Operation Blank: The Risk of Routine

‘Nothing, it’s all I do.’

Sleep, eat, work, repeat. It’s easy to laugh at the monotony of a routine, but in a world of uncertainty, it’s no wonder why most of us would choose a repetitive lifestyle over an impulsive one. Nowadays, monotony isn’t something to be avoided but instead has become a survival technique.

Today, so much of our routine has become digital: emails, Zoom, AI assistants. Yes, your online meetings carry stakes, whether they’re about the latest market updates or HR wellness checks, but rarely does a video call become key to saving the world, or actually, ending it.

In his debut play, George Grant, a semifinalist in the Nicholl fellowship screenwriting competition and offer holder for London Film School for screenwriting masters, plays the junior prime minister taking charge of the British government response towards a bombing in Copenhagen. His only obstacles? The frustrating apathy of his superiors, oh, and the totally flawless Microsoft Teams application itself. Mixing comedy and existential dread, Grant creates a both unbelievable yet totally relatable scenario, hooking his audience from start to finish, and executing the play with roars of laughter in between. 

With a projector on stage, Grant interacts with a pre-recorded virtual Teams meeting, involving multiple characters, all played by himself. The characters are easily distinguished based on their archetypes, from unaware, disinterested prime minister to overly self-obsessed jock marine. The different ages of Grant’s characters displays how this issue has been present for all generations, but it is especially so relevant to the work ethic and lifestyles of modern youth. The variety is a testament not only to Grant’s diverse acting range but also his accurate insight into the many attitudes people have to today’s global crises, hence conveying a world outlook that is both intro- and extrospective.

One choice that the play makes is the use of three video calls: one with Junior’s other government officials, one with an HR lady, and another with himself, acting as an inner monologue. The switchup between these meetings builds tension. Still, the when and where of these different meetings slightly blurs the plot’s timeline, possibly leaving the audience wondering if they’re occurring all at the same time, or if one is happening after the other, or if they’re all in his head. 

Despite this, what makes Operation Blank so impressive is how well-rehearsed it is. There is not a single moment of lag (pun intended!) in the pacing and acting of the show. Grant’s attention to hilarious detail is further displayed in the titles of the Teams meetings, such as ‘What the **** is happening?’ and ‘I’m in Spain without the S’. Moreover, through using references to social media, Meghan Markle, and the press, the play incorporates modern cultural knowledge into its story. As a result, Grant’s play becomes a gripping commentary on 21st century social engineering and media manipulation.

If you’re looking for sharp and witty theatre or if you’re just tired from work and want to know you’re not alone, Operation Blank is right up your alley. Its exploration of metamodernism displays today’s (hellish) digital landscape, enabling us to laugh about it, even as we live through it.

★★★★