Edinburgh Fringe 2024
Red Flags
Soundproof Box Theatre
Genre: Interactive
Venue: 25 Nicholson Sq
Festival: Edinburgh Fringe
Low Down
An unusual Fringe show – if there can be such a thing! An interactive workshop based on the work Soundproof Box Theatre doing with schools, workplaces and communities exploring the ‘red flags’, the clues that a relationship isn’t a healthy meeting of two souls but a damaging coercive controlling situation where one side is being used to meet the needs of the other with no mutuality.
Review
A one-off visit to the Fringe by Soundproof Box Theatre brought a unique and interactive experience to the stage, focusing on the insidious nature of coercive control in relationships. The company, known for their work in schools and workplaces addressing issues like bullying, gangs, and drugs, took a bold step in presenting this piece, a trial workshop of sorts with an eye towards a full Fringe run in 2025.
On arrival, each audience member was handed a small red flag—our tool for the show/workshop. We were invited to wave it whenever we spotted something on stage that made us uncomfortable, something that signalled coercive controlling behaviour. It was a simple yet powerful mechanism that turned us from passive viewers into active participants, engaging directly with the material.
Founder and writer Lise Kaye-Bell introduced the show, explaining that we would be watching three short scenes depicting different stages of an abusive relationship. While this particular performance featured a male perpetrator and a female victim, Kaye-Bell was careful to remind us that such dynamics can exist in any gender configuration.
Before the performance began, we were briefed on some common terms related to coercive control. Most were familiar, like “gaslighting,” but others, like “negging” and “triangulation,” were new to many in the audience. These brief definitions set the stage for what was to come, helping us to recognise the subtle and often overlooked signs of manipulation and control.
As the scenes unfolded, our red flags were soon waving in earnest. Despite the very short scenes, the two actors were convincing in their roles, depicting the progression of a toxic relationship with unsettling realism. After each scene, we paused for a discussion, reflecting on what we had seen and identifying the warning signs of abuse.
The interactive nature of the show created a dynamic atmosphere, though the small audience size—just eight of us—did make it feel a bit stilted at times. However, with a little prompting, everyone engaged, and the discussions were thoughtful and revealing.
For a longer run at the Fringe, focussing the use of the drama would make the show more compelling, perhaps using a simple programme with a glossary of terms to introduce the concepts thus giving more space to develop the theatrical elements of the performance while providing resources for those who want to delve deeper into the subject matter.
One particularly interesting aspect was the decision to have the actors remain in character during the post-performance discussion. This allowed for a deeper exploration of their mindsets. We were warned that, as they were together, their responses might be influenced by the other hearing. It would have been interesting to also see them interviewed separately, to further explore the perspectives of the abuser and the victim.
Overall, Soundproof Box Theatre’s visit to the Fringe was a thought-provoking experience with clear potential. With some fine-tuning around what a Fringe version could be and achieve, it’s easy to see how this piece could make a significant impact at the Fringe in 2025. I look forward to seeing what they bring.
