“Pretty Privilege” at Schauspiel Stuttgart Explores the Dystopian Allure of AI-Driven Immortality
A new production at the Schauspiel Stuttgart, titled “Pretty Privilege,” grapples with the unsettling implications of a future obsessed with longevity and fueled by artificial intelligence, drawing heavily from Oscar Wilde’s “The Picture of Dorian Gray.” Premiering on February 7, 2026, the play, directed by Wilke Weermann, presents a chilling vision of a society where the pursuit of eternal youth blurs the lines between reality and artifice.
The Länd’s Silicon Valley Ambitions
The staging of “Pretty Privilege” coincides with a heated election season in Baden-Württemberg, where rejuvenation research has become a central political theme. Some parties are actively campaigning to transform the region into a “Silicon Valley of longevity,” prioritizing lifespan extension as the new dominant industry. This political backdrop lends a particularly prescient edge to Weermann’s dystopian exploration, suggesting the potential consequences of such a focused agenda.
A Modern Dorian Gray
Weermann reimagines Wilde’s classic tale within the context of contemporary social media and the “beauty craze.” The play centers on Sybil, an actress who undergoes an AI scan to create an avatar capable of filming content in her stead. This setup is inspired by the real-life endeavors of individuals like Bryan Johnson, a tech entrepreneur known for his extreme biohacking and comprehensive self-tracking. As one observer noted, the play’s narrative echoes the story of a “revenant” of the original Dorian Gray, driven by a relentless desire to circumvent the natural processes of aging and decay.
The characters surrounding Sybil mirror those in Wilde’s novel. A “beauty doctor” embodies the role of the painter Basil, while a publicist, who initially thrives on generating controversy through demands for population-wide health tracking, takes on the persona of Lord Henry. This publicist ultimately becomes a beta tester for the avatar program after experiencing a panic attack, highlighting the seductive and potentially destabilizing power of this technology.
A Disjointed Reflection of Contemporary Anxieties
The production unfolds within a secluded tech laboratory, visually striking with antique busts and a Victorian round window functioning as a screen displaying the avatars’ digital lives. However, the play’s thematic threads – the displacement of art by AI, the rise of modern narcissism fueled by trends like Looksmaxxing and Longevity, and a media culture that often rewards amorality – feel somewhat disjointed. According to reports, the production resembles “loosely related posts in an Insta feed,” lacking a cohesive narrative structure.
The staging and costuming further contribute to this sense of fragmentation, incorporating references to events like the Sydney Sweeney jeans advertisement controversy and visual echoes of science fiction films featuring body morphing. This eclectic mix, while perhaps intended to reflect the overwhelming influx of information and stimuli faced by younger generations, ultimately feels uncoordinated.
Superficial Characters in a Pressured World
The characters themselves are described as consistently superficial. The production features a “tense, soulless Dorian” portrayed in a muscle suit (Tim Bülow), a “nervous actress Sybil” (Teresa Annina Korfmacher), an “annoying sister” (Mina Pecik), a “sardonic intellectual troll” (Felix Jordan), and a “smug, disillusioned doctor” (Sebastian Röhrle). These archetypes, reminiscent of the caricatures found in Lord Henry’s dinner party in Wilde’s novel, are exaggerated but ultimately lack depth.
The play’s duration, one hour and forty minutes, feels insufficient to fully explore the complex themes it introduces. It serves as a potent symbol of the present moment – a world characterized by relentless pressure, accelerating change, and a multitude of overlapping crises.
“Pretty Privilege” features a cast including Tim Bülow, Teresa Annina Korfmacher, Mina Pecik, Felix Jordan, Sebastian Röhrle, Paulina Großmann, and Klaus Rodewald. The creative team includes Wilke Weermann (Director), Johanna Stenzel (Stage Design), Teresa Vergho (Costumes), Constantin John (Music), Christian Neuberger (Video), Peter Krawczyk (Lighting), and Benjamin Große (Dramaturgy). Further information can be found at www.schauspiel-stuttgart.de.
