7:30pm, Reginald Theatre seats E16/17, a freebie from somewhere. Somewhat packed with most coming right on the starting time, like a movie, and similarly the ladies behind me decided the two-thirds mark was a great time to unpack snacks from noisy wrappers. As it was a preview, I'll refrain from commenting on the production beyond observing that the acting and set are well conceived and totally fine.
The play itself (by Jennifer Haley) is fair game though. It aspires to transfuse Mamet's revelatory power-struggle seesaw Oleanna with the absolute and timeless transgressiveness of Vladimir Nabakov's Lolita (but not its poetics), all while holding things at the remove of virtual unreality, of realms where consequence is neutered. (That this play has a plot shows that the author doesn't take that claim too seriously; but surely we can call the internet the internet in 2017.) The use of big button-pushing topics struggled to make the audience uncomfortable however, and precluded the big theatrical moves (nudity, language, circus, ...) that may have lifted the piece. Often it felt like an undergraduate philosophy seminar, or perhaps an ethics debate at Facebook: a bit too abstract, privileged and question-begging.
The angle seems to be that technology will further democratize repugnant transactions, just as cheap airfares have democratized planetary destruction, and that the libertarians are going to need better arguments than those presented here if they are to avoid corporate vengeance. Kobek presented a far more nuanced present-day version of this in i hate the internet, which I'd summarise as: there's an apocalypse going on, and it's still going on. See Ben Brantley at the New York Times for more; he too considers this at most a play for the moment. Jason Blake concurs that the production plays it too safe.
Briefly: where the theatre once mythologized, now it struggles to neologize.