Like some of Kopit’s other plays, Y2K is a social commentary with a hint of darkness. Through a computer, a man and wife, with a perhaps not highly moral sexual history, are thrown into another reality where everything they do or don’t do is blown out of proportion. The main action of the play is interrupted by the memory sequences of Costa Astrakhan, a self-centered teenager who, if not insane, is delighted by the power a computer can give him. While these sequences seem more like a sexual fantasy than reality, Astrakhan translates them into digital fact. The devastation to the married couple that follows is sudden and complete; while the Secret Service is aware of Astrakhan’s actions, Astrakhan himself seems to have escaped capture at the end of the play. While Y2K does touch on the horror of identity theft and the dangers of privacy invasion in the digital age, the main theme is how revenge (in this case, Astrakhan’s revenge upon Joseph, who has kicked Astrakhan out of his class) can take on a new form through technology. From his depiction of unscrupulous federal agents to his portrayal of an implacable computer hacker, Kopit shows that power corrupts. He places the focus on the abuse of authority, which happens simply because it is possible.