I'm Not Entirely Here | Vena Cava Productions & Anywhere Festival

As is often the case with Anywhere Festival, my journey started in an alleyway. I was there to see Vena Cava Productions’ I’m not entirely here. Not sure what to expect, the audience was introduced to a character known as ‘The Guide’. We were advised by the guide that we were about to meet Ava, a young person in the midst of a move and a breakup. Following the guide inside, we found Ava’s apartment and were encouraged to look around as she packed.

This was an immersive theatre experience, meaning the audience was expected to interact freely with the actors and explore their surroundings. Having the guide set an example, the audience quickly started asking Ava questions and joining in on her packing. After getting to know Ava, the guide invited us into a second room that represented Ava’s inner thoughts.

Now inside Ava's brain, we were introduced to a cast of characters, each representing aspects of her psyche. An immediate comparison can be made to the Disney movie Inside Out.  But unlike the characters in Inside Out, the six characters in Ava's brain had depth. For example, the highly charismatic and motivated Cassius appeared friendly initially, but as the plot progressed, his more aggressive nature was revealed. The characters were not one-dimensional; they had unique interpersonal relationships and responded to events in a believable way. As the story of Ava’s inner world unfolded, we learnt more about her and her motivations through these physical manifestations of her emotions.

Along with Cassius were the Eyore-esque Milo, the anxious yet competent Vivian, and the twins Theo and Freya, one meek and the other beautiful. But what of the sixth character in Ava’s head? This mystery was central to the evening's events and created suspense and urgency as the true state of Ava’s inner life was revealed.

Ava was an immensely relatable character; young, unsure, and maybe not doing as well as she lets on. As I read her diaries and talked to her emotions, I came to know a realistic, complicated, and slightly messy person. Diving into such an intimate story with one sole focus worked well in the immersive format, and I would gladly see similar stories told in this way.

With a large cast of characters across several areas, I was initially worried I might miss something. While it was impossible to be present for every character interaction or read every scribbled note, I was able to create a complete understanding of the plot. The cast achieved this through moments where all present characters came together to move the plot along. As a result, everyone's experience at I'm not entirely here will be unique, but every experience will also be complete.

Immersive theatre is challenging to do correctly; it relies on audience participation and problem-solving. Despite this, Vena Cava’s production made an interactive show with an exciting plot without the experience feeling like an escape room. I was impressed at how quickly the audience became interested in the characters and learning more about them. After the show ended, the audience lingered in the alleyway, chatting, decompressing, and eager for more.