In Who’s The Best? acclaimed collective post are on a mission to settle an ongoing debate – which one of them actually is the best?

Photo by Grant Sparkes-Carroll

A contest of identity with no end point, no rules and no real meaning: it’s all about winning.

Who’s the Best? charts the long and arduous process of post determining – once and for all – the answer to the question no-one wanted to ask out loud: who out of the three of them is definitively, empirically, the best. They’ve undergone months of grueling analysis: magazine quizzes, enneagram tests, underwear comparisons, hand-eye coordination assessments, IQ exams, debates and audience surveys. Now, they present their results.

Externalising a conversation usually reserved for private confessions and solitary pep talks in the mirror, Who’s The Best? is performance as competition, life as game show. There are upstaged moments, interrupted solos, victorious dances and wet eyes. Cutting insults and glimmers of triumph. Truth is swapped with lies and existences are justified – desperately. There are too many contestants and too few prizes. There is at least one loser.

Delivering hilariously mind-bending arguments at a breakneck speed, the performers battle it out on stage, sidetracked by the minutia of category labels and criteria.  They have devised their system, but the criteria keep shifting – and they forgot to write an exit clause. One member can’t be here tonight so she is replaced by a man wearing a wig. He’s Natalie Rose. Also threatening to overtake the competition is the stage itself – as set, lighting and sound carry on with their own show, regardless of the competitor’s intentions.

Part stand-up comedy, part presentation, and part contemporary performance, Who’s The Best? is a stark portrait of the way competition functions in our society – but with amazing dance breaks

“infectiously delirious… once again post raise daggy amateurism to a sublime artform”  Realtime

“insightful, searingly funny… Sublime… Performance that shines a spotlight on the performative nature of our hyper-real, camera-ready personal lives”  Concrete playground

“The premise is engagingly simple… post have managed to once again cut straight to the heart of the issue, without once making you feel like they’re talking about issues, or even really performing at all.”  FBI Radio

See also: Shamelessly Glitzy Work and Everything I Know About The Global Financial Crisis In One Hour

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