‘Data’- AI is Not Only Watching, It’s Judging

By Alix Cohen

While fearful about AI’s ability to create fake information, its replacing humans at the workplace, or its thinking for itself, most people don’t consider insidious impact on human rights. Shaped by the shift in federal priorities, the ‘system’ is increasingly weaponized against marginalized groups.

AI systems can perpetuate or amplify discrimination. They notoriously lack transparency. Technologies like facial recognition can be used to track and target. Competitive innovation and profit potential handily rule over moral considerations. January 2024 a Biden Executive Order which focused on AI civil rights protections and bias mitigation was revoked.

December 2025 a task force was created at The Justice Department to challenge state laws deemed “excessive” or burdensome to commerce i.e. those that are “woke.” Few states have attempted protecting consumers from algorithmic discrimination in areas like housing and credit. How do you fight math?

The play: Brilliant young computer programmer Maneesh (Karan Brar) has joined AI company Athena right out of college. His graduate paper framed predicting “rare events” with the innocence of baseball. Aware the algorithm might have dangerous applications, he copywrote and shelved it.

Maneesh is satisfied with a job below his expertise in which he can fly below radar. His East Indian parents pressure what appears at face value to be lack of ambition. Riley (Sophia Lillis), who works in the secretive department of data analytics, is aware of her peer’s accomplishment. She recommends him to Chinese American CEO Alex (Justin H. Min)

Alex wants the algorithm for government immigration application. “We should be honored to do work that strengthens the west,” he says evangelistically. “If we don’t win this contract, someone else will,” he rationalizes. With the ease and articulation of a snake oil salesman, he convinces Maneesh to consider upping the ante.

Nationality here is not colorblind casting. Both Maneesh and Alex have immigrant parents who might have been negatively affected by Maneesh’s program in federal hands.

Struggling with ethics, parental/cultural influence and his prospects, the hero asks advice from coworker Jonah (Brandon Flynn) without quite telling him the issue. Though initially cheering him on, Jonah’s own objectives kick in. Information is, after all, a useful commodity. He goes to Alex. Meanwhile, Riley, risking her own future, plans to become an anonymous whistle blower.

Twists and turns at the end of the play have believable outcomes for all protagonists as well as frightening social ramifications we can easily imagine. Data couldn’t be more topical.

Matthew Libby (Off Broadway debut) has penned a credible nightmare. That he has done so with as much attention to relationships as conscience and consequence makes the play riveting.

The young company is top notch. Characters’ anxiety levels are palpably suppressed or erupt, each with terrific timing and gut expression. Interaction buzzes. All the actors listen, particularly important in a piece where crises of conscience are omnipresent.

Director Tyne Rafaelli employs pinball action/reaction as fear, principles, and long term consequences careen together. Outbursts are unnerving, but never over the top. Tension and suspense are skillfully sustained. Character bearing/physical acting is wonderfully specific.

Marsha Ginsberg’s stark stage and minimalist furniture speak to humanity’s taking a back seat.
Amith Chandrashaker’s lighting and Daniel Kluger’s sound are ominous, and between scenes, jarring
Costumes (Enver Chakartash) metaphorically contrast Jonah’s bright, stylish color next to Maneesh’s quiet, blend-in plaids

Photos by T. Charles Erickson
Opening: Riley (Sophia Lillis), Maneesh (Karan Brar), Alex (Justin H. Min)

Data by Matthew Libby
Directed by Tyne Rafaeli
Through March 29, 2026
Lucille Lortel Theatre 212 Christopher Street
https://www.datatheplay.com/#embed-block-text-left-video-right-q4