Returning to the Lucille Lortel Theatre well over a decade since 2012’s Carrie the Musical, it really struck me just how different the world felt back then. Data, a gripping tech-thriller from playwright Matthew Libby, could not have existed in that version of the theatre sphere. This all feels so specifically 2026 in concept, not too far removed from our own reality. As it begins to grow more difficult by the day to imagine a world without AI, the central story at hand feels relevant, and altogether chilling. Who truly watches over our online activity, our social media presence, or even our seemingly private messages? To call Data timely would even be underselling what it houses within. Libby’s play handles a plethora of ideas, and its ambitions are channeled by a bold vision punctuated by sparse set design and lots of dialogue. The thematic underpinnings strike a compelling cord, strung together by four masterful performances.
Something wildly concerning is happening over at the analytics department of Athena Technologies. But the workers further down the ladder don’t really know much about the company’s inner workings—to be more specific, they actually can’t know due to some ironclad NDA’s. In the first of many team-building ping pong sessions, Data opens with uber-bro engineer Jonah (Brandon Flynn, 13 Reasons Why, Ratched) playing against intern, Maneesh (Karan Brar, Diary of a Wimpy Kid, Bunk’d), while they gab about generative AI and the importance of networking. Maneesh won’t even go to Taco Tuesday. Riley (Sophia Lillis, Stephen King’s It, Sharp Objects) interrupts their quiet time, and it only takes Maneesh a second to realize they went to school together. One quick conversation later, Maneesh gets called for a meeting with Alex (Justin Min, Beef, The Umbrella Academy), the company’s suave CEO. Taking particular interest in Maneesh due to the rare event prediction algorithm he created at college, Alex extends an offer. The timing could not be more perfect. A job has opened up in analytics, and Maneesh should join them to help spearhead a top-secret project.
Needless to say, Maneesh’s abrupt corporate ladder-climb has come with many caveats that will put queer Maneesh to the ultimate moral test. Can he set aside his own values to embrace moving up at Athena? Is Riley a friend or foe after helping Maneesh ascend to analytics? Can braindead one-track-mind Jonah remain a faithful friend to his former intern? While allowing plenty of time for the development of the characters, particularly Maneesh, Data still takes a bit too long to get to the meat and potatoes of its concept. There are so many conversations and tech-speak that at times it can be easy to get a little lost in the words. A few of the references and plot particularly could have used greater development, whilst others would flow better if slightly trimmed.
These cons are never a dealbreaker. If the show can appear at times to be a little rough around the edges, that is simply part of its charms. A propulsive, completely jarring Challengers-esque score punctuates every single scene transition, buoyed by the lighting effects. Quick wardrobe and set changes are seamlessly pulled off without being too distracting. The performances are the true seller here. Karan’s take on lead Maneesh is a vulnerable turn that manages to work in spite of Maneesh’s mostly internal conflicts. Flynn gives good airhead, and expressly carries the comic relief component squarely on Jonah’s shoulders. Min has a powerful command over tone and line delivery when it comes to Alex’s aura. Yet, it may be Lillis who turns in the play’s most nuanced portrayal as Riley. Her late-game monologue was one of the sequences that seeped in my memory.
It probably helps that the action stages many of these scenarios as highly cinematic, often framed on a specific side of stage to accentuate an attention to detail. Director Tyne Rafaeli knows exactly how to boost up his actors. Even stray tears and raw emotion can be caught by the naked eye regardless of where one ends up seated. While we as an audience are left with many questions, Data seems to want us to make our own conclusions based on the collected evidence. Despite an abruptness in its closing, Data still nails the approach to a deeply upsetting subject matter. This makes the home stretch particularly exciting to watch unfold. Perhaps the future depicted here will not be for the faint of heart. Come for the intriguing concept, stay for the incredible acting performances.
Data warns about the potential applications for artificial intelligence, now playing at the Lucille Lortel Theatre through March 29th. For ticketing information, head over to the official website.
