Gabrielle Martin chats with Cole Lewis, Patrick Blenkarn and Sam Ferguson about their show, 2021, coming up at the 2026 PuSh Festival! 

Show Notes

Gabrielle, Cole, Patrick and Sam discuss: 

• How does the form of the game highlight and confront the deep personal stories on which the piece is based?

• How is the video game form related to the practice of acting?

• How do the technical aspects, including data and AI, affect the piece?

• How did you come together as a team and what are your different roles in creating the piece?

• How does the audience member play or embody the central character, and what is the difference between becoming and influencing?

• Where does witnessing end and participation begin?

• How do personal artifacts influence the game, and the choices within it?

• How do you navigate the line between technological wonder and moral discomfort?

• What does consent mean for someone who has passed on?

About 2021

Under the glow of a flickering screen, a daughter reconstructs her deceased father. Pixel by pixel, contradiction by contradiction.

2021 is a live performance where theatre, AI, and video-game storytelling converge, blurring the boundary between human remembrance and machine logic. An audience member steps into the role of Brian, an unhoused veteran reliving his final weeks inside a looping digital hospital: a labyrinth of corridors, bureaucratic dead ends, and fleeting human contact. Guided by his daughter's narration, fragments of data become playable memory. Each decision glitches reality a little more.

How do we provide dignity in death to those we fundamentally disagree with? Part elegy, part experiment, 2021 exposes the tenderness and terror of digital resurrection. It asks not whether machines can think, but whether memory itself is a kind of simulation.

About the Guests

Guilty by Association (GbA) is an interdisciplinary performance collective that shifts its process with each new project. Led by Co-Artistic Directors, Cole Lewis + Patrick Blenkarn, they seek to expand what theatre can do, devising work from design ideas, exploring modes of storytelling, and scheming to fuse media to the stage.

The Elbow Theatre dissects the human condition. We develop shows that question accepted truths. Our productions engage our audiences with the realities of our world. Through process and production, The Elbow presents theatre that promotes caring for, and understanding of, each other. The Elbow was founded in 2012 by Itai Erdal and is based out of Vancouver, British Columbia, Canada.

Cole Lewis (she/her) is a mom and mad theatre artist from St. Catharines, Ontario. She specializes in creating live performance from design ideas, exploring new modes of storytelling, and fusing technologies to the stage. Her practice includes directing, playwriting, and the design of moving image works. Twice nominated for Dora-Awards, Cole's practice uses humour, design, and technology to explore notions of class and violence, expose questions of bias, and unsettle standard conceptions of 'truth' to explore alternative futures. She has an MFA in Directing from Yale and her thoughts on performance have been shared at LMDA, Howlround, FOLDA, Yale CCAM, and Canadian Theatre Review.

Patrick Blenkarn (he/him) is an artist working at the intersection of performance, game design, and visual art. His research-based practice revolves around the themes of language, labour, and democracy, with projects ranging in form from video games and card games to stage plays and books, with subjects as diverse as the labour of donkeys to the valuation of art to historical date farming practices in Iraq. He is a polyglot, programmer, animator, musician, and stage director. He is also the co-creator of asses.masses and co-founder of videocan, the national video archive of performance documentation.

Sam Ferguson (he/him) is an award-winning sound designer/composer from Toronto. After moving to Vancouver to study under acclaimed electroacoustic music composer Berry Truax he returned to Toronto where he became involved with theatre. This experience led him to enroll in the Yale School of Drama where he received an MFA for sound design. Since graduating he has returned to Toronto and has been working in the industry ever since.

Land Acknowledgement

This conversation was recorded on the unceded, stolen and ancestral territories of the Coast Salish Peoples: the xʷməθkʷəy̓əm (Musqueam), Skwxwú7mesh (Squamish) and Səl̓ílwətaɬ (Tsleil-Waututh), colonially known as Vancouver.

Cole, Patrick and Sam joined the conversation from Münster, Germany.

It is our duty to establish right relations with the people on whose territories we live and work, and with the land itself.

Credits

PuSh Play is produced by Ben Charland and Tricia Knowles. Original music by Joseph Hirabayashi.

Show Transcript