A psychological thriller focused mostly on the creation of feeling through sound rather than the visuals provided. Before arriving to the workshop, I basically had no expectations, all I had heard about the play was that it was a horror which actually described the film within the play, rather than the play we were watching – if that makes any sense? But, my last-minute decision to join and watch the ‘Berberian Sound Studio’ was a good choice. Despite constant minutes of confusion, embarrassing jump scares at the sudden screams or the turning off of lights, I constantly found myself leaning forward as if I was trying to involve myself in the action. The director, Tom Scutt, put an intentional emphasis on the atmosphere he created, so that the audience focused on the noises surrounding us; at points when the volume was increased and the room was fairly dark, I found myself unintentionally closing my eyes to focus on the sounds. Somehow, he used this to explore gender inequality and implicitly vs complicity. My favourite way he did this was when one character said, ‘silence is the real sound of fear’. I kind of get it and don’t get it at the same time, but it stuck with me and created a constant feeling of intrigue and I don’t think that that was an accident. I guess to dumb it down, Sylvia is basically saying that we’re the most scared when we are silent. That really related to Gilderoy who went from being passive and implicit to his surroundings, to playing an active role and becoming complicit. The only reason he became so complicit was because like every other sheep in the world, fear of rejection or not being accepted made him stay silent and slowly he mimicked the ‘emotional self-mutilation’ of all the other men around him. It might be a stretch but this same idea and feeling of fear is the same thing that allows female intimidation, or sexual harassment to continue. That’s why movements like #MeToo are so important, we’ve got to kind of get out of this complicity that we are being conditioned to follow.