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Now Akrout is pivoting to theatre and treading the boards at the Edinburgh Fringe Festival in his one-man play Whore on Trial. As advancements in AI infiltrate film and TV, leading to more manipulation of images, Akrout is leaning into theatre with his Edinburgh production. With me, she learned how to put on her light-diving bell suit, laugh, and see how beautiful it could all be.
Unsurfacing depth with lightness. I spoke to Akrout over email as he prepared for his performance in Whore on Trial , a Kafka-esque monologue with a Jacobean flavour, which marks the directorial debut of Anna Maydanik and stars Akrout as a foppish, Byronic figure with human flaws. During the writing process, he found inspiration in the historic city and its ghostly inhabitants.
When I arrived in Edinburgh, I found myself in a creative crisis. In this intense pressure, I believe I invited other entities to assist in the writing process. It was as if the play wrote itself. Although not set in the Jacobean era, Whore on Trial pulses with a dark, seductive energy associated with the era, and digs deep into the raw, unsettling corners of human nature, where abandonment and violence collide, birthing twisted erotica that drives the narrative.
Akrout created the protagonist of Pierre Asmahan as a flawed and tragic Jacobean character stumbling through his own legal and existential hell. He has injected the script with a sharp, biting irony that veers between the obscene and the alluring. I worked hard, shedding the accent, avoiding stereotypes, striving to be something else. Only two realms remain untouched: the depths of the ocean and the depths within us.
