Written and Directed by Ois O’Donoghue

Review by Jack Quinn

Summerhall Former Women’s Locker Room

In the intimate, sweat-drenched confines of Summerhall’s Former Women’s Locker Room, HYPER by Ois O’Donoghue and Jaxbanded Theatre envelops the audience in an intense, visceral experience that blurs the line between performer and spectator. This play is not for us—or at least, that’s what we’re told from the outset. The opening prologue is a direct address, making it clear that Hyper speaks to a reality far removed from the typical cisgender, straight viewer. Yet, in its defiance, it becomes an invitation, challenging us to see and hear in ways that may feel uncomfortably unfamiliar.

At its core, HYPER delves into the complex relationship between trans people and their voices, using music and performance as a medium to explore the dissonance and harmony that come with gender transition. Saoirse and Conall, bandmates and best friends navigate the shifting landscape of their relationship as Saoirse begins her transition. The play’s use of a vocoder and autotune not only taps into the hyperpop aesthetic but also serves as a poignant metaphor for the ways trans individuals might alter their voices to align more closely with their gender identity. This manipulation of sound becomes a form of expression, a way to reclaim a voice that often feels alien.

The play’s intimacy is both a strength and a challenge. With the audience seated in traverse and the actors almost within arm’s reach, there’s an intense energy that permeates the room. The veiledness of the trans space—represented by O’Donoghue’s position behind a translucent curtain—creates a barrier that is both literal and symbolic. It reminds us that while we are invited to witness this story, there is a depth of experience that remains just out of reach, reinforcing the idea that this play, in its rawest sense, is not for us.

One of the most striking moments of HYPER is the participatory bathroom scene, where the audience is asked to read out transphobic slurs. This act forces us to confront the harsh realities faced by trans people, making the violence of these words palpable. The dual casting of Saoirse—split between O’Donoghue and cis actor Fiona Larmon—serves as a powerful commentary on the absurdity and cruelty of transphobia, making us question our perceptions of gender and identity.

HYPER is an audacious piece of theatre that dares to be both confrontational and tender. It may not be an easy watch, but it is a necessary one, leaving its audience with much to ponder long after the final note has faded.

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