As two emerging voices in Australian theatre, NIDA alum Karina Young (Writing for Performance, 2024) and Masters of Directing student Nelson Blake are bringing their creative visions to the stage in the provocative new production Don’t Save Me. Conceptualised and written as Karina’s thesis play and Directed by Nelson, Don’t Save Me explores the ethical dilemmas of artificial intelligence, human identity, consent, and the increasingly blurred boundaries between consciousness and digital immortality. In this conversation, Nelson and Karina share their creative and collaborative process as well as the challenges of staging this technologically-driven and emotional narrative.
Karina, what inspired you to explore the ethical implications of AI and how did your Masters of Writing for Performance influence this script?
Karina: My Masters of Writing was both the catalyst and genesis of Don’t Save Me. During my studies in 2023, AI was becoming a hot topic of conversation both in the classroom and the media due to the piracy of writers’ works to train AI models. Throughout the course, we were lucky enough to have regular industry guest speakers come to talk to us about all different sides of the writing industry, and they were always asked to share their thoughts on the topic of AI and its impact on our industry. So, it’s no surprise that AI was on my mind during this time! I found it interesting that, for the most part, opinions were negative. And yet every now and then a guest would surprise us with a positive way AI had changed their own or a loved one’s life. There were no easy answers to the new ethical questions AI was forcing us to confront and for a writer that creates very exciting opportunities.
Excited to keep exploring these themes, I then wrote this play as the major work for my course, with the help of my mentor Brett Sheehy, and a roundtable of fellow classmates, Lily Thomson (Writing for Performance, 2024), Allison Bennett (Writing for Performance, 2024), Jake Parker (Writing for Performance, 2024) and Bianca Watkins (Writing for Performance, 2024). It was a rigorous but hugely supportive process during which we all read and gave feedback on each other’s major works. Taking on board feedback effectively also became a great focus for me in my writing practice throughout the year, which is why it became the subject of my Practice-Based Research – the thesis aspect of our coursework. The result being that Don’t Save Me is the final product of both the creative and the research sides of the degree.
Nelson, how do you approach directing a play that delves into such complex emotional and technological terrain?
Nelson: The trick here has been a serious exploratory phase in rehearsals where the actors are able to unpack the script in abstract and illogical ways. This process creates the opportunity for the problems of the play to be experienced in ways that each actor can relate to, and in ways that feel safe and appropriate for them.
What has your experience been working with other NIDA alumni and recent graduates?
Karina: For some of us in the team, this is one of our first productions outside the walls of NIDA, and so relying on other alumni now that that security blanket has been removed is really crucial. Having the shared experience of NIDA training largely across the team has really helped us to navigate communication and production processes. As a writer, it has also been very exciting to actually get to see firsthand the skills of the designers, director and stage manager, who are all experts in their own craft. And I deeply appreciate their willingness to support a new work in the Indie Theatre landscape, which has never had much of a reputation for being able to pay the bills!
Nelson: There’s a sense of commonality in terms of approach to work that allows trust and therefore deep collaboration. We’re also working with non-NIDA folks and it’s been great to see the cross-pollination happening.
What are some of the challenging aspects of staging this work?
Nelson: The biggest challenge has been how the technology is literally depicted… or not. Another challenge has been interrogating how technology is fundamentally driven by human emotions, and how those emotions are represented on the stage.
Why do you believe this is an important story to tell, and what do you want audiences to take away from this production?
Karina: Around the world there are now companies dedicated to the AI resurrection of loved ones who have passed away. And there are many positive stories of this helping those dealing with the loss and grief. At the same time, we’re now living in a world where the line between life and death is becoming blurry, and there’s so many questions about the ethics of AI and the consent issues around using a person’s identity when they no longer have autonomy over it. I think regardless of whether we think AI is helping or harming humanity, we can recognise that it’s going to be an ongoing conversation to ensure harm is minimised and it is utilised helpfully. Does this play have all the answers? No. But what we hope that audiences take away from this play is that whether we like it or not, the nature of our world is irrevocably changing, and we need to be ready to face those new challenges head on.
Nelson: This is a story about how dangerous technology is because of who creates it and why. I want to audience to consider their own rights to their identity but to also question who we allow to drive technological change and for what motives.
Puncher’s Chance Co in association with bAKEHOUSE Theatre Co presents Don’t Save Me from 26 February – 8 March. Tickets are available here.