Gender power dynamics get a table flip in the provocative, timely Beautiful Man

Foreground: Ashley Botting, Mayko Nguyen & Sofía Rodríguez. Background: Jess LaVercombe. Set design by Gillian Gallow. Costume design by Ming Wong. Lighting design by Jason Hand. Photo by Joseph Michael Photography.

 

Factory Theatre closes its 2018-19 season with Erin Shields’ Beautiful Man. Directed by long-time Shields collaborator Andrea Donaldson (now the new AD at Nightwood Theatre), assisted by Keshia Palm, Beautiful Man was first produced during SummerWorks in 2015—a few years before the #MeToo movement exploded into public consciousness. A hilariously sharp, satirical and thought-provoking turnabout of gender power dynamics, Shields has revised the original script to reflect the #MeToo landscape; and has added a section that provides a sense of everyday realism—in both cases, flipping gender power roles in surprising, provocative ways.

I first saw Beautiful Man at SummerWorks 2015—and loved it. Not for the feint-hearted when it comes to adult language, and discussions of graphic sex and violence, the razor-sharp, bawdy, no holds barred script and the playful, rapid fire performances turn the tables on who is marginalized and objectified. Three women—Jennifer (Ashley Botting), Sophie (Mayko Nguyen) and Pam (Sofía Rodríguez)—get into a passionate discussion about popular scripted media; all stories in which the female characters hold the power, and men are subject to objectification and violence. A movie about a world-weary, tough yet haunted female homicide detective on the hunt for a female serial killer who preys on beautiful men. Exhausted and zoning out in front of the TV, the detective watches a violent, graphically sexual Game of Thrones-esque fantasy fiction series featuring a powerful, cruel queen and her amazon warrior sister. Within the TV show, the queen watches a play with a plot that’s similar to Julius Caesar, but with women in the key roles; and within that play, a puppet show starring a lusty cave woman. Yep, it’s a puppet show within a play, within a TV series, within a movie—all within a play!

Throughout this first fantasy section of the play, the Beautiful Man (Jesse LaVercombe) is a peripheral character, always present in the background, with little to say as he gradually removes his clothing throughout. A sensitive, supportive but frustrated husband; a poignant murder/rape victim; a conquered sex slave. Valued only for his beauty and usefulness to the women in charge, his name is perpetually forgotten. In the epilogue, the shifted power dynamic continues, but in a markedly different way, as a woman relates personal anecdotes of navigating everyday corporate oppression, mansplaining, harassment, self-doubt and chastisement, and fear for her safety.

Outstanding performances from the entire cast in this thought-provoking, timely piece of theatre. Beyond mere fan girl involvement with the media they’re consuming and discussing, the three women engage on a deeply personal level with the movie, TV series, play and puppet show. Botting’s Jennifer displays wry wit and shameless enthusiasm; Nguyen’s Sophie brings an edge of precision and authority; and Rodríguez’s Pam relishes the sensual and forbidden. At times misremembering details in their reverie, these three  women find a titillating oasis in these stories of sex, violence and dominant female characters. And LaVercombe gives a sensitive and moving performance as the Beautiful Man. Viewed as eye candy, the “other half”, a sex object, a victim, and only subjectively and conditionally seen as useful—this is a man standing in places traditionally endured by women.

Despite the graphic sex and violence described during the first part of the play, not to mention the fact that these women are really getting off on it, the second part is perhaps the most provocative. What impact does it have on the conversations about these issues? Will the everyday oppression of women be better understood when told in this manner? Who gets the last word?

Beautiful Man continues in the Factory Theatre Mainspace until May 26; advance tickets available online or by calling the box office at 416- 504-9971.

Check out this Intermission Spotlight piece on Shields and her work by Carly Maga, including chats with Shields, Donaldson and Maev Beaty. And Megan Robinson’s conversation with Shields and Donaldson in In the Greenroom.

Advertisements

Political satire with extra bite in the hilarious, astutely observed 1979

Philip Riccio. Set design by Steve Lucas. Lighting design by Nick Blais. Projection design by Scott Reid. Costume design by Jennifer Lee Arsenault. Photo by Dahlia Katz.

 

The 1979 Group presents Michael Healey’s 1979, a razor-sharp, satirical look at Joe Clark’s brief tenure as Prime Minister, the budget vote that was the beginning of the end for his minority Progressive Conservative government, and the shift in Canadian Conservative politics—directed by Miles Potter and running at the Berkeley Street Theatre Downstairs.

