**Audience Encouraged to Walk All Over Fancy Theatre Production Because “Why Not?” as Humans, Robots, and Dangerous Cubes Question Existence**

LONDON – In a groundbreaking cultural event that screamed, “We’ve given up on coherence,” a new theatrical production invited its audience not just to watch the show, but to enter the stage mid-performance, snap selfies, and presumably, suggest line edits to the actors. Based on the Booker International-shortlisted novel *The Employees* by Danish author Olga Ravn, the production at London’s Queen Elizabeth Hall sought to explore lofty themes of humanity, artificial intelligence, and what happens when hipster theater directors go unchecked.

Set aboard a spaceship orbiting an unknown planet—because nothing says “serious art” like space existentialism—the play featured a cube-like ship, alien artifacts in glass cabinets, Polish actors delivering lines in their native tongue with English surtitles, and just enough ambiguity to ensure at least *one* audience member would mutter, “I think this is just *too* deep for me.” For the uninitiated, “surtitles” translate foreign dialogue above the stage, presumably to remind everyone that they’re not cultured enough.

“Honestly, I wasn’t sure if it was a play or a modern IKEA catalog launch,” said audience member Gail Pemberton, who had popped in thinking it was a children’s science museum exhibit. “At one point, I accidentally wandered into the middle of the action while looking for the bathrooms, and somehow it became *part* of the show?”

The story follows humans and humanoid robots coexisting—because apparently, we’ve now decided the best way to tackle humanity’s anxiety about AI replacing us is through interpretative dance. The “Organisation,” an ominous unseen bureaucracy, loomed over the story, giving Big Brother vibes but without the charm of George Orwell’s pig metaphors. Instead, the narrative asked profound questions like, “What does it mean to feel? And why does the cube on stage remind me of those frustrating Apple Store Genius Bars?”

With safety regulations bent almost to breaking, the audience was encouraged to “engage directly” with the performance. This led to a vibrant chaos that was both artistic and, frankly, hazardous. One woman reportedly attempted to climb inside a glass case housing alien objects, muttering, “I just wanted a closer look at the thing from the planet!” Meanwhile, another member was nearly ejected for using a selfie stick mid-monologue. “It’s fine,” stated an unnamed cast member while maintaining a robotic monotone. “We were told this would happen.”

Warsaw-based theatre company Studio teatrgaleria ditched the conventional boundaries of theater entirely, crafting a show where walking onto the stage wasn’t just accepted; it was encouraged. One hapless blogger used his newfound freedom to squat in the corner and live-Tweet the entire thing as though it were a sporting event. “Is this performance art or a social experiment where they figure out how much humans will ruin things?” he wrote.

The absurdity of humans and humanoids cohabiting aboard a spaceship was only overshadowed by the real-world absurdity of being handed this much freedom as an audience member. “The play really makes you think,” said local theater enthusiast Edgar Lysol, suspiciously sipping from a flask during the curtain call. “For example, why are we walking around a functioning stage full of dangerous alien cubes when we’re not even allowed to bring liquids over 100 milliliters onto a plane?”

Among other notable events, one brave soul began unraveling a theory about how the play was a metaphor for capitalism—though this was somewhat overshadowed by a toddler who wandered onto the stage with a juice box and shared it with one of the alien artifacts in the glass case. The artifact (which may or may not have been a leftover prop from a rejected Star Trek pilot), reportedly did not drink the juice.

As the actors—portraying a mix of human and humanoid beings—anchored themselves in long existential monologues, at least three attendees were observed Googling “what does it mean if I don’t get a play” on their smartphones.

When asked about their groundbreaking approach, the director issued the following statement: “We wanted this production to reflect the fragmented nature of existence and remove the barriers between audience and art. Also, it was cheaper to just let them take over the stage.”

In the end, *The Employees* achieved its goal of challenging old theatrical conventions, though it stopped short of answering its own philosophical questions. Whether or not you were moved, enthralled, or just deeply confused, one thing is clear: in the battle of humans versus robots, rogue alien cubes seem to be the real winners here.