101

In the Fringe guide, there is a lot of theatre which claims interactivity. Usually, this manifests itself in some limp form where the actors mildly acknowledge our presence, and we might have to dance with them or something of the ilk. But every year, there is a piece that makes the audience’s interaction vital and necessary for the work to succeed. Last year, Ontrorerend Goed’s Internal fit such a description. This year, it is 101. Upon arrival, each audience member is given a white sash to wear upon their arm or waist, as long as they wear it, they will be included in the action. If they remove their sash, they become a more passive viewer. In one of the scenarios I attended (for the record, I experienced two out of the four they are presenting), two audience members became the key characters in the drama experienced. Thanks to a simple gestural and textual vocabulary which was effectively incorporated from the start, the two audience members were able to seamlessly fit their roles well. Be warned, no matter what, this experience is very in your face and body, but if you get too uncomfortable, that’s what removing the sash is for. I have intentionally not said a word as to what the four scenarios they are presenting are, since knowledge of them going in would taint the experience, but do have faith, they are all pieces of literature that most everyone should know (some done more abstractly than others), and the ‘ah-ha’ moment when you figure it out is the best part of the fun (well, one of them is remarkably abstract, but is still a great deal of fun)! One quibble, it is four distinct experiences and a very small (fifteen audience members), separately ticketed (£7.50) house for each, yet in order to have the proper experience, you should see all four. In other words, get your tickets now for what is one of the most distinctive experiences at this year’s Fringe.

Since you’re here…

… we have a small favour to ask. We don't want your money to support a hack's bar bill at Abattoir, but if you have a pound or two spare, we really encourage you to support a good cause. If this review has either helped you discover a gem or avoid a turkey, consider doing some good that will really make a difference.

You can donate to the charity of your choice, but if you're looking for inspiration, there are three charities we really like.

Mama Biashara
Kate Copstick’s charity, Mama Biashara, works with the poorest and most marginalised people in Kenya. They give grants to set up small, sustainable businesses that bring financial independence and security. That five quid you spend on a large glass of House White? They can save someone’s life with that. And the money for a pair of Air Jordans? Will take four women and their fifteen children away from a man who is raping them and into a new life with a moneymaking business for Mum and happiness for the kids.
Donate to Mama Biashara now

Theatre MAD
The Make A Difference Trust fights HIV & AIDS one stage at a time. Their UK and International grant-making strategy is based on five criteria that raise awareness, educate, and provide care and support for the most vulnerable in society. A host of fundraising events, including Bucket Collections, Late Night Cabarets, West End Eurovision, West End Bares and A West End Christmas continue to raise funds for projects both in the UK and Sub-Saharan Africa.
Donate to Theatre MAD now

Acting For Others
Acting for Others provides financial and emotional support to all theatre workers in times of need through the 14 member charities. During the COVID-19 crisis Acting for Others have raised over £1.7m to support theatre workers affected by the pandemic.
Donate to Acting For Others now

The Blurb

'A challenge to everything.' New company Oneohone shortens the distance between actor and audience with a series of intimate interactive performances grounded in the fundamentals of classical theatre. Rotating scenarios ensure that no two performances are the same. www.oneohone.org

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