Review by Carly Fisher
So often, the cast of a show is the make or break. As a director, ensuring that your cast can perfectly execute your vision and the material given to them is imperative. As an audience member, an actor is so often the reason we do or not like a piece of theatre - or film and tv for that matter.
With all of this in mind, it is funny that there has been such a trend over the past 5 or so years to create shows wherein the actor is the one who has no idea what is happening, ie. they come to the show not only unrehearsed, but with no idea of the progression of the piece or the tasks that will be asked of them. Well, it would be funny, except that it works.
Instructions by Nathan Ellis is the latest example of such a piece that, despite the potential for very obvious short falls, thrives instead. Playing at Summerhall throughout the fringe, every performance features a different actor who cannot have seen the piece before. The performance that I saw, the actor was Rosa Robson.
Facing Rosa is a monitor that provides both instructions/stage directions and lines to deliver. There is a camera above this monitor that captures the entire performance which is simultaneously projected on the back wall of the stage. To stage right is a light box and to stage left, a small digital revolve. And that’s it - just some tech and an actor that isn’t too sure what comes next.
The concept: An actor goes for a film audition and does so well that, after rigorous screen tests, they get the role. Elated, the actor knows that this will be the role that really changes things for them and they excitedly wait to start shooting. But details of what comes next never follow. Instead, utilising all that has already been recorded in the audition, the film can be created without the actor.
We’re asked to question the power of AI. We’re asked to question the importance of consent in a digitised sphere. We’re asked to question right from wrong in a world in which the decisiveness of black and white no longer exists. We’re asked to consider the relationship between human and tech but also the intersectionality of human and tech.
The success of this piece from an audience enjoyment point of view is still very dependent on the actor. I’m lucky that my performance stars Robson who delivers a sincere, committed and all round beautiful performance in this role. There is a call on the actor participating to at once navigate both screen and stage performance elements and it is impressive to see this challenge taken into Robson's stride so seamlessly.
Though the script is quite simplistic, the concept behind the work overall is far from simple! It is an engaging piece of theatre that will leave you thinking long after you leave the theatre. Very glad I didn’t miss this one this fringe though I anticipate it will have many lives and iterations beyond Edinburgh as a perfect piece for touring.
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