Set in the Prime Minister’s impressive wood-panelled office (set by Steve Lucas, with lighting by Nick Blais), 1979 imagines the events around December 11, 1979—the fateful day the new Progressive Conservative government presented its first budget. It’s a big day for fledgling PM Joe Clark—the “nobody” from Alberta who beat Pierre Trudeau and the Liberals in the June 1979 election (though it could easily be argued it was a rejection of Trudeau and the Liberals, as opposed to an outright win). Clark’s minority government is scrambling for numbers on the budget vote (which includes a widely hated gas tax) amidst a Liberal opposition coalition with the NDP, and assholes among its own ranks. And on top of that, Clark and his Minister of External Affairs Flora MacDonald are coordinating an extremely sensitive life and death mission with the CIA to sneak six Americans out of the Canadian embassy in Tehran and get them safely back home.

A hilarious, quick-paced distillation of events and the political climate of the time, 1979 both embraces and parodies its real-life characters. Philip Riccio gives a classic comic straight man performance as Clark, suitably outfitted in a bland light brown corduroy suit (costumes by Jennifer Lee Arsenault). There’s an exterior calm that belies the screaming frustration within, as he patiently endures constant interruptions from various Parliament Hill colleagues throughout, finally getting a brief moment of respite and privacy when his wife Maureen McTeer drops by. Determined to do good for everyone in Canada—and not just those who voted for him—he eschews political gamesmanship for doing what’s right. Undervalued, underestimated and ignored, Clark perseveres even at the risk of losing his job and his party’s re-election.

1979-christopher hunt as pierre trudeau_photobydahliakatz
Christopher Hunt as Pierre Trudeau. Set design by Steve Lucas. Lighting design by Nick Blais. Projection design by Scott Reid. Costume design by Jennifer Lee Arsenault. Photo by Dahlia Katz.

Christopher Hunt and Jamie Konchak do a remarkable job playing the cast of characters (of both genders) who burst in and out of Clark’s office; brilliantly supported by Arsenault’s artful costuming, including some impressive quick changes. Most notably, Hunt gives hysterical performances as the bombastic, hyper-tense, sewer-mouthed John Crosby, bursting through the door like an angry bull, sweating over the budget; and a perfectly self-absorbed, flamboyant and arrogant Pierre Trudeau, as much in love with his own celebrity as he is with the acquisition of power (accompanied with hilarious groovy-ness by Thomas Geddes’ sound design). Konchak is a plucky delight as the warm, smart and savvy Flora MacDonald; as well as Clark’s lovely wife McTeer, who’s navigating bar exams while supporting him personally and professionally. Konchak also brings us shades of things to come for the Conservative Party, with her slick, shrewd leader-in-waiting Brian Mulroney; and a wide-eyed, awkward young Stephen Harper, included in a scene of artistic licence—a harbinger of the self-serving, politics-spewing Conservative Party of Canada on the horizon.

1979-jamie konchak as steve and philip riccio as joe clark_photobydahliakatz-2
Jamie Konchak as Stephen Harper & Philip Riccio as Joe Clark. Set design by Steve Lucas. Lighting design by Nick Blais. Projection design by Scott Reid. Costume design by Jennifer Lee Arsenault. Photo by Dahlia Katz.

Even if you’re not up on Canadian political history, 1979 is an entertaining and eye-opening trip, supported by projected text (projection design by Scott Reid), as well as a timeline at the back of the program, that will keep you up to speed about who’s who and what’s what on Parliament Hill. Encapsulating the political climate of the time with irreverence and astute observation, the play serves as a chilling remembrance of the death of “Progressive” for the Conservative Party of Canada, and the fact that Clark—a man who seems to be too decent for a political career in this environment—was steamrollered by a system that values politics over policy, and a party that was veering right of centre.

1979 continues at the Berkeley Street Theatre Downstairs until January 27; advance tickets available online or by calling the box office at 416-368-3110.

A delightfully witty stab at the upper class in Alumnae’s charming, entertaining The Importance of Being Earnest

Sean Jacklin & Nicholas Koy Santillo. Set design by Marysia Bucholc. Costume design by Margaret Spence, with associate Peter DeFreitas. Lighting design by Liam Stewart. Photo by Bruce Peters.

 

The Alumnae Theatre Company goes Wilde with its charming, entertaining production of Oscar Wilde’s The Importance of Being Earnest, directed by Barbara Larose, assisted by Ellen Green—opening last night on Alumnae’s Mainstage. Set in 1895, this beloved Wilde classic adeptly and hilariously satirizes the British upper class; and is so full of well-known razor-sharp witticisms, it’s a veritable cornucopia of Wilde’s greatest hits.

