Verdict: ⭐️⭐️⭐️.5 (reviewed Thursday 6 March 2025).
Karina Young’s Don’t Save Me presents a fascinating premise: a deceased woman’s image and memory is resurrected by her widowed husband through the use of AI. The source content comes from recordings of her words and image captured on a smartphone by her husband while she’s still alive.
Jade’s husband, Pat (played by Ben Itaba) works in IT, so although it feels natural and benevolent for him to leverage AI to fill an emotional void, it’s a totally different story for terminally ill Jade (played by Holly Mazzola). Jade is repulsed by the idea and is incensed to learn these recordings have been done without her knowledge or consent.
In the middle of their debate is Alyssa, Jade’s sister (played by Raechyl French). She knows about Pat’s furtive recordings, and is (reluctantly) keeping it a secret from Jade.
Conceptually, this is such an interesting, compelling idea worthy of a movie or TV series. The script is filled with family dynamics, drama and death intersected with the ethics of AI. Stepford Wives explored the dystopian possibility of a submissive, robot wife; this play takes it a step further where unmitigated AI is an imminent, horrifying reality. But can a digital approximation of a human life actually be successful?
The last 20 minutes of the performance at KxT Bakehouse gives us a tantalising glimpse of how it would work. Jane becomes a holographic memory that is programmed to interact and respond to Pat (sort of like Alexa), but Pat isn’t satisfied. He’s craving something from his partner that isn’t there. He can’t quite delude himself into believing this new Jade is actually sentient, and caring, and thus, is tragically disappointed in the virtual Frankenstein he’s created.
We would loved to have started with this scene, then work backwards. The first hour painfully meanders and plods through the build up of their relationship, and gives us very low stakes (Jade knows her time is limited, but it seems indefinite). The crazy love between them is alluded to, but expressed in curiously flat, monotonous tones. They seem like a pair of (very skilled) actors going through the motions of following a script, not real people we would find believable in a relationship crisis. Directorially, there is ample room to find more exciting choices, to take more risks, to use words to surprise and intimidate and hurt, not just explain.
Reviewers have remarked on this unfortunate flaw in this otherwise well polished production. The set is aesthetically considered, presenting a kitchen and living room in a cozy apartment. The actors are evidently talented and move with ease around the stage. The lighting and special effects create the right level of eerie tension. It’s just a shame that the build up to the climax with bland, cliched dialogue feels like something written by ChatGPT.
Don’t Save Me was presented by Puncher Chance’s Co in association with bAKEHOUSE Theatre Co. from 28 February – 8 March.
Images: Phil Erbacher