As Far As We Know Review: A Strange Solo Journey Down Mean Streets 2026

The As Far As We Know review takes us on a strange solo journey down the mean streets of a surreal narrative, where a man reads a script at breakneck speed. This Edinburgh festival production by YESYESNONO, written and performed by Sam Ward, is a whirlwind of words, sound, and light that leaves audiences both dazzled and disoriented. As the story unfolds, we follow a woman who discovers mysterious holes in her garden, leading her into a bank with few employees and even less money, and into the orbit of a private detective straight out of Raymond Chandler.

The Performance: A Race Against Time

Sam Ward's delivery is nothing short of extraordinary. He sits at a desk, opens a folder, and begins reading a sheaf of paper with increasing speed. The pace becomes so frantic that it's clear why he didn't memorize the script—it would be a prodigious feat of memory. The percussive score by Carmel Smickersgill adds a jazz-like urgency, perfectly complementing the narrative's chaotic energy. Han Sayles's lighting design closes in on Ward as the story accelerates, creating a claustrophobic atmosphere that mirrors the protagonist's growing unease.

The Story: Holes, Banks, and a Detective

The plot is a dreamlike odyssey. A woman notices holes appearing in her garden, each emitting an unrecognizable sound. As they proliferate, she seeks answers, only to find herself in a bank that's nearly empty of both staff and money. A private detective takes her under his wing, but his guidance only deepens her confusion. Strange events pile up: a cave, a rooftop forest, and cryptic messages urging her to look for the horizon. Is this a commentary on uncertainty, alienation, or the futile search for meaning? Or is it simply a shaggy dog story that goes around the houses for its own uncertain ends?

Staging and Design: Cool Polish, Unclear Purpose

The production's technical elements are undeniably polished. The lighting, sound, and set design work in harmony to create a sense of disorientation that's both compelling and frustrating. The jazz-infused percussion is a standout, providing a rhythmic backbone that keeps the audience engaged even when the narrative meanders. However, the overall effect raises questions about whether the cool polish masks a lack of substantive insight. The show's ambiguity is both its strength and its weakness, leaving viewers to decide if the journey is worth the destination.

Comparison: As Far As We Know vs. Traditional Theatre

Key Takeaways

• Unique performance style: Sam Ward's rapid-fire delivery is a tour de force.
• Atmospheric design: Lighting and sound create a compelling, unsettling mood.
• Ambiguous narrative: The story's meaning is open to interpretation, which may frustrate some.
• Edinburgh festival highlight: A must-see for those seeking experimental theatre.

FAQ

In conclusion, As Far As We Know is a bold, unconventional piece that challenges its audience. Whether you see it as a profound exploration of modern anxiety or a stylish shaggy dog story, it's an experience that lingers. Catch it at Summerhall, Edinburgh, until 31 August.

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