It is Melbourne 2042 and artificial intelligence has evolved.
Melanie Chan Wing Lam (Jing-Xuan Chan) has died (it appears to be suicide), leaving behind an empathetic robot therapy dog (also voiced by Chan).
Wing Lam neatly packed all her belongings into large plastic storage bags, while her home shrine, where incense is burning, remains chock-a-block with knick-knacks.
Photos by Tiffany Garvie
Her daughter Janelle Chan Yi Ling (Kristie Nguy) and her live-in boyfriend, Indigenous man Harry Burnett (Ari Maza Long) have 30 days to sort out her “assets”.
But they only moved into Janelle’s family home seven days ago and Janelle is struggling to cope with her mum’s passing.
She regrets not being there for her.
Now, in an attempt to better connect with her heritage, she plugs an augmentation device into her neck. Suddenly, she is speaking fluent Cantonese.
Also in the picture is another ever present AI figure, known as Hus (that we hear, but don’t see), which is putting pressure on Janelle to find suitable employment.
With opposing styles of operating, results-driven Hus and the robot dog clash.
For his part, Harry is up for a promotion at work, but is held back by an incident in his past, when he was but a youth.
And he is constantly rejecting calls from his mother, having lost touch with his Northern Territory upbringing.
Even though Harry is supportive of Janelle, his attempts to move forward with the asset clean up, especially the shrine, don’t go down well with her.
Robot Dog is all about family, culture, tradition and connection.
Infused with humour and pathos, the one hour 20-minute piece deals with embracing one’s birthright.
It has been well conceived by Hong Kong-born multidisciplinary artist Roshelle Yee Pui Fong and Luritja writer and technologist Matthew Ngamurarri Heffernan.
Imaginative and relatable, it shows the strengths and pitfalls of technology as a human adjunct.
Director Amy Sole gives the offering theatrical flair.
As we enter The Lawler, the cute robot dog is already roaming about the neat wooden stage. The set and costume designer is Nathan Burmeister.
The dog channels the movements of a robot vacuum cleaner, but importantly with added personality.
It has shaggy ears and tail and comes complete with black wraparound sunglasses and shiny neon eyes (and mouth, when talking).
In fact, although initially the dog is all about movement, it comes as a surprise to hear that it can also speak and interact.
Strong performances from the trio of actors ensure Robot Dog is impactful.
They radiate pain, angst and sensitivity, and, in the case of Kristie Nguy and Ari Maza Long, modern sensibilities.
As Melanie Chan Wing Lam and the two AI characters, Jing-Xuan Chan is an ever-present force.
She is alternately fragile (as the mother), sympathetic (as the dog) and coldly, data-driven (as Hus).
Dealing with grief, Kristie Nguy transitions Janelle well as the narrative unfolds. We – the audience – see her grow and gain understanding.
Ari Maza Long brings roguish charm (cheek and cheer) to Harry Burnett. He, too, has different strings to his bow, as his character tackles legacy, while trying to support Janelle.
Commissioned and developed through MTC’s NEXT STAGE Writers’ Program and presented in association with Asia Topa, Robot Dog is an impressive new work.
It is on at Southbank Theatre, The Lawler, until 21st March, 2025.
Comentários