At the theatre door stands a mesh tent. Weaving your way between its flaps, you enter the bunker. You do not yet know why, what, or how, but you are greeted graciously by two wardens, Hannah and Stella, who calmly instruct you to take your seat and read the information booklet left on your chair. They continue to welcome and reassure new arrivals, immediately assigning roles to some members of the audience. It is not long before you discover that you are inside a containment bunker: there is a threat of lycanthropy, and you must wait it out until news arrives that it is safe to leave. Over the course of an hour, secrets are revealed, lives are threatened, alliances are tested, and no one is quite sure who they can trust.
The popular group deduction party game of the same name, Werewolf — villagers versus werewolves — takes on a new dimension in Binge Culture’s improvised comedy-horror show. The format lends itself naturally to both genres: the uncertainty of not knowing who can be trusted creates plenty of opportunities for tension, while the unpredictability of audience participation provides the performers with an endless supply of comic possibilities. The show moves between moments of suspense and genuine silliness, often allowing the two to feed into one another. Personally, however, I found myself laughing far more than feeling frightened. While there are moments designed to unsettle, I would have enjoyed a stronger horror element and a little more sustained tension to balance the comedy.
Joel Baxendale, Stella Reid, and Hannah Kelly are particularly impressive in their ability to manage and play off the crowd, responding to the unpredictable nature of the audience without ever seeming thrown by it. The conviction of their performances is equally remarkable; despite the improvised nature of the show, they commit fully to the world and circumstances of the bunker. Each performer also establishes a distinct character archetype: the friendly, reassuring ‘friend of the people’; the strict rule-follower and stickler for order; and the self-important authoritarian who assumes their position of power makes them superior to everyone else. These contrasting personalities give the performers plenty to bounce off one another, while also creating clear dynamics within the bunker. More importantly, the characters are not simply amusing additions to the premise: their personalities actively help to move the story forward, giving the performers different motivations and perspectives to draw upon as the situation unfolds.
The premise is fantastic, but its execution was somewhat dampened by the very thing the show depends upon: audience participation. Unfortunately, my audience did not make things easy. Several people had not read their booklets, which contained individual instructions about how and when to participate, and therefore did not fulfil their assigned roles. Others continued using their phones, taking photos and videos, while a few audience members had translation apps playing loudly throughout the performance. Phone screens remained illuminated even during periods of darkness — somewhat undermining the intended atmosphere — while talking and giggling prevailed throughout. The illusion was, inevitably, shattered.
Although it is commendable that the actors remain in character from the moment the audience enters, I think the show would benefit from establishing a few ground rules before the performance properly begins, particularly given how heavily it relies on audience participation. This could still be done entirely in character: for example, the wardens might explain that mobile phones are strictly forbidden in the bunker because they interfere with the radio signal needed for emergency updates or instruct everyone to make sure they understand the information in their booklet before the bunker doors are sealed.
Ultimately, Werewolf has an inventive premise and performers who are more than capable of bringing it to life; its fundamental success, however, rests on the audience being willing to enter the game as fully as the actors do.
Werewolf is running until 31 August at TechCube 0 in Summerhall. Buy tickets here.
Image by Mouce Young, provided to The Student as press material.