Best friends Jack (Nicholas Koy Santillo) and Algernon (Sean Jacklin) are wealthy young bachelors about town—wicked enough to be modern, but not so much that they’re criminal. That’s about to change, as Jack is smitten with Algie’s cousin Gwendolyn (Kathryn Geertsema) and has his mind set on proposing. But, although Jack and Gwendolyn are mutually agreed upon the prospect, they must get permission from her imperious mother Lady Bracknell (Tricia Brioux); and they hit a major roadblock when Jack is questioned about his parents, of whom he knows nothing, as he was a foundling. Scandalized at the thought of her daughter marrying a man who was found in a handbag as an infant, Lady Bracknell orders Jack to find evidence of his ancestry—a condition of her giving her blessing to the match.

If that weren’t enough, Jack is living a double life: he is Jack in his country home, where he is the responsible guardian of his 18-year-old ward Cecily (Laura Meadows), but goes by the name of Earnest in town. So Gwendolyn believes his name is Earnest—and has romanticized the name to the point that she believes it to be a vital ingredient to marital bliss. And to make matters even more complicated, Jack has created a fictitious wicked younger brother named Earnest, a relation only mentioned by that name when he’s in the country.

Earnest couples
Left: Kathryn Geertsema & Nicholas Koy Santillo. Right: Laura Meadows & Sean Jacklin. Set design by Marysia Bucholc. Costume design by Margaret Spence, with associate Peter DeFreitas. Lighting design by Liam Stewart. Photo by Bruce Peters.

The engagement on hold, Jack returns to his country home to try to sort out his birth, his name and kill off his fictitious brother. He enlists the aid of Rev. Chasuble (Rob Candy), the affable and learned local minister who enjoys taking his regular constitutional over to the house to visit Cecily’s prim, exacting governess Miss Prism (Tina McCulloch). They are surprised by an unexpected guest: Jack’s brother Earnest! Of course, it’s really Algernon, out for a bit of fun and longing to meet Cecily, who also happens to adore the name Earnest; and the two hit it off nicely and become engaged on the spot. And when Gwendolyn arrives, curious about the engraving she saw in Jack’s cigarette case (from Cecily), the two women face off over who is, in fact, engaged to Earnest. Chaos and confessions ensue; and with the arrival of Lady Bracknell, a revelation. All great fun and hilariously sending up the upper echelons of British society, with Algernon’s wry-witted, deadpan housekeeper Lane (Lisa Lenihan) and Jack’s understated, watchful Merriman (Barbara Salsberg) witnessing the tomfoolery of their supposed betters from the sidelines.

 

The cast does a great job with the crisp, rapid-fire dialogue—so full of quotable bon mots, it’s easy to get caught up in the rapier wit shenanigans. Koy Santillo and Jacklin are perfect foils as Jack and Algernon; an odd couple pair of best friends, with Jack (Koy Santillo) being the somewhat more responsible and respectable, and Algernon (Jacklin) being more slapdash and careless. And Geertsema’s sharp, independent-minded Gwendolyn and Meadows’ romantic, precocious Cecily are not only well-matched to their respective boy; they share a highly entertaining two-hander scene, their proper high society manners a thin veil to the steely, take-no-prisoners resolve to win Earnest—only to become BFFs when they learn about the boys’ hijinks with the name Earnest. And Brioux is an impressive, commanding presence as the fastidiously precise, domineering Lady Bracknell; her cutting pronouncements and withering glances as the formidable dowager earned a round of applause on her exit near the end of Act I.

 

tricia in earnest
Tricia Brioux. Set design by Marysia Bucholc. Costume design by Margaret Spence, with associate Peter DeFreitas. Lighting design by Liam Stewart. Photo by Bruce Peters.

The Importance of Being Earnest is Wilde at his wittiest, satirical, make fun of the upper class best—and the Alumnae team does him proud. With shouts to the stunning period costumes designed by Margaret Spence, with associate Peter DeFreitas; Marysia Bucholc’s trim, ornate and highly efficient moveable set, illuminated by lighting designer Liam Stewart; and Rick Jones’ period-perfect sound design. All held together by the intrepid SM Margot Devlin.

 

The Importance of Being Earnest continues on the Alumnae Theatre Mainstage until October 6. Get advance tickets online, by calling the box office: 416-364-4170, ext. 1 or at the door (cash only). Performances run Wednesday – Saturday at 8 pm, with matinees on Sunday at 2:00 pm.

The run includes Post-Show Talkbacks following the Sunday matinees on September 23 and 30; and a Pre-show Designer Panel on September 27 at 6:30 pm. (this one comes with snacks). