★★★★½
There is no buzzword more pertinent in today’s society than ‘AI’. While the modern world endlessly debates the topic, Eliza takes us back to where it all began – to raw, human emotion and simple origins that spiralled out of control.
Shedding light on a true tale often forgotten in today’s saturated tech world, Eliza, directed by Paige Rattray, follows the troubled journey of Dr Joseph Weizenbaum, a quirky genius brought to life by Dan Spielman.
In an impressive and high-stamina performance, remaining on stage for practically the full 100 minutes without interval, Weizenbaum begins by recounting the deeply personal story of his upbringing under an abusive father and his escape of wartime Germany.
Eliza carefully weaves the human narratives amongst the tale of technological discovery at MIT University in 1966, touching on themes of humanity, ambition and control in a story expertly crafted by Tom Holloway through MTC’s NEXT STAGE Writers’ Program.
Next, we are introduced to the professor’s secretary Becky, played by the energetic and boisterous Manali Datar, who links Dr Weizenbaum’s personal struggles to the idea of ELIZA, an early form of ‘chatterbot’, speaking like a counsellor to mimic and seduce its audience into believing it is human.
We then meet the Professor’s colleague Roland, portrayed by the hilarious Hamish Michael. He plays multiple characters with ease through the performance, using his voice expertly to create distinctive personalities for each. Michael’s delivery choices for the Faculty Director are particularly humorous, with ironies peppered amongst a fantastically exaggerated accent.
As the three protagonists make scientific breakthroughs, the aura of excitement and discovery gives way to jealousy, paranoia and chaos. The professor loses control professionally and personally as his creation morphs into something bigger than he could have imagined. A theme that cleverly mirrors the contemporary debates we are having in today’s world.
Becoming increasingly isolated, Spielman’s performance offers depth of connection to the audience. He brings vulnerability to his monologues, coupled with emotional outbursts that punctuate the scene and shock the viewer deliciously.
The use of lighting and sound, designed by Paul Jackson and Kelly Ryall respectively, is thoughtful during these scenes. Choices leave the audience questioning whether the professor’s therapist is indeed human or a computer, exaggerated further with the lighting mirroring the tone of the scene.
The wider set designed by Dale Ferguson is brilliantly considered and adds significantly to the audience’s need to challenge themselves through the production. I particularly love the use of mirrors to literally cause the audience to reflect internally on our relationship with technology. All of this is set behind a bland office that grows to be ever more chaotic and expansive as ELIZA herself evolves.
Eliza is a trippy thriller masterpiece that prompts and probes the viewer in just the right ways. Few productions have the same ability to merge influential modern-day themes with historic true stories, whilst also evoking emotions of empathy, humour, and discomfort. With a short run in Melbourne now commencing, Eliza is a must-watch.
Eliza is presented by Melbourne Theatre Company and runs to 31 October at Southbank Theatre, the Sumner. 140 Southbank Boulevard Southbank Vic 3006.
Tickets: https://tickets.mtc.com.au/production/19788
Website: https://www.mtc.com.au/plays-and-tickets/whats-on/season-2026/eliza
Socials: https://www.instagram.com/melbtheatreco/
Photo: Pia Johnson
Leave a Reply