew Gasda’s Doomers mark two distinct yet interconnected explorations of AI’s implications within the theater world. From Broadway to smaller black-box stages, playwrights are wrestling with a question that has emerged in contemporary discourse: What does it mean for human creativity when machines can seemingly take a role in the artistic process?

While AI is a relatively modern phenomenon, its artistic implications were contemplated as early as 1920, long before the term “artificial intelligence” was officially coined. Czech playwright Karel Čapek’s seminal work, R.U.R. (Rossum’s Universal Robots), presents the first instance of the word “robot” and foreshadows the existential dread surrounding technology’s advancement. The consequences of humanity creating a sentient workforce are laid bare in this narrative, marking Čapek not just as a playwright, but also as a prescient thinker concerned with the darker facets of our relationship with technology. The androids in his play rise against their creators, a theme that resonates with current dialogues about the potential threats posed by advanced AI.

In this continuum, contemporary works such as Doomers demonstrate the persistent anxiety around technology’s role in society. Gasda’s play dramatizes a pivotal moment in the history of OpenAI, allowing audiences to see how the internal struggles of tech moguls mirror larger societal concerns about AI governance. This backstory not only draws parallels with previous technological anxieties but also showcases how these tensions have become a focal point in both popular culture and critical discourse.

Doomers and McNeal, while different in scale and ambition, share a common thread in their exploration of AI’s impact on creativity. Gasda’s intimate portrayal of tech turmoil draws from real-world events, offering a raw yet comic reflection of human folly amidst high-stakes scenarios in Silicon Valley. Characters frequently engage in self-aggrandizing conversations that may echo the actual debates happening in corporate boardrooms and technology hubs. By utilizing humor and absurdity, Gasda delves into the consciousness of contemporary technologists—a group often consumed by ambition, paranoia, and ethical considerations. In an environment fraught with unpredictability, his protagonists often opt for escapism, resorting to alcohol and hallucinogens when faced with weighty consequences.

On the other hand, McNeal finds its strength in theatricality and ambitious storytelling. Akhtar positions AI as a character in its own right, using visual effects and multimedia to create an engaging and immersive experience. The protagonist, Jacob McNeal, grapples with the dual nature of AI—its potential to elevate human creativity compared to its capacity to diminish it. With prompts generated by AI floating on screens, the audience is forced to confront the question of whether AI is a helpful ally or an insidious adversary. The play’s articulation of this dilemma is both fascinating and troubling, reflecting the struggles of writers to maintain authenticity in an age dominated by algorithm-driven content.

Perhaps the most perplexing question that arises from these productions is whether AI can participate in creativity without usurping it. Akhtar’s admission of using AI to refine his playwriting illuminates the ongoing discussion about the role of technology in artistic expression. Are writers harnessing the capabilities of AI merely as tools to enhance their creativity, or does this reliance indicate a growing dependency on technology at the risk of foundational artistic values?

The playwrights’ contemplations encourage audiences to reflect on similar dilemmas in their own lives. As AI continues to influence content creation across various platforms—from journalism to fiction—what remains of the human touch? In examining both Doomers and McNeal, we are invited to navigate these complexities, with the realization that the interplay between human creativity and technological advancement will shape future narratives in numerous ways.

Ultimately, both productions highlight the urgent need for an ethical framework to engage with AI in artistic domains. As Shakespearean themes of power dynamics echo through Gasda’s work and the moral struggles of McNeal reflect our contemporary dilemmas, it becomes clear that this conversation transcends mere entertainment. Instead, it urges society to confront its relationship with technology thoughtfully, actively questioning the implications of creating a future where humans and machines share the creative space. Engaging with these themes is not just an academic exercise; it is essential for navigating the evolving landscape of creativity in the 21st century. Through the lens of theater, we can explore these critical issues, ensuring that as we forge ahead, we do so with insight and responsibility.