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Mission creep

Haystack-Cora.png"We can't find the needles unless we collect the whole haystack," a character explains in the new play The Haystack, written by Al Blyth and in production at the Hampstead Theatre through March 7. The character is Hannah (Sarah Woodward), and she is director of a surveillance effort being coded and built by Neil (Oliver Johnstone) and Zef (Enyi Ororonkwo), familiarly geeky types whose preferred day-off activities are the cinema and the pub, rather than catching up on sleep and showers, as Hannah pointedly suggests. Zef has a girlfriend (and a "spank bank" of downloaded images) and is excited to work in "counter-terrorism". Neil is less certain, less socially comfortable, and, we eventually learn, more technically brilliant; he must come to grips with all three characteristics in his quest to save Cora (Rona Morison). Cue Fleabag: "This is a love story."

The play is framed by an encrypted chat between Neil and Denise, Cora's editor at the Guardian (Lucy Black). We know immediately from the technological checklist they run down in making contact that there has been a catastrophe, which we soon realize surrounds Cora. Even though we're unsure what it is, it's clear Neil is carrying a load of guilt, which the play explains in flashbacks.

As the action begins, Neil and Zef are waiting to start work as a task force seconded to Hannah's department to identify the source of a series of Ministry of Defence leaks that have led to press stories. She is unimpressed with their youth, attire, and casual attitude - they type madly while she issues instructions they've already read - but changes abruptly when they find the primary leaker in seconds. Two stories remain; because both bear Cora's byline she becomes their new target. Both like the look of her, but Neil is particularly smitten, and when a crisis overtakes her, he breaks every rule in the agency's book by grabbing a train to London, where, calling himself "Tom Flowers", he befriends her in a bar.

Neil's surveillance-informed "god mode" choices of Cora's favorite music, drinks, and food when he meets her remind of the movie Groundhog Day, in which Phil (Bill Murray) slowly builds up, day by day, the perfect approach to the women he hopes to seduce. In another cultural echo, the tense beginning is sufficiently reminiscent of the opening of Laura Poitras's film about Edward Snowden, CitizenFour, that I assumed Neil was calling from Moscow.

The requirement for the haystack, Hannah explains at the beginning of Act Two, is because the terrorist threat has changed from organized groups to home-grown "lone wolves", and threats can come from anywhere. Her department must know *everything* if it is to keep the nation safe. The lone-wolf theory is the one surveillance justification Blyth's characters don't chew over in the course of the play; for an evidence-based view, consult the VOX-Pol project. In a favorite moment, Neil and Hannah demonstrate the frustrating disconnect between technical reality and government targets. Neil correctly explains that terrorists are so rare that, given the UK's 66 million population, no matter how much you "improve" the system's detection rate it will still be swamped by false positives. Hannah, however, discovers he has nonetheless delivered. The false positive rate is 30% less! Her bosses are thrilled! Neil reacts like Alicia Florrick in The Good Wife after one of her morally uncomfortable wins.

Related: it is one of the great pleasures of The Haystack that its three female characters (out of a total of five) are smart, tough, self-reliant, ambitious, and good at their jobs.

The Haystack is impressively directed by Roxana Silbert. It isn't easy to make typing look interesting, but this play manages it, partly by the well-designed use of projections to show both the internal and external worlds they're seeing, and partly by carefully-staged quick cuts. In one section, cinema-style cross-cutting creates a montage that fast-forwards the action through six months of two key relationships.

Technically, The Haystack is impressive; Zef and Neil speak fluent Python, algorithms, and Bash scripts, and laugh realistically over a journalist's use of Hotmail and Word with no encryption ("I swear my dad has better infosec"), while the projections of their screens are plausible pieces of code, video games, media snippets, and maps. The production designers and Blyth, who has a degree in econometrics and a background as a research economist, have done well. There were just a few tiny nitpicks: Neil can't trace Cora's shut-down devices "without the passwords" (huh?); and although Neil and Zef also use Tor, at one point they use Firefox (maybe) and Google (doubtful). My companion leaned in: "They wouldn't use that." More startling, for me, the actors who play Neil and Zef pronounce "cache" as "cachet"; but this is the plaint of a sound-sensitive person. And that's it, for the play's 1:50 length (trust me; it flies by).

The result is an extraordinary mix of a well-plotted comic thriller that shows the personal and professional costs of both being watched and being the watcher. What's really remarkable is how many of the touchstone digital rights and policy issues Blyth manages to pack in. If you can, go see it, partly because it's a fine introduction to the debates around surveillance, but mostly because it's great entertainment.


Illustrations: Rona Morison, as Cora, in The Haystack.

Wendy M. Grossman is the 2013 winner of the Enigma Award. Her Web site has an extensive archive of her books, articles, and music, and an archive of earlier columns in this series. Stories about the border wars between cyberspace and real life are posted occasionally during the week at the net.wars Pinboard - or follow on Twitter.

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