Review: Carbon Asks What It Means To Be Human

★★★½

What does it mean to be human? And perhaps more importantly, what would we look like through the eyes of something that isn’t?

These are the questions at the heart of CARBON, an intriguing and philosophically charged work by Italian playwright Pier Lorenzo Pisano, now making its Australian debut at Red Stitch Actors’ Theatre.

Originally presented at Milan’s Piccolo Teatro in 2022, CARBON tells the story of A (Caroline Lee) and B (Pantazi Terzian), as they unpack B’s extraordinary account of encountering an otherworldly being.

This is no ordinary visitor. Unlike us, this being is not carbon-based, and its existence challenges everything we understand about life, humanity and our place in the universe.

Pisano has a particular knack for exploring the human condition, often creating worlds that feel both absurdist and entirely believable. Here, he turns the mirror back on us, examining the contradictions that make us who we are.

Where there is love, there is selfishness; where we seek unity, we can find single-mindedness. Through the introduction of Voice (Conor Leach), these ideas are pushed further, with the audience invited into something resembling a philosophical lecture as much as a theatrical performance.

And therein lies both the appeal and the challenge of CARBON. The ideas are undoubtedly fascinating, but this is not a production that rushes to entertain or neatly package its meaning.Instead, it asks you to sit with uncomfortable questions and entertain possibilities that may not have crossed your mind before.

Pisano has a particular knack for exploring the human condition Photo by Sarah Walker

At times, the dialogue feels more like a philosophical debate than a traditional piece of theatre, and the slow-burning pace requires a little patience. Thankfully, the final act rewards that investment, as fragments of B’s memory begin to fall into place, delivering a powerful finale.

The performances are a real highlight. Caroline Lee as A is superb, moving effortlessly between assertiveness and softness. There is a measured, almost clinical quality to her portrayal, reminiscent of Eva Stratt in Project Hail Mary, which provides a wonderful counterpoint to the emotional turbulence unfolding around her.

Terzian, meanwhile, is chilling as B. It is a difficult balancing act to convey genuine grief and confusion while leaving the audience questioning whether everything we are being told can be trusted. His performance captures this duality beautifully, keeping us guessing about what lies beneath the surface.

Leach’s Voice is an entirely different beast. Over-the-top, funny and just a little disconcerting, he brings a welcome dose of theatricality to proceedings. There is something rather unsettling about being reduced to a carbon lifeform.

Yet, amongst the doom and gloom, Voice also offers sweet reminders of the extraordinary privilege of being human and calling this beautiful planet home.

Visually, the production makes clever use of Red Stitch’s intimate space. Anna Cordingley’s set is deceptively simple, with a silky blush velvet curtain transforming the stage into something more akin to a 1970s talk show than an interrogation room.

You may leave with more questions than answers but perhaps that is precisely the point Photo by Sarah Walker

It works wonderfully as the production flickers between A and B’s tense exchanges and Voice’s more performative lectures.

The costumes are equally considered, offering little clues to each character before their stories are fully revealed. I particularly adore the sparkle of Voice’s suit as he traipses up and down the audience staircase and A’s silky ensemble, contrasted against B’s decidedly understated socks-and-slides combination.

Lighting and sound design by Richard Vabre and Ian Moorhead, respectively, create a gorgeous atmosphere, knowing exactly when to heighten the tension and when to let the audience breathe.

From the playful illumination of the steps as Voice makes his entrance to the haunting use of isolated spotlights and darkness, the technical elements add another layer to the storytelling.

CARBON is certainly not a quick-fix night at the theatre, but it is one that will stay with you. Red Stitch has built a reputation for rich storytelling that encourages audiences to chew over their own values and assumptions, and this production continues the tradition.

You may leave with more questions than answers, but perhaps that is precisely the point. After all, what better way to spend an evening than questioning the very thing that makes us human?

CARBON is presented by Red Stitch and runs to 6 December 2026. Red Stitch Actors’ Theatre, Rear 2 Chapel Street St Kilda East Vic 3183.

Tickets are available here.

Website: https://www.redstitch.net/carbon-2026

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