Eliza is a fascinating look at the birth of AI. Based on the real-life story of MIT professor Joseph Weizenbaum’s project to create the world’s first chatbot in the 1960s, Eliza is much more than a cautionary – and very topical – tale of evolving technology. The chatbot was named after Eliza Doolittle, the character from Pygmalion. As we are painfully aware today, the beginning of scientific discovery may be full of delight but can give way to  unexpected applications in the real world.

This play explores that trajectory on both a personal and professional level but in markedly different ways for its two main characters, Weizenbaum (Dan Spielman) and his assistant Becky (Manali Datar). What we also get is a multilayered piece that presents questions of nature and artifice, of truth compared to perception, of our need to be heard, and ultimately, what it means to be human and all the fallibilities that this entails.

At first Weizenbaum is like an obsessed academic, teeming with a borderline manic excitement for his breakthrough and desperate to convince others of his vision. But in a very Shakespearian character arc, he is increasingly opposed to the application of the technology, and alarmed by his futile efforts to reason with others. There is also a vivid thread of the Kafkaesque in Weizenbaum’s experience, with a sinister suggestion of powerful authorities getting involved, and of not being heard by bureaucratic figures. Two of these supporting characters are performed by Hamish Michael, who also plays Research Assistant, Ronald. In each of these roles, he is completely different, and is a standout.

All cast accents are immaculate – massive props to Voice and Dialect Coach, Amy Hume – which helps to put these characters in a precise time and place that is transporting and convincing for the audience. The light touches of humour are enjoyable, the script by Tom Holloway even pokes fun at us, the audience, with the scientist and theatre-averse Ronald’s line about plays being ‘the wrong kind of nerdy’.

Through the course of its compact 90 minutes, the play has the momentum of a snowball effect, creating a palpable atmosphere of increasing pressure and speed, akin to watching a psychological loss of control, and under the guidance of director Paige Rattray, it’s successful in many aspects. Weizenbaum is a compassion-inducing character, whether delivering memories of his Jewish childhood in pre-war Germany or while we watch the frenetic energy of a man experiencing the increasing anxiety of trying to pull the brake on his own invention.

Mood is vividly delivered with a set design by Dale Ferguson, where meticulous order morphs into chaos. Sound design (Kelly Ryall) is subtle and unsettling, for example, the flapping of bird wings gradually enters consciousness. Lighting design (Paul Jackson) follows a similar change, while a particular aspect of the AV design by Rhian Hinkley involving a murmuration of birds was mesmerising. There is a growing bird motif throughout, to contrast technology with nature, and there is a particular moment involving birds that elicited audible gasps of shock from the audience. Costume design by Matilda Woodroofe is also worth a mention; Becky’s wardrobe of 1960s twin sets was perfection.

However, the result of this surrealist treatment is that it does lose some momentum and relatability. Always intellectual rather than emotive, it moves away from the very real questions of human vs machine interaction, and some threads of the script lose their way, making the play less impactful and challenging than it could be. That said, Eliza is still worth seeing, as the cumulative effect of so many talented creatives coming together on this play is still an impressive theatre experience.

3.5 stars

Presented by Melbourne Theatre Company, Eliza is playing at the Southbank Theatre, The Sumner, Melbourne until 31 October 2026.

Run Time: 1 hour 40 minutes (no interval)

For tickets visit Melbourne Theatre Company