Sushant Nair’s ‘21 Days’ takes a recognisably human crisis and places it against the increasingly blurred boundary between people and artificial intelligence. Set in 2030, although there is little to evidence this from the staging, Jay is struggling following a painful break-up, retreating into isolation, anger, alcohol and self-help books, before the arrival of the enigmatic May begins to disrupt his downward trajectory.
Presented at Camden Fringe in a 60-minute abridgement of a longer 90-minute production, the play has an intelligent, contemporary premise. Its strapline, “As AI learns from itself, humanity must relearn itself”, provides a provocative starting point, although perhaps humanity has always been doing precisely that. We reprogramme ourselves whenever relationships end, careers change or homes are left behind, AI simply provides ‘21 Days’ with a new lens through which to examine an ancient human instinct: adaptation.
The production is strongest in its quieter moments of introspection and reflection. As well as writing the piece, Nair gives a strong performance as Jay, finding genuine vulnerability beneath the character’s anger and self-destructive behaviour. Alanya Hotchkiss appears less assured as the humanoid May, with some nervousness occasionally visible in her performance, and some stumbling of lines, but the extraordinarily intimate audience at this performance may well have contributed to this. Without doubt, greater confidence from Hotchkiss would strengthen the dynamic between the two characters.
Geir Thomassen directs with sensitivity, allowing the philosophical questions to emerge without overwhelming the human relationship at the play’s centre. There are moments where the ideas could be developed further, and the condensed Fringe version occasionally feels as though it is racing towards territory that deserves more space.
Nevertheless, ‘21 Days’ is a thoughtful and compelling piece with considerable potential. Its combination of technology, loneliness, emotional dependency and human connection feels particularly timely, and with further development, it could become something even stronger and, intriguingly, its concept feels equally suited to television.
There is plenty here worth reprogramming rather than resetting and although this was the last performance at Camden Fringe, we are sure to see more of ‘21 Days’ in the future.
Reviewer: Alan Stuart Malin
Reviewed: 15th August 2026
North West End UK / Theatre Muse UK Rating:
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