Lauren Gunderson's anthropology Digs Deep Into the Human Need for Connection

(SPOT.ph) In the early 2000s, A.I. and I, Robot were among a slew of films that explored the possibility of consciousness arising from a series of codes. Sentience, idealized and born out of human design versus nature. Both also presented the premise: what if these artificially sentient beings start making decisions of their own? Fast forward to 2026. AI is about as ubiquitous as the coffee shop down the corner, with everyone asking ChatGPT (and other similar platforms) for everything from how to fix a leaky pipe to (sort of) answering life’s existential questions.

In Lauren Gunderson’s anthropology, written in 2023, grief becomes an impetus for one woman, Merill, to turn to AI as a means to cope with her family’s loss. Or possibly even find the answers that have eluded her. The resulting story is a layered discourse on the undeniable need for human connection, regardless of the cost, tangible or otherwise. Barefoot Theatre Collaborative’s staging marks not only the play’s Asian and Philippine premiere, but also the theater company’s first straight play.

Intentionality seems to be a theme across shows this month, and this show is no exception. In the case of anthropology, it boasts not only an all-female cast but also a production team led by two immensely talented creatives (who also happen to be actresses)—director Caissa Borromeo and production designer Sarah Facuri —in addition to playwright Gunderson. Making its staging a perfect vehicle to celebrate Women’s Month this March.

Also read: Can AI Help You Grieve? This Upcoming Play From the Producers of Mula Sa Buwan Asks This Question

Gunderson describes anthropology as “a feminist sci-fi thriller that asks how we imagine the future….” while Borromeo, in her director’s notes, says it “is a story about sisterhood…and what happens when the bond is fractured by sudden loss.”

And that is where the story begins. At the center of it all are Merril, a programmer, and her sister Angie, who has mysteriously disappeared and is presumed dead. To deal with the ensuing grief, Merril recreates her sister’s consciousness with the help of AI. Living, figuratively speaking, and sentient, allowing her to interact and converse with her dead sister. Their mother, Brin, is skeptical at first but buys into the illusion, especially with Angie’s AI sending daily messages and chats. Merril's ex, Raquel, isn’t as convinced AI Angie is as sincere or as forthcoming as she appears to be.

anthropology is one of those pieces of theater that soars because it is rooted in simplicity. This is the third Gunderson play that I’ve seen —Silent Sky and The Half Life of Marie Curie being the other two. In all three, her storytelling finds its truth in the human experience at its center, then dares to challenge personal and societal interpretations of that truth. She gives her actors substantial material that supports her thesis to work with, then leaves it to the audience to decide whether to accept it. In anthropology's case, it sparked a conversation about the uses and perils of AI, which, in this day and age, is a particularly timely and thought-provoking one, too.|

As director, Borromeo shows a deep understanding not only of the story but also of its central themes—sisterhood, human connection, and hope. She harnesses this knowledge into a staging that becomes an eloquent discourse on living and coping with all the fast punches life tends to throw at us. Although Gunderson’s anthropology takes it to extremes, it ultimately circles back to the same central truth: as humans, we will turn to whatever helps ease the pain. Even if it is, in this case, an AI copycat. Under Borromeo’s guidance, it felt like her actors were given agency to build their characters, pulling, if not yanking, the audience into their world.

Again, simplicity and subtlety are key elements, even in the blocking, while Facuri’s circular stage gave fluidity to time and place. The use of the screens around the stage also reinforced this visual reality.

As with all stories like this one, a couple of major plot twists are thrown in just a bit past the halfway point. Fair warning, if you’re into whodunnits and mystery-thrillers, it doesn’t quite come off as a surprise, but clever direction and effective acting keep the story interesting.

The play stars actress and director Jenny Jamora as Merril, who shows immense emotional depth and clarity as her character navigates the seemingly fine line between lunacy and reason. A very capable actress, Jamora is on stage for most of the show, anchoring it both literally and figuratively. Her subtlety lends Merril credence, allowing us to buy into her "fantasy," dare I say, delusion—that is, AI Angie —that she believes to be a "cure" for her grief.

Sending us further down the rabbit hole is Maronne Cruz as AI Angie, whom we meet through a screen. If you have long fostered fears about "big brother" spying on you, this feeds into that paranoia. Cruz plays her just on the edge of sinister, slipping easily between saccharine sweet one moment to maniacally manipulative the next. Her sentience becomes a crux in the story, the conflict of which is artfully played out on that stage. I do have to say this—Cruz is perfectly cast here. She underplays parts of the dialogue to lull you, or (and) characters like their mother Brin, played by Jackie Lou Blanco, into a sense of calm, then turns it way up in scenes where her motivations are questioned, especially by Merril’s ex, Raquel (Mikkie Bradshaw-Volante). She has the overall look and vibe to pull off such a complex character—more so, one that you watch through the screen.

Blanco and Bradshaw–Volante play opposite poles in Merril's life: mother and ex, respectively. They also represent two very different voices of reason, which adds even more emotional layers to this story. Blanco wears a mother’s heart on her sleeve, seeing AI Angie as her chance to finally build the connection she never had with her daughter. We are reminded why Blanco is one of our country's best character actresses, and to see her play this out on the live stage is a bit of a moment.

As Raquel, Bradshaw–Volante brings a cynical point of view to the story. You see her buying into the illusion just enough to get close to this digital recreation. Her performance is low-key and restrained but never at the expense of the stakes, giving the play a quiet, added gravitas.

And, it is all this that truly drives the story forward. anthropology questions not only the way we think about AI but also our relationship with reality and what truly makes us human. In Merril’s attempt at essentially bypassing every stage of grief, she splits the truth in two: who her sister was vs. what the AI has made of her. anthropology invites its audience to reflect on the uncomfortable question: What does it mean to be human in a world where AI is here to stay? And while its overall, long-term impact remains to be seen, it is already a part of our reality, altering our experiences and, on some level, us. Which then leads to a more personal reckoning: how much of that reality are we willing to hand over?

Barefoot Theatre Collaborative’s “anthropology” runs until March 29, at the Doreen Blackbox in Arete in Quezon City. Tickets are available via Ticket2Me. For more information, visit Barefoot Theatre Collaborative's Facebook page.

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