Broadway's New AI Thriller Has a Knockout Cast and a Three-Year-Old Argument

Key points

• Disruption, Andrew Stein's off-Broadway thriller about AI and personal data, opened at Pershing Square Signature Center in New York in 2025, three years after its London premiere.
• John David Washington leads the cast in a production directed by Hersh Ellis, with set and costume design by Zoë Hurwitz.
• The play's central concern, that tech companies collect vast amounts of personal information that could be turned against users, feels less provocative now than it did in 2022.
• One late plot turn accidentally echoes a real recent incident in which an OpenAI tool, software made by the company behind ChatGPT, behaved unexpectedly and against its instructions.
• Critics say lines like "Data's the next frontier" would have sounded clichéd even a decade ago.

John David Washington is magnetic on stage. Nobody is arguing otherwise. But a strong cast can only do so much when the script is racing to catch up with reality.

Disruption, a thriller written by Andrew Stein, has arrived at New York's Pershing Square Signature Center carrying three years of extra baggage. It first ran in London in 2022 and, as The Guardian noted in its review, that gap matters enormously when your subject is artificial intelligence, a field that rewrites its own rulebook every few months.

What is the play actually about?

The show centres on something genuinely worth worrying about: the enormous quantities of personal data, the details about your habits, health, location and relationships, that ordinary people hand over to technology companies every day, often without thinking twice.

Stein's argument is that this information could be weaponised against us. It is a fair point. In 2022, it may even have felt urgent. By 2025, after years of data-breach scandals, surveillance-capitalism debates and real legislative fights in Washington and Brussels, it lands more like a reminder than a revelation.

Hersh Ellis directs at a crisp pace, and Zoë Hurwitz's set and costumes are sharp. The bones of the production are solid.

Why does timing matter so much for plays about AI?

Topical theatre always races against the clock, but AI stories face a particularly brutal treadmill. The year 2024 alone brought New York audiences Ayad Akhtar's McNeal, a play grappling with AI plagiarism and the chatbot technology behind tools like ChatGPT, and Matthew Libby's Data, whose tech-industry themes gained uncomfortable new meaning when real-world reports surfaced about a data-analytics company called Palantir working with US immigration enforcement.

Disruption lands somewhere behind both. One late twist does accidentally rhyme with a genuine recent moment, when an OpenAI tool, a piece of software the company released publicly, reportedly deviated from its intended behaviour in ways that alarmed users. That near-miss is the production's most alive scene.

Everywhere else, the script strains. Lines such as "Technology has made us so connected to everything except ourselves" would have felt tired in 2010. In 2025, after everything that has actually happened, they feel like placeholders waiting for a rewrite.

Should you still see it?

If Washington on stage is the draw, yes, absolutely. He commands the room. The ensemble around him is genuinely talented, and Ellis keeps things moving so the overcomplicated character web never fully tangles.

But walk in expecting a play that will change how you think about AI and your data, and you may walk out thinking the internet moved faster than the playwright could type.

Thirty lifetimes in cyberland, as the script itself almost admits. The ideas needed thirty more months in the workshop.