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Many tech entrepreneurs downplay the fact that their platforms and algorithms are built and moderated by people with biases: they like to claim that their inventions are just tools that simply help humans to solve problems. At the beginning of the show, their laptops are carried away and replaced with glittering smartphones, a progression as natural as evolution ending with upright man. The production neatly captures the ubiquity and stickiness of such apps.


He is as full of motivations and desires as his human peers. He lingers behind the protagonists as they have sex.


- He stretches out his spindly fingers to beckon them into fresh temptation and debauchery. What about Grindr, a dating app used by millions of men looking for men for sex and romance?


IF FACEBOOK were represented on stage, it might take the form of a huge house party, where podgy babies, perfect prom queens and advertising executives jostle for attention. Twitter could be a tree filled with birds, chirping a discordant cacophony day and night. What about Grindr, a dating app used by millions of men looking for men for sex and romance? In black feathers, a leather corset and a cape, the character Christian Lunn is unnerving and ever-present. He neither interjects nor directs the human drama. He lingers behind the protagonists as they have sex. Presenting the app in this form works well. Grindr, in humanoid form, is a reminder of something important—that behind seemingly omnipotent technologies are people, ideas and code. Many tech entrepreneurs downplay the fact that their platforms and algorithms are built and moderated by people with biases: they like to claim that their inventions are just tools that simply help humans to solve problems. Accordingly, there is nothing about Grindr on stage that suggests neutrality. He is as full of motivations and desires as his human peers. He entices his users to fornicate; when they get into trouble he does not wince with guilt. He shrugs it off, a fallen angel delighting in the drama. The production neatly captures the ubiquity and stickiness of such apps. I am addiction, their affliction. He stretches out his spindly fingers to beckon them into fresh temptation and debauchery. If this compulsion seems inevitable, so does the very creation of the app in the first place. Grindr appears almost by surprise in the lives of the four main characters, and yet they seem to have been waiting for him all along. At the beginning of the show, their laptops are carried away and replaced with glittering smartphones, a progression as natural as evolution ending with upright man. Humour is used to comment, to observe and to probe, parodying modern dating and sex dramas in memorable songs. And as with all the greatest operas, it is a tale of humanity struggling with love in all its forms.


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