The Edit

Despite her own experience and extensive research into the industry, writer/director Gabrielle Scawthorn still loves reality TV. Yet in her play The Edit she systematically picks away at the silky flesh of its participants and producers gradually revealing skeletons scarred with the fractures of ambition, mistrust and abuse, lies, control and manipulation.

“What are people willing to endure in the pursuit of ambition?” she asks. “And what responsibility do others hold in shaping that journey?”. Does “consent” waiver care or justify exploitation?

The Edit is a tightly written theatrical exposé of an industry that has burgeoned over the last 30 years, an industry that appeals to those who compete for the prizes it promises to ambitious contestants – and the employees who control the scenarios. Scawthorn cleverly concentrates the action of the play on two characters and a reality dating show called “Match or Snatch”.

Nia is an influencer who wants to find her match and fame. Jessica wants to “orchestrate Nia’s every move to secure a win for both of them”. To do that she must gain Nia’s trust and confidence through skilfully managed manipulation, control and lies. Under the glare of celebrity and fortune truths are twisted, abuse is covered up, hurt is hidden … and exploitation is rewarded.

Scawthorn writes tight, concise dialogue. Her characters are clear, defined. As director she ensures the action moves quickly. The short, terse scenes are broken by loud music and harsh strobes that fiercely reinforce the sickening truths the plot is revealing.

Iolanthe (Nia) and Matilda Ridgeway (Jess) face each other in scenes that become increasingly tense as trust is betrayed and lies are exposed. Their performances are compelling.

Nia is ambitious – but she is also shrewd, perceptive, intelligent and Iolanthe finds all of this in a stunning portrayal of an astute, young woman, persistently determined to expose abuse that has been supressed.

Ridgeway contains Jess in a very tightly controlled performance. As she draws Nia in, her voice and reactions are carefully restrained, persuasively convincing – until Nia calls her bluff and she loses control. Their final scenes are disturbingly real – as is The Edit itself.

Scawthorn: “I still love reality television … But I believe the conditions it creates reflect the world we live in: sometimes cruel, sometimes reckless, sometimes ritualising humiliation.”

How that can happen she explains with alarmingly clarity in this very taut, challenging production.

Carol Wimmer

Photographer: Robert Catto