Life, Hacked: ‘No Save Points’ Turns One Artist’s Life Into A Game And Hands You The Controller…
Outside The March’s latest production in Toronto redefines ‘a play you can play’
Once upon a time, we debated over whether video games could be art.
No Save Points, the latest immersive production from Outside the March, has turned this question on its head. Could art, specifically a play, be a video game?
Combining cutting-edge technology, theatre, and memoir, No Save Points uses video games to explore Sébastien Heins’ personal journey of coming to terms with his mother’s Huntington’s Disease diagnosis. Billed as a “play you can play,” the show allows the audience to ‘control’ the performance. As one of the first participants in the BMO Labs artist in residency program, Heins worked alongside BMO Labs Director, David Rokeby, to develop the technology that brought No Save Points to life. Through motion capture, haptic technology, and a hacked Gameboy, Heins is transformed into a video game character, and the audience is given the controller.
The show is told through monologue, with four custom “video games” interspersed throughout the narrative. The games each explore an important moment in Heins unpacking the realities of his mother’s diagnosis. As the emotional impact of the narrative heightens in complexity, so does the intricacy of each video game’s set — from a simple black “screen” relying heavily on Heins’ character work, to a spaceship with delightful nooks and crannies. Each time a new game “cartridge” was inserted into the Gameboy, I eagerly anticipated the unveiling of the set design and interactive elements.
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For the first half of the performance, four individuals, picked based on a pre-show survey, were chosen to enter the “Player’s Pen.” Armed with the hacked Gameboy controller, these four “played” the play. As someone who tends to become overly engaged in video games, I found myself just as immersed (and just as noisy) as I am when watching my roommate play in the living room — actively shouting instructions, attempting to solve puzzles, and loudly celebrating each victory. While I was initially incredibly jealous of the four lucky players, I received my chance to “play” during the second half of the performance. As I navigated through the platformer, mashing buttons and carefully timing my jumps, I found myself so focused on the game that I almost forgot there was an actor bringing the experience to life.
Through these video game interactions, No Save Points fosters a stronger connection to the story’s stakes. This is especially poignant due to the real-life experiences it was drafted from. Like many of us, as a child, Heins used video games as a means of escapism. However, the four video games that comprise No Save Points aren’t an escape from reality, but rather an invitation to explore Heins’ reality; the video game tropes suddenly becoming apt metaphors for a family learning to deal with the circumstances their genetic identity has thrust upon them.
Implementing unique technology in a theatre production can be challenging. Oftentimes, it might glitch or come across as gimmicky, thus removing the audience from the experience rather than further immersing them. Though we did experience a few technical difficulties during our performance, Heins’ charming videogame voiceover smoothed over the issues with humor. Overall, the technology in No Save Points provided many moments of surprise and delight, but more importantly, it helped the audience better understand and empathize with Heins’ story.
No Save Points is a remarkable show. It’s a masterclass in technology and art coming together, and a great example of how immersive theatre can help an audience internalize and understand an experience more deeply than traditional theatre allows. I laughed and cried, and then bought another pair of tickets to see it all over again.
No Save Points runs through July 2nd at Lighthouse ArtSpace 1 Yonge St., Toronto. Tickets are C$20–76.98.
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