As Far As We Know Review: A Strange Solo Theatrical Journey 2026

As Far As We Know is a strange solo theatrical journey that hurtles down the mean streets of existential dread, leaving audiences breathless and questioning reality. In this review, we dissect the production's unconventional narrative, its breakneck pacing, and the haunting soundscape that propels the story forward.

The show, created by the company YESYESNONO and performed by writer Sam Ward, opens with a man at a desk, welcoming us to the theatre. He opens a folder and begins reading from a sheaf of paper, but the more he reads, the faster he goes. Soon, the words blur into a percussive torrent, accompanied by Carmel Smickersgill's jazz-infused score that adds both urgency and a sense of chaotic freedom. The lighting design by Han Sayles tightens around the performer, mirroring the escalating tension.

The narrative follows a woman who discovers mysterious holes appearing in her garden, each emitting an unrecognizable sound. As she investigates, she is drawn into a bank with no employees and even less money, then taken under the wing of a private detective straight out of Raymond Chandler. The journey spirals through caves, rooftop forests, and cryptic messages urging her to look for the horizon. Is this a dreamlike odyssey about uncertainty and alienation, or a shaggy dog story that meanders without purpose?

A Solo Performance That Tests Limits

Sam Ward's performance is a feat of endurance and precision. He delivers the script at a pace that seems impossible to memorize, relying on the physicality of the moment rather than rote learning. This choice creates a raw, spontaneous energy that keeps the audience on edge. The percussive score by Carmel Smickersgill is more than background; it becomes a character in itself, driving the narrative forward with its jazz freedom.

The Noir Aesthetic and Its Discontents

The production wears its noir influences on its sleeve, from the detective archetype to the shadowy lighting. Yet, unlike traditional noir, there is no resolution to the mystery. Instead, the play revels in ambiguity, leaving us with more questions than answers. This is both its strength and its weakness, as some viewers may find the lack of closure frustrating.

The play's central metaphor—holes appearing in a garden—suggests a world where meaning is eroding. The woman's search for the horizon becomes a futile quest for clarity in a universe that offers none. This theme resonates with contemporary anxieties about uncertainty and alienation, making the piece feel timely despite its surreal trappings.

Key Takeaways from the Performance

• Unique delivery: The script is performed at an astonishing speed, creating a sense of urgency and disorientation.
• Jazz score: Carmel Smickersgill's music is a standout, blending urgency with improvisational freedom.
• Noir homage: The detective character and shadowy staging evoke classic noir, but subvert expectations.
• Open-ended narrative: The story refuses to provide easy answers, leaving interpretation to the audience.
• Edinburgh festival gem: This is a must-see for those seeking experimental theatre.

While the play may not satisfy viewers looking for a conventional plot, it offers a visceral experience that lingers long after the final word. The production's polish is evident in its design and performance, even if the narrative's purpose remains elusive. For those willing to embrace ambiguity, As Far As We Know is a thrilling ride.

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