Stuck in the Basement Productions' TR[IA]L is a play that attempts to navigate the murky waters of medical ethics and emerging technology.

Written by Marcy Brewer and directed by Fiona Popplewell, the production begins with considerable promise but ultimately fails to deliver on its intellectual ambitions.

The story centres on Subject X, played by Freya Popplewell, who finds herself waking up in the sterile environment of a ClearMind facility. She is informed that she has consented to a clinical trial for an experimental drug intended to treat dementia, yet she possesses no recollection of her previous life or the circumstances of her arrival. Her room is visited daily by Macsen Brown’s Supervisor Y, who administers medication and poses a series of three repetitive questions. As the protagonist begins to doubt the validity of the trial, the narrative shifts toward a broader ethical dilemma regarding the price of survival.

On a technical level, the production has clear strengths. The performances from Freya Popplewell and Macsen Brown are commendable, providing a grounded reality to an otherwise abstract setting. The set design is equally successful, effectively cultivating an oppressive and claustrophobic feeling that heightens the sense of being trapped.

Given the current global climate regarding the rapid advancement of technology, the choice of topic is both timely and inherently intriguing. It creates an initial hook that suggests the audience is in for a rigorous exploration of what it means to be human in an increasingly synthetic world.

However, the play is hampered by a derivative script that invites unfavourable comparisons to existing works. The premise feels strikingly similar to the film Ex Machina, yet it lacks the depth of its influences. While that film masterfully explored the intricacies of manipulation, the objectification of the created being, and the blurred boundaries between predator and prey, TR[IA]L fully avoids the difficult questions.

When dealing with the subject of Artificial General Intelligence, there is a necessity to engage with complex human psychology and the ethics of self-preservation, but Marcy Brewer’s script leaves these stones unturned. By failing to raise or discuss the very topics that define this genre, the play results in a narrative that feels hollow. Ultimately, this leaves the audience feeling unsatisfied, as the production settles for familiar tropes rather than carving out its own identity.

It runs until 18 April.