Yannick Trapman-O’Brien’s “Undersigned” stands as a captivating example of modern immersive theatre, offering audiences an unparalleled intimate encounter designed to unravel personal desires. This singular performance deviates significantly from traditional theatrical norms, establishing a unique space where vulnerability and self-discovery converge within a deeply personal narrative. The show has garnered immense attention for its innovative approach, promising an experience so exclusive that once witnessed, it cannot be replicated by the same individual.
At the core of “Undersigned” lies a meticulously crafted one-on-one session, where a single, blindfolded participant engages directly with the creator. This deliberate concealment of visual stimuli heightens other senses, drawing the participant into an intoxicating realm of mystery and introspection. The deliberate lack of foreknowledge about the specific proceedings amplifies the thrill, transforming each interaction into a truly spontaneous and unpredictable psychological exploration.
The experience is framed as a ritualistic “summoning,” an evocative process that blends elements of dark mystique with profound sentimentality. Through a series of gentle yet incisive questions, Trapman-O’Brien expertly navigates the participant’s inner landscape, probing what they most desire and, more intriguingly, what sacrifices they are prepared to make to attain it. His conversational style is a masterclass in engagement, simultaneously confronting, charming, and sharp as a pinprick, guiding the dialogue with balletic precision.
A significant aspect of the show’s power stems from the disarming effect of the blindfold. With senses muted, and a crackling candle or intimate whisper at the ear, participants often report a sensation akin to vertigo, blurring the lines between proximity and distance. This unique sensory environment cultivates an extraordinary openness, leading individuals to articulate thoughts and feelings they had no intention of sharing, transforming the performance into a session of profound psychological vulnerability.
The structure of “Undersigned,” drawing subtle inspiration from concepts of traditional witchcraft, is ingeniously adaptable. It responds dynamically to each participant’s comfort levels, allowing the depth of exploration to be uniquely tailored. While certain topics can be designated as off-limits, the show playfully suggests a willingness to embrace the unconventional, even hinting at a surprising comfort with the idea of “blood,” which adds to its intriguing aura.
The immersive effect is often compared to receiving a deeply focused portrait drawing, a personalized tarot reading, or even an intensive therapy session. This carefully constructed “magic trick” lulls the participant into a state of heightened receptiveness, where the boundaries of self-perception begin to blur. It is within this controlled environment of intimate experience and audience participation that true self-reflection can flourish.
The final segment of “Undersigned” offers a distinct kind of revelation. Participants are granted a brief, illuminating glimpse into the responses and reflections of those who have undertaken the journey before them. This shared insight is profoundly revealing, not just about the previous individuals, but also about the universal human condition and the myriad ways desires manifest. It leaves the participant with a sense of connection to a broader, unspoken narrative.
Ultimately, “Undersigned” transcends mere entertainment; it is a profound performance art piece that encourages indulgence while subtly challenging one’s moral compass. Through its supernatural undertones and Trapman-O’Brien’s dexterous dialogue, the show sends participants back into the world not just entertained, but perhaps a little more appreciative of what they already possess, having confronted their deepest longings in this unforgettable Edinburgh Festival highlight.
