Rising Anxiety: My Journey Through Edinburgh’s Intense One-to-One Shows

I’m standing on an Edinburgh street corner, about to see a show with an unusual element: I’m the only audience member. This isn’t due to low ticket sales; it’s entirely intentional. The play, You’re Needy (Sounds Frustrating), is designed specifically for one viewer per performance, a concept shared by other productions at the fringe.

A young woman introduces herself as “Carrie’s sister” and guides me to a flat. She opens the bathroom door and tells me Carrie is ready. Inside, I find Carrie (Laoise Murray) immersed in a bath full of hot water, wrapped in clingfilm and seaweed, with cucumber slices on her eyes. She’s obsessed with health and on a journey to purification. My role is to pass her various items, including a camera, diet noodles, and vitamins.

You’re Needy (Sounds Frustrating) explores the health industry’s impact on women. Director and co-founder Grace Morgan explains the choice of a single audience member: “In such an intimate setting, pretty much every aspect is under a microscope,” making it impossible for the audience to be passive.

I’m asked personal questions about my body, and while my responses do not alter the scripted narrative, they add a level of intensity and engagement. This setting makes me hyper-aware of my presence and role.

Another intimate experience is Lien, a dance piece by Australian choreographer Lewis Major. This performance also accommodates only one audience member at a time. Initially a conversation, it evolves into an improvised dance based on my answers to personal questions. The spontaneity and lack of preparation create a unique experience for each viewer.

Major says the aim is to create a connection in the moment, regardless of how little the audience and dancer know each other. During the performance, dancer Clementine Benson listens and then translates my feelings into a dance routine that’s mesmerizing. While the concept may seem challenging, the authenticity it brings is profound.

Another solo experience is the play Temping, set in a realistic office environment. Here, the audience member works as a temp at an insurance company, completing tasks such as checking emails and answering phone calls. Designer Asa Wember emphasizes the balance between scripted content and audience interaction, ensuring the experience feels real and engaging.

This innovative concept came about a decade ago when the creators questioned the core elements of theatre. The show uses typical office communication means like emails and phone calls to interact with the audience. Depending on efficiency, performances can last from 30 minutes to over an hour, making each experience unique.

The common factor among these one-person shows is their financial impracticality. Regardless of full bookings, they are not commercially lucrative. Still, they’re not about profit. William Dunleavy, co-founder of tasteinyourmouth, explains that their show is supported by Culture Ireland, without which the production wouldn’t be possible.

Some productions save costs by using the properties they live in as venues, like Morgan’s team. Major often views Lien as a companion piece to his other works, sharing the same theatre space to maximize resources.

As an audience member, it’s rare to feel so essential to a performance. In each show, I sense that my engagement leads the story, making passive viewing impossible. One-person shows are experimental, digging deep into the heart of human connection and responses, guaranteeing a unique and full experience for every viewer.

Source: The Guardian