REVIEW: exit strategy’s How to Win a Gameshow, exit strategy, EdFringe 2026 ★★★★★

To begin, we’re moved around. Stand here, sit there. It’s non-confrontational, but the audience must do what the gameshow’s host instructs us to do. Our host wears a rich blue outfit, matching wig, matching sunglasses. We’re being filmed. A man, plainly dressed, sits nervously in the centre. That’s what kicks off this under-the-radar hour of experiment and interaction from fresh avant-garde performance collective exit strategy. 

How to Win a Gameshow shows, not tells, the extent to which we are willing to sell our personal data to the platforms we use to interact with friends, promote to strangers, or get advertised to by others. It uses the camera much like Michael Haneke does in his films: to observe us as if we’re lab rats. Much like CCTV. But exit strategy aren’t using this play to diagnose these truths, they aren’t even pointing them out. Rather, they’re using them. Because they’re fun to use, and because it makes for good theatre. 

So why the gameshow format? I’m sure the creatives will have a better answer, but in my book, it’s because we all grew up with them. If you’re a certain (my) age, it’s probably easier to write a play like reality TV than it is to write a straight naturalistic one. Lest we forget that Gran had ‘Total Wipeout’ on in the corner when we were growing up, not ‘Hedda Gabler’. So, since exit strategy would like to play with us, they choose a form we all recognise. 

The format allows for the audience to compete with Rupert Krüger’s beautifully sketched protagonist. If we win, we are offered sweets and he must do something horrific (like offer a stranger an unsolicited compliment – the very thought makes your skin crawl, I know). When he wins… well I’m sure it’s different every night.

What won’t be different is the arrival of Samori Etienne. To elaborate on his character would be to spoil the whole show, but put it this way — his bit starts with Krüger being stuffed into a dog cage. 

This is really a special formula, and it works brilliantly here. It has clever videography, a gorgeous, minimalist design, and performers committed wonderfully to the bit. Unexpected, shocking but always inclusive, the play cannot help but entertain, and convert even the most sceptical audiences.

What we witness is the genesis of an idea that could develop even more. After an hour of twists and turns, the audience could have gone much further. This’ll never be a Bouffon show where we’re all taking our clothes off, but what it’s doing is slippier than that.

How to Win a Gameshow is actualising a consent we give on an almost daily basis to faceless entities. It is showing us what forms of liveness we recognise more readily than others. It is filming us as we are filmed by governments, businesses, ourselves and each other.

To ‘comment’ on any of this would be to miss the ‘point’. To make a ‘point’ would be to miss the point. And it wouldn’t be as bloody fun. This is really a gem in TheSpaceUK’s programme, and exit strategy have enormous potential. The fact that I’ve seen is only the start of this play’s journey is exhilarating. I hope it’s a long one.

Recommended Drink: Well I chatted to MaryKate a week or so back (which you can read here), and she reckons a Four Loko.

You can catch exit strategy’s How to Win a Gameshow at theSpaceUK venues from August 12-15, 17-22 at 20:35, 21:10 (50 mins). Tickets are available from theSpaceUK Online Box Office.