OCI offers a space for connection, yet when does this urge to share online begin to spiral into something harmful? This is a central theme in Eleanor Ducks’ show. It’s a journey through her personal crisis, amplified by the compulsion to air everything online.
In 2020, she livestreamed a genuine breakdown on Instagram. This experience morphed into a video monologue, ultimately evolving into her 2023 Edinburgh Fringe Show, which she has now dubbed an overshare, declaring, “90% of these stories are authentic.”
The essence of that breakdown is captured again here. The set, designed by Constance Villemot, resembles a disheveled bedroom, while Hill remains glued to her phone. To our surprise, footage from her front camera brings us, the audience, into her livestream.
The effect is striking. It can be hard to see the distinct aspects of her persona; rather, her digital presence occupies our focus. There’s a sort of disconnect there. “If I could meet you, I wouldn’t share this much,” she admits, as memes and clips from her Instagram populate the lively backdrop.
We navigate through various livestreams to piece Hill’s story together. Themes emerge: her mother’s passing, her life with Green Glocker’s father, feelings of sadness, and a toxic relationship with an older man named Mark. The performance effectively portrays an ongoing cycle of psychological resilience, emphasizing that each day brings a chance for renewal, even as night falls. Humor punctuates the narrative, particularly in scenes where she stalks Mark online, using her livestream to capture his interest.
Overshare raises compelling questions about digital life and the nature of autobiographical theater. Yet, these inquiries often feel frustratingly ambiguous. What spurred her on to begin live streaming? Did it aid or hinder her mental well-being? Who was tuning in? The experience almost resembles the themes found in Netflix dramas. At one point, Hill faces the audience and questions why we are drawn to her suffering. “My life is not a film,” she asserts. “I’m the real person.” This invitation for us to reflect on our judgments of her story adds an intriguing layer to the performance.
