According to widespread relatively-realistic theories, humans are on the verge of developing machines with more intelligence than our own brains. The precise moment this occurs -- the so-called "singularity" -- will mark the end of the human race and the beginning of a super race of human-based machines, which will grow exponentially more intelligent as each generation creates a newer version more capable than the last. You'll see. It's only a matter of time. 

The characters in Matthew Benjamin and Logan Brown's new play "Wirehead," have arrived at this moment. 

"We were discussing the future and where technology would go," explains Brown, "and we stumbled on this concept that's been around -- intra-cranial implants."

In the story two sales associates, Adams (Jeremy Maxwell) and Destry (Marc Rose), are replaced on a major account by a younger assistant (Hammy, played by Riel Paley) who's had an intra-cranial wire surgically implanted in his brain. The implant allows Hammy to think and perform beyond the capabilities of either Adams or Destry, and he's been promoted to associate practically overnight. 

Adams becomes swept up in Destry's revenge against Hammy, which becomes a broader and much more dangerous vengeance toward anyone Destry deems a "wirehead" or "chiphead" (depending on the circuitry). Meanwhile, Adams' fiancee, Laura (Samantha Shelton), a doctor, considers getting the implant herself, as the increased intelligence could help her find cures to many of the diseases she has treated.

With intermittent narration from radio DJ "Rip the Nip" (Ethan Phillips, whose style has a certain Howard Stern-style raunch), the story presents a clear, albeit bloody, portrayal of humans afraid of being left behind. At one point, Destry compares the plight of non-wireheads to that of the Native Americans once Europeans arrived on the continent. "Welcome to the tribe," he says to Adams.

Not one element of the Echo Theatre Company's production of "Wirehead" could be called uncreative. Under the direction of Larry Biederman, the clean staging (including several scenes in shadow silhouette) and efficient set design (which I'd describe as "futuristic lite") are satisfying, while the concept leaves viewers with plenty to discuss.

Writers Benjamin and Brown won Best Play at the New York Fringe in 2003 for their first collaboration, "How to Act Around Cops;" their sophomore attempt hasn't lost any of that energy. Simply for the achievement of bringing sci-fi to the stage, this play is worth seeing. For dialogue and direction that is edgy and tight, "Wirehead" is a must.