Doomers: A Provocative New Play Exploring AI and Corporate Crisis

In an age where technology evolves at breakneck speed, the intersection of theater and contemporary issues is becoming increasingly pronounced. Matthew Gasda’s new play, “Doomers,” emerges as a bold commentary on the complexities of artificial intelligence and corporate culture, drawing inspiration from the real-life saga of Sam Altman’s abrupt removal from OpenAI in 2023. This decision sent shockwaves through the tech world, and Gasda seizes this moment, crafting a narrative that resonates with both the zeitgeist and the anxieties of our time.

“Doomers” unfolds over a single, tension-filled night in San Francisco, centering around the character of Seth, played by Sam Hyrkin, who finds himself ousted from his position as CEO of the fictional tech firm, MindMesh. The play captures the frantic atmosphere of a boardroom in crisis, as Seth, a sociopathic figure devoid of the charm usually associated with leaders, grapples with the fallout of his dismissal. He stubbornly clings to the belief that his termination stems from a failure to appreciate his so-called “miracles,” a perspective that starkly contrasts with the views of his board members, who remain largely offstage until the narrative shifts to Act II.

The play’s first act effectively immerses the audience in Seth’s chaotic world, showcasing his internal struggles and the fallout from his unyielding personality. Critics have noted that this segment is the stronger portion of the play, establishing a foundation rich with tension and character development. However, as the narrative progresses, it becomes clear that the ambition of “Doomers” may outpace its execution. While the play is undeniably timely, the script occasionally veers into self-indulgence, presuming the audience’s investment without fully engaging them in the intricacies of its themes.

What sets “Doomers” apart is its innovative approach to writing, as Gasda employs AI tools like ChatGPT and Claude to assist in crafting the dialogue and structure. This choice highlights a significant trend among contemporary playwrights who are beginning to incorporate technology in their creative processes. For instance, Ayad Akhtar, known for his thought-provoking works, has also explored AI’s narrative potential, showcasing how these tools can serve as both collaborators and sources of inspiration in the quest for storytelling.

However, the reliance on AI raises pertinent questions about the authenticity of artistic expression. While the inclusion of AI-generated content might resonate with audiences familiar with the technology, it also risks alienating those who seek deeper, more nuanced narratives. The challenge lies in balancing innovation with substance—a theme that echoes throughout “Doomers.”

Recent studies suggest that audiences crave genuine human connection in storytelling, especially in a world increasingly dominated by algorithms and automation. As theater grapples with this reality, Gasda’s work serves as both a reflection and a provocation. By positioning a loathsome ex-CEO at the center of a narrative fraught with ethical dilemmas and personal ambition, “Doomers” invites viewers to ponder the implications of leadership, accountability, and the evolving landscape of technology.

In essence, “Doomers” is more than just a play about a tech CEO’s downfall; it encapsulates the broader anxieties surrounding artificial intelligence and its impact on society. As theater continues to evolve, it must navigate the fine line between embracing technological advancements and preserving the core of what makes storytelling resonate: the human experience. Gasda’s exploration of these themes, albeit flawed, contributes to an essential dialogue about the future of art in an increasingly automated world, making “Doomers” a timely and thought-provoking addition to contemporary theater.