Christopher Green’s work frequently explores the nature of theatre. A champion of immersive projects, the Olivier award-winning writer and theatremaker has staged work in association with Duckie, and has created funny, thought-provoking comic characters such as country music star Tina C and rapping pensioner Ida Barr.
No Show is a perceptive examination of the act of performance in which the audience guides events. Green plays the Reluctant Performer. The audience is invited to summon him into the theatre and join him on a quest to face up to his fear of performing. Without revealing too many of the play’s devices, Green achieves this by overcoming a set of challenges, which completely immerse the audience in the show.
There is no fixed route through the show. It feels as if it could go anywhere. The challenges are suggested by the audience and the treatment of Green’s phone-obsessed performer depends entirely on their engagement with the project.
Green himself is an impish, charismatic performer, so it’s difficult not to join in, coaxing him along. What makes No Show so fascinating is observing the pack behaviour of an audience as it gradually pulls together. Through them, Green reminds us that theatre is a place of evolution, as much as revolution.
It’s a space for sharing stories rather than a platform for exploring self-obsession. By reminding himself of these facts, the Reluctant Performer also enlightens his audience.