A Suffocating Choking Feeling is what happens when a lie becomes content—and the content is contagious. đŸ“±BRING YOUR PHONE and LEAVE IT ON.
A darkly funny, unsettling deep dive into truth, lies, and the performance of authenticity online. Inspired by the real-life scandal of influencer and cancer-con, Belle Gibson (BBC’s Bad Influencer & Netflix’s Apple Cider Vinegar).
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| Photo by Darren Gill |
Living day to day, not knowing if tomorrow will come, Simone Hamilton is overcoming the odds. Rising pop star, influencer, and fighting a serious illness, her followers have witnessed it all…
But what makes them believe it’s true?
Part live gig, part digital fever dream, A Suffocating Choking Feeling is a subversive, satirical, and disturbingly funny look at how social media shapes our collective appetite for tragedy, beauty, and belief.
Each night, Simone goes live on Instagram from the stage, transforming the theatre into a real-time livestream. As her followers (that’s you) comment, question, and troll, her story of survival starts to crack. The feed glitches. The truth warps. What began as confession turns into confrontation.
We sat down with creator and performer Simone French to learn more.
What sparked the initial idea for A Suffocating Choking Feeling?
The idea began with my fascination with real-life social media influencer and cancer-faker Belle Gibson - specifically how she managed to fabricate an illness, maintain that lie and build an entire online persona and business around it. In 2014 she was one of the most viral influencers in the world and I was intrigued by the kind of content she must have been posting to convince people she was unwell, make people fall in love with her, and make them want to support her. She was essentially performing a character every single day, and I started to wonder about what the consequences are of having to live a lie that big - almost like she was method acting but it became her reality!!
The idea began with my fascination with real-life social media influencer and cancer-faker Belle Gibson - specifically how she managed to fabricate an illness, maintain that lie and build an entire online persona and business around it. In 2014 she was one of the most viral influencers in the world and I was intrigued by the kind of content she must have been posting to convince people she was unwell, make people fall in love with her, and make them want to support her. She was essentially performing a character every single day, and I started to wonder about what the consequences are of having to live a lie that big - almost like she was method acting but it became her reality!!
During the Covid Lockdowns, I was experimenting with live performance on Zoom. I missed live theatre so much, so finding ways for audiences to interact through the comment section became a surprisingly rich form of live connection. That period of online experimentation, along with a development process through Melbourne Fringe, Camden People’s Theatre, Theatre Deli, Pleasance Theatre & Omnibus Theatre helped shape the foundations of what eventually became A Suffocating Choking Feeling.
Why did you choose to explore the story of Simone Hamilton?
Beyond my dark fascination with Belle Gibson, I’m genuinely concerned yet intrigued by how social media is used by both celebrities and everyday wannabes to flood followers with trivial or overly personal content. Influencers can be so vacuous and lacking in self-awareness, promoting unsustainable consumption, unrealistic lifestyles, and behaviours that are genuinely harmful to our mental health. I wanted to satirise this world and the tragic characters who post their lives away for validation. Simone Hamilton is my alter ego in the show, a naive singer desperate to go viral. She documents her journey as an aspiring artist, constantly chasing trends in the hope of becoming famous. The story takes a dark turn when, at her lowest point, she discovers she gets more likes when people believe she has cancer. She leans into the attention, fabricating a cancer diagnosis and manipulating her followers for sympathy and traction, echoing the deception of Belle Gibson. As the lie spirals out of control, the audience becomes part of that journey, shifting from supporters cheering on her rise to trolls interrogating her about the truth. It’s one of my favourite parts of the show.
Beyond my dark fascination with Belle Gibson, I’m genuinely concerned yet intrigued by how social media is used by both celebrities and everyday wannabes to flood followers with trivial or overly personal content. Influencers can be so vacuous and lacking in self-awareness, promoting unsustainable consumption, unrealistic lifestyles, and behaviours that are genuinely harmful to our mental health. I wanted to satirise this world and the tragic characters who post their lives away for validation. Simone Hamilton is my alter ego in the show, a naive singer desperate to go viral. She documents her journey as an aspiring artist, constantly chasing trends in the hope of becoming famous. The story takes a dark turn when, at her lowest point, she discovers she gets more likes when people believe she has cancer. She leans into the attention, fabricating a cancer diagnosis and manipulating her followers for sympathy and traction, echoing the deception of Belle Gibson. As the lie spirals out of control, the audience becomes part of that journey, shifting from supporters cheering on her rise to trolls interrogating her about the truth. It’s one of my favourite parts of the show.
How has the integration of live streaming into your performance changed the way you interact with your audience?
As part of my theatre company TomYumSim (Tom Halls & Simone French), we create interactive work that invites audiences to engage on a deeper level. In this show, the audience become the followers of Simone Hamilton, watching me create content live while commenting from their phones. The Instagram feed is projected onto a screen so everyone can see the livestreamed version and how easily it can be manipulated with filters, backdrops and framing. Audience members are encouraged to post throughout the performance, and I improvise all my responses, which means the show changes every night. It’s always hilarious to see what people write, especially as the audience shifts from supportive fans to trolls while Simone’s lies unravel. This level of interaction is integral to the piece. It makes the audience feel complicit, sometimes even responsible for how the story unfolds. It also opens up space to reflect on the themes of the show and on how we all use social media in our own lives.
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| Photo by Darren Gill |
Can you share specific moments that stood out during performances?
