Have you Googled your own name recently? Have you ever Googled your own name to find yourself the main subject of hundreds of deepfakes? Hundreds upon hundreds of adult movies you definitely didn’t make, or consent to.
This is what happened to Lily.
We follow along as Lily takes us on a journey starting on the day her friend called to tell her Google yourself. Now. Lily guides us through her story, elegantly weaving together moments from her past until they culminate at the turning point of her monologue. It’s at this moment in the show that you may find yourself simultaneously offended and intrigued by the efficiency of AI.
With a monologue that feels akin to having a coffee with your best friend and swapping embarrassing stories of your younger self, The Infinity Mirror is a thought-provoking performance where you won’t be able to look away. Lily is engaging and funny as she regales her audience with her misadventures in handling (or not handling) not only the explosion of AI, but the internet as a tool for unsavoury actions.
Lily uses the space of the Gallery to her full advantage, masterfully guiding her audience by placing herself at either end to represent where she is in the story. If you find yourself a little confused by the players in Lily’s story don’t worry, she will bring the story back around and connect the dots as the story nears its finale. Lily is an excellent storyteller, not only ensuring that her audience is paying attention but reacting positively when anyone from the crowd reacts to the story – particularly to the admission of the embarrassing YouTube channel which hasn’t been updated in over a decade.
For any Fringe goers concerned about sound levels, there is some music and sound effects, but they are in short bursts and used with care to enhance the performance. Lily also uses a microphone on occasion, but with her controlled voice skills, the sound is not overwhelming. The use of technology within a story about AI is appropriately used and serves as a visual aid to add depth to the story.
No matter your stance on AI The Infinity Mirror tells a cautionary tale about using AI, in a format that doesn’t feel as though you’re being shoved towards one opinion or another. Be prepared to laugh, groan, reminisce on your multiple awkward teenage phases, and walk away feeling both impressed and a little scared of AI.
Brace yourselves, theatre enthusiasts! We sat down with the multifaceted creative powerhouse behind The Infinity Mirror. From a passionate young actor to an accomplished writer and director, Lily is stepping back under the spotlight with The Infinity Mirror in Adelaide Fringe 2026.
About Lily Hayman
Why do you want to be an actor?
When I was growing up all that I ever wanted to be was an actor. I jumped at any chance to perform. I loved it because it made me feel like I was good at something. Like I had something I could really contribute to and belong to. I also made some of my best friends performing, and they helped shape me into who I am.
Then when I went to university, I realised there was so much more to making theatre. Suddenly I just wanted to make stuff. I started writing and directing and my love for that overtook my love for performing. But I still found moments when I wanted to be on stage. The exciting thing about The Infinity Mirror is it’s a chance for me to do all those things at once. Don’t get me wrong I have an incredible team helping me make this show, but I’ve been working as a director for a few years now, and I’m really excited to get back on stage.
What do you enjoy most about acting?
The connection with an audience is my favourite part. I’m not necessarily an “actors actor” that enjoys crafting a character. Instead I want that moment, when you’re speaking with a room of people, and together you’re creating a story.
What productions have you acted in before?
It’s been a while since I have been on stage. The last show I performed in was in 2022, in a group ensemble work called ‘Where Shall We Meet?’ – which featured artists with and without Disability and was a really fun show about what it means to be human, and how we connect. I’ve been in a few shows with that ensemble (Harness Ensemble at Shopfront Arts Co-Op) and loved it. I’ve also been in a few new plays, my favourite thing to do is create New Work so I haven’t been in anything like ‘The Cherry Orchard’ since Uni!
Do you want to work in film, live theatre or both?
Live Theatre is my favourite thing on the planet. I find Film really interesting, and I obviously love to watch and take inspiration from movies/TV but I think I will always work in theatre. In a world of screens, there is something about a truly ‘live’ room that can’t be repeated. We don’t always manage it, but when a theatre is alive it’s magic.
What has been your favourite role so far in your career?
I played Elvis Presley in a Checkhov show once. It was a bonkers adaptation, but it was really wonderful to be a part of. And the sideburns suited me!
What do you think makes a performance most believable?
Some of the most “believable” work I have seen does away with some of the artifice of theatre. Fringe is a great example of it. You often find a show which is just someone telling a good story, and it moves you beyond belief. That being said, the best actors can take you there with all the artifice still in place just cleverly hidden.
How would you react if you received a negative review of a performance?
The last negative review a show I worked on got, I took the two stars and some of the worst quotes and made big instagram graphics out of them. I was the producer of that one not a performer to be fair, but all of us as a team had a great time owning the bad review with pride. Not everyone is going to like our work all the time, and we try to make work that has a strong aesthetic and point of view. Some people won’t like it, and that makes me really happy. I’d rather make something divisive than dull.
How do you maintain your physical and emotional health while working on demanding projects?
I am no one’s role model in this regard.
Are there any particular genres or types of roles that you prefer or feel most comfortable in?
I grew up in a world of contemporary performance, so I find myself at home in non-traditional theatre. Whether it be storytelling, a bit dislocated, or completely bonkers – if there is a bit of a distancing effect at play I am more in more element. I want theatre to work as a form, not just as a vessel for story, so when some of the cogs are on display I have fun showing them to the audience.
Have you ever had to improvise during a performance? If so, can you share an example?
I once had to jump into a performance that I was the Assistant Director of, because a performer couldn’t go on. Luckily I have a knack for lines and knew a lot of the show just from being in the room during rehearsals, but there were some really improvised moments that night as I made my way through the show!
Are you comfortable with performing stunts or action scenes? If so, what kind of training have you had?
Not trained at all but I love to do the worm. It’s my best stunt.
Where can patrons purchase tickets to this production?
Thank you for sitting down with us and sharing your insights. We can’t wait to see the magic you bring to The Infinity Mirror. Break a leg and enjoy every moment under the spotlight!
