When I first heard the words 'participatory theatre', I must admit I had my doubts. Not only did it sound like my worst nightmare, I couldn't see how a play which relied so heavily on the audience could be consistently effective. Nevertheless, the excellent reviews and a little cajoling persuaded me to head into Edinburgh on a Friday night and check in to Hotel Medea.

Hotel Medea is a 6 hour overnight theatre experience: it begins at midnight with a drink in the bar (for some Dutch courage) and finishes with breakfast with the cast at 6am. Despite the enforced all-nighter, and my initial scepticism, not for a moment did I feel I'd rather be in bed.

The play was created by a collaboration of Brazilian and British writers and actors, and is an interactive reworking of the Medea myth. The company has been performing it for around five years, and in that time the production has been polished so that each detail is executed immaculately, whilst still maintaining the feeling of spontaneity which makes it so effective.

The role of the audience shifts as the play goes on. In the first act, we were all guests at the wedding of Jason and Medea. Having watched a battle for the golden fleece, we were invited to play instruments and dance, until the wedding party broke down into a full-scale rave to a live DJ set: my stubborn inhibitions were certainly loosening.

After a brief recovery period, half of the audience (myself included) found ourselves being led downstairs into a room lined with bunk beds. One of the 'nurses' took charge of me, and I was dressed in pyjamas, tucked into bed with a cup of hot chocolate and read a bedtime story. I had become one of Medea's children.It was in this scene that it became clear that the participatory aspect of the play was not an arbitrary publicity stunt, but a fundamental part of the performance. Lying in bed, I certainly felt like I was witnessing an argument between my 'parents', Medea and Jason, from a child's perspective.Their angry words contrasted with the soothing lullaby being played, and whenever I tried inquisitively to raise my head at a new turn of events, a nurse would appear at my bedside, stroking my hair and telling me to go back to sleep.

At the end of the play, Medea's children are told to run away and hide somewhere in the building. The genuine fear on the face of one of the girls hiding with me holds testimony to the play's effectiveness; it is able to fully submerse you into its world, in a way I have never before experienced. By this point, my scepticism and my inhibitions had been washed away. I would recommend Hotel Medea to anyone lucky enough to get a chance to see it; despite a fairly hefty price tag, this play is an amazing experience, whether or not you happen to like their innovative theatrical style.

 

To see more of Claudia Stocker's work visit www.claudiastocker.com