Hamish Annan is turning trauma into theatre, and in doing so, is forcing a conversation about consent that’s often relegated to hushed tones. The debut of his solo work, Before We Begin, at Auckland Pride in 2025, and its upcoming run at the Basement Theatre, isn’t just a performance; it’s a calculated risk in a cultural landscape increasingly scrutinizing boundaries and power dynamics.
- Annan’s play directly addresses consent violation, a topic rarely tackled with humor in performance art.
- The interactive nature of the show – described as “Taskmaster meets Sex Education” – is a bold move, relying on audience participation to explore intimacy.
- The production’s journey to the Adelaide Fringe signals a potential expansion of this challenging work to a wider audience.
The genesis of Before We Begin is stark: Annan discovered a hidden camera while leaving after a sexual encounter. While he reported the incident to police and ultimately chose not to pursue legal action, the experience became the catalyst for a deeply personal and publicly vulnerable artistic statement. This isn’t simply about recounting a “really shitty” experience, as Annan describes it; it’s about reclaiming agency. In the current climate, where stories of abuse and violation often dominate headlines, Annan’s decision to *create* from this experience, rather than be defined by it, is noteworthy.
The PR strategy here is fascinating. Annan isn’t leaning into victimhood. He’s framing the work as a proactive exploration of consent, using humor and play to “practise how emotional vulnerability can lead to more authentic and meaningful connections.” This is a savvy move. It sidesteps the potential for exploitation narratives and positions Annan as a thought leader, initiating a dialogue rather than simply sharing a personal tragedy. The emphasis on audience participation – with clear boundaries and the freedom to say “absolutely not” – further reinforces the message of empowered consent. It’s a performance *about* consent, enacted *through* consent.
Annan acknowledges a troubling trend, particularly within queer communities: a belief that one is already well-versed in consent. He suggests a dangerous complacency exists, and Before We Begin aims to disrupt that assumption. This is where the show’s cultural impact becomes truly significant. It’s not just about addressing violations; it’s about preventative education and fostering a more nuanced understanding of boundaries.
The Adelaide Fringe premiere is a key indicator. Success there could elevate Annan’s profile and potentially open doors for further development and touring. More importantly, it will test the show’s resonance with a broader audience. If Before We Begin can consistently create “a positive space safe enough” for these conversations, it could become a model for interactive theatre tackling difficult subjects. Annan has stated he’s found something “better” than systematic justice, and that “something” is a powerful, potentially transformative piece of art.
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