One highlight is the moment when Simone Hamilton reaches the peak of her fame and I create a music video live onstage. I worked with the other half of TomYumSim, Tom Halls, to develop the brilliant video and audio elements, and once we add lighting and smoke to it, it gives the show a real punch. It also looks fantastic on the Instagram livestream, where I use filters and special effects to elevate the clip even further. And, of course, there are plenty of laughs thanks to my outlandish interactions with the audience.
Throughout the show I blur parts of myself with the character and there is a moment in the show where some of the lies unravel, and you can literally hear people in the audience gasping out of shock. I’ve even had someone walk out because they found it quite intense... I won’t say more to avoid any spoilers, you have to see the show to find out!
The show delves deeply into the idea of authenticity online. What are your thoughts on how social media influences our perception of truth and connection?
As a performance artist I have a love-hate relationship with social media. It can be a brilliant tool for connection and audience-building, but it demands huge amounts of time and energy and often feels self-indulgent. I constantly worry about posting too little or too much, and I know many people feel the same whether they use social media for work or in their personal lives.
I’ve been reflecting on how we all construct versions of ourselves online. We share our best moments, our achievements, and curate a specific storyline. In creating A Suffocating Choking Feeling I’ve done a lot of self-reflection, and I’m inviting audiences into that conversation.
I want audiences to see how easily social media content can be faked, and to think about their own habits: how they use these platforms, who they give their time and likes to, and why.
At the same time, I want to show how social media can also be a space for creativity. While developing the show I worked with young people from CYT, Global Generations, Colchester 6th Form, Theatre School of Arden & Middlesex Uni to explore how they use these platforms, and there are genuinely positive sides. Social media can connect people with like-minded communities and give young artists a safe place to experiment with music, dance, theatre or any other form of performance.
I think more people should remind themselves that social media is a performative platform and not real, and in many ways everyone is crafting a version of themselves that they want the world to see.
How do you mentally and physically prepare for a performance?
I’m a very physical performer, and you’ll see that in the show as I throw myself around the stage, dance, and interact with my selfie props and backdrops. Because of that, I warm up for each performance as if I’m about to do a workout.
Since my character is a wannabe popstar, I sing throughout the show. I’m a trained singer and have a background in music theatre, so I warm up my voice and get myself mentally ready for performance. And finally, I try to get into a headspace of energy and readiness, prepared for however the audience chooses to interact. Their comments are often funny, strange or completely unexpected, and responding in the moment is always exciting. Not knowing how each interaction will unfold gives the show its electric, risk-taking energy.
What has been the most surprising response from audiences who have seen your show?
Audiences leave saying they’ve never seen a show like this, because of the combination of live performance with live Instagram interaction, and the many layers of lies. They also often leave unsure about what was true and what was a lie and always want to ask me this afterwards (which I leave up to them to decide!).
Audiences leave saying they’ve never seen a show like this, because of the combination of live performance with live Instagram interaction, and the many layers of lies. They also often leave unsure about what was true and what was a lie and always want to ask me this afterwards (which I leave up to them to decide!).
How do you envision pushing the boundaries of live performance even further?
I’ve just finished creating and performing a show at Croydonites Festival that was as boundary-pushing as A Suffocating Choking Feeling. It was called Trainwreck, and I used AI both to write parts of the script and to live-direct the action, which made the whole experience unpredictable and hilarious. The show was inspired by the infamous Willy Wonka immersive event in Glasgow that collapsed after one day because it used AI to market itself but delivered none of what was promised.
I’ve just finished creating and performing a show at Croydonites Festival that was as boundary-pushing as A Suffocating Choking Feeling. It was called Trainwreck, and I used AI both to write parts of the script and to live-direct the action, which made the whole experience unpredictable and hilarious. The show was inspired by the infamous Willy Wonka immersive event in Glasgow that collapsed after one day because it used AI to market itself but delivered none of what was promised.
So I created an immersive train ride that becomes increasingly bizarre as AI takes over, including moments where the AI instructs the audience in a series of comical interactive situations. The response was fantastic, with many sold-out nights, and we’re now preparing to take the show on tour.
I want to keep making work that challenges traditional theatre, embraces technology and the zeitgeist, and comments on the world we live in.
I want to keep making work that challenges traditional theatre, embraces technology and the zeitgeist, and comments on the world we live in.
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| Photo by Darren Gill |
What do you hope someone takes away from seeing A Suffocating Choking Feeling?
I hope audiences laugh and gasp throughout the show, and enjoy jumping into the Instagram comments thread. I want them to leave questioning what is real and what is fake, and to reflect on their own relationship with social media. Have they fuelled vacuous influencers, trolled someone, or crafted a curated version of themselves online?
I hope audiences laugh and gasp throughout the show, and enjoy jumping into the Instagram comments thread. I want them to leave questioning what is real and what is fake, and to reflect on their own relationship with social media. Have they fuelled vacuous influencers, trolled someone, or crafted a curated version of themselves online?
I also hope they enjoy the rollercoaster of interacting with one another. One of my favourite things is seeing audience members chatting in the bar afterwards, bonding over comments they posted during the stream and how they chose to support or attack me in the moment. It’s incredibly satisfying to watch real connections form out of something that is so often a lonely and toxic space online.
A Suffocating Choking Feeling runs at Omnibus Theatre from 25th - 29th November 2025. Tickets are available from https://www.omnibus-clapham.org/suffocating-choking/
The show then plays at the Norwich Arts Centre on 7th December 2025. Tickets are available from https://norwichartscentre.co.uk/event/live-art-club-presents-a-suffocating-choking-feeling/
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