★★★

“The play is an interesting experiment, but as a dramatic piece, full of plot holes”

Nathan Ellis’ experimental drama is a tantalizing piece. The situation is this: every day a different actor is invited to the space where Instructions will take place. The actor knows nothing about the play they are about to perform, there has not been any rehearsal. They have been told that nothing bad will happen by the director, whom they meet fifteen minutes before they are due to go on stage. An irresistible set up, for the actor and the audience, right?

Entering the Old Lab space at Summerhall, all one sees on stage is a screen at the back of the performance space, a camera, a monitor, and a rotation disk. So far, so good. Then Josie, the actor tapped for today’s performance, enters. Words appear on the screen behind them, introducing them. They speak, reading the words from the monitor, and perform the instructions it gives. A story is introduced about an actor who has been invited to audition for a film called Love In Paris. We watch Josie audition. They get the part! We watch them perform the emotions of realizing that this is a turning point in their acting career.

I won’t give away anything else about the plot, although admittedly, it is a sketched in plot at best. Moment to moment, it gives our actor an opportunity to show their acting chops. The camera does most of the work, giving us close ups of Josie’s expressions, and later, moments of connection directly with the audience. Josie’s charm, and willingness to immerse completely in the experience that playwright Ellis and Subject Object have given them, is what keeps Instructions afloat. The play is an interesting experiment, but as a dramatic piece, full of plot holes. It drops references to things like artificial intelligence, for example, that don’t really go anywhere. There is no real conclusion to Instructions, other than the assurance that the play will be performed again, the following day, with a new performer named Nikhil in Josie’s place. The audience is left having to do much of the work of making sense of this piece.

As a piece of hyper-realism—namely sharing in the experience of the actor from moment to moment as they construct a character from the instructions given on a monitor—this piece has some interest. But it’s only a starting point for an exploration of themes fleetingly suggested in the actor’s story. I’d like to see Instructions 2.0, but I strongly suspect that would be a film about the making of the film Love in Paris, using A.I. I’d definitely be up for that.

SUPER HIGH RESOLUTION at the Soho Theatre

★★★

“Ellis’ text is for the most part honest and sensitive in its portrayal, highlighting the importance of seeking help”

Nathan Ellis’ new play, Super High Resolution, which follows a junior A&E doctor as she struggles to cope with the daily stressors in her professional and personal life, finds its strength in a biting wit and well-timed comedic moments. Jasmine Blackborow portrays Anna, the play’s central figure, with sharpness and dexterity. Anna is worn thin by her sister (Leah Whitaker), her demanding boss (Catherine Cusack), and a difficult patient (Hayley Carmichael), in scenes that are equal parts pacey and tense. Director Blanche McIntyre gives these scenes space to breathe, allowing humour to seep into the play’s pervasive darkness and unease.

Andrew D Edwards’ set, in conjunction with Prema Mehta’s lighting design, creates a cold and impersonal environment. In the opening stage picture, harsh neon light washes over accordions of hospital curtains, lending the impression of metal shipping containers. The stagecraft feels appropriate in light of the continual gutting of the NHS.

It is a shame then, that to me, it feels Super High Resolution misses the mark in its handling of themes of suicide and self-harm.

I want to be clear that the production got a lot of things right. Its content warnings were detailed and clear, and the resources it lists on the play’s promotional material, both for mental health services and NHS workers, are extensive (these are shown at the end of this review). Super High Resolution does not seek to romanticise suicide either, and Ellis’ text is for the most part honest and sensitive in its portrayal, highlighting the importance of seeking help. The production, however, loses sight of this sensitivity and falls out of step with Samaritans’ guidelines in its depiction of a suicide attempt onstage. Not only is the method clearly portrayed, but the scene is noticeably drawn out, and its accompanying lighting and sound design make clear that it is intended to be the play’s climax.

In my opinion, this framing crosses a line. The play would have, in all likelihood, maintained its emotional impact without an onstage depiction, or a climactic attempt altogether. In addition, the theme of suicide (and descriptions/depictions therein) seems to be buttressing a play about the gutting of the NHS and the toll it has taken on medical professionals, not the other way around.

There is obviously a spectrum of opinions on how suicide should be handled in the medium of live performance, and Super High Resolution is far from the worst offender. It is clear that Ellis, McIntyre and the rest of the production team care about the issue, and that the play does not solely seek to cash in on shock value. But the play could have, and should have, approached the issue with more caution and sensitivity.

Reviewed on 2nd November 2022

by JC Kerr

Photography by Helen Murray

If SUPER HIGH RESOLUTION has affected you, the following resources are available; we encourage you to make use of them.

Clicking each logo will take you to the relevant website

You can contact Samaritans 24 hours a day, 365 days a year. You can call 116 123 (free from any phone), email [email protected] or visit some branches in person.

If you’re experiencing a mental health problem or supporting someone else, you can call SANEline on 0300 304 7000 (4.30pm–10.30pm every day)

Offers a supportive listening service to anyone with thoughts of suicide. You can call the National Suicide Prevention Helpline UK on 0800 689 5652 (open 24/7)

You can call the CALM on 0800 58 58 58 (5pm–midnight every day) if you are struggling and need to talk. Or if you prefer not to speak on the phone, you could try the CALM webchat service.

If you would prefer not to talk but want some mental health support, you could text SHOUT to 85258. Shout offers a confidential 24/7 text service providing support if you are in crisis and need immediate help.

If you’re under 35 and struggling with suicidal feelings, or concerned about a young person who might be struggling, you can call Papyrus HOPELINEUK on 0800 068 4141 (weekdays 10am-10pm, weekends 2pm-10pm and bank holidays 2pm–10pm), email [email protected] or text 07786 209 697.

For NHS workers

Wellbeing support by text for health and social care staff

All NHS staff can access free support by text 24/7. Text FRONTLINE to 85258 to talk by text with a trained volunteer.

Wellbeing support by telephone for health and social care staff

NHS staff in England can call 0800 069 6222 and NHS staff in Wales can call 0800 484 0555, daily from 7am–11pm.

Counselling and trauma phone helpline

Call 0300 303 4434, free and in confidence, 8am to 8pm 7 days a week.

Shout

Practitioner Health have teamed up with SHOUT to create a confidential 24/7 text service for PH patients. If you need support after hours you can Text NHSPH to 85258.

Practitioner Health is a free, confidential NHS primary care mental health and addiction service with expertise in treating health & care professionals.

www.practitionerhealth.nhs.uk

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INSTRUCTIONS at the Edinburgh Festival Fringe

★★★