From censorship to pedophilia, Jennifer Haley's "The Nether" explores the complexities that arise when the virtual world clashes with the real world. In the anonymous realm that is the Internet, anyone can live out whatever fantasy they desire—and the fantasies that are not socially accepted in the real world are often those that are most attractive in an artificial reality. The show touches on issues that are particularly relevant to the technology-obesessed generation of today, and begs very difficult moral questions about the pitfalls and advantages of allowing shocking obscenity on the Internet.

In the play, the "Nether" is the name of a highly sophisticated and futuristic Internet world that utilizes realistic sound, smell, and even touch. The show opens with cyberdetective Morris (Jeanne Syquia) interrogating Sims (Robert Joy), a man known on the web as Papa. It soon becomes clear that Sims is a sick man who struggles with a perverse love for young girls and has created a virtual world, The Hideaway, as a place for pedophiles to live out their fantasies. Morris also interrogates public school science teacher, Doyle (Dakin Matthews), who has some unclear involvement in The Hideaway, but refuses to turn against Papa. The story then enters The Nether, where the focus shifts to the love story between a nine year old girl, Iris (Brighid Fleming), and an older man, Woodnut (Adam Haas Hunter), as they live out a romantic but virtual relationship.

Haley does a great job of developing each of the characters and exposing their ability to be reasonable people despite their severe faults. Each person seems to be rational and principled. In the beginning, Detective Morris appears to be the employee of a tyrannical government and Sims is the voice of reason, intelligence, and freedom. As the show progresses, Morris becomes the voice of reason, but Sims does not lose his credibility, despite his moral deficiencies. Likewise, the relationship between Iris and Woodnut appears to be very wholesome—something not expected between a pedophile and his victim. By creating complex, human relationships between the characters, even supposedly sick and perverse relationships seem startlingly sympathetic.

The technical elements of the show also do an amazing job of enhancing the power of an already well-written script. The set design (by Adrian W. Jones) in particular is absolutely spectacular, and helps to add to the beautiful mystery of The Hideout, juxtaposing it against the mundane unpleasantness of the real world. The show begins in a stark, two-dimensional room, lit with hostile fluorescent lighting and dressed with two cold metal chairs and a table. As the location shifts, the set reveals a gorgeous, three-dimensional house on a rotating stage. The lighting is warm and welcoming, just like The Hideout appears, which is very ironic considering the horrifying things that occur in the house.

As a whole, the cast is very strong, but it is the quality of Haley's script that ultimately drives the play home. The play asks difficult questions that cannot be answered with simple, black and white responses. Blurring the line between digital reality and actual reality is incredibly dangerous, and the play has fun exploring the consequences of getting too mixed up. With its gorgeous technical elements and a well-thought-out storyline, "The Nether" is definitely worth seeing for everyone living in the Digital Age.

Reach Staff Reporter Savannah here.

"The Nether" is playing at the Kirk Douglas Theatre (9820 Washington Blvd., Culver City) through April 14. Tickets are $20-$50. More information can be found at CenterTheatreGroup.org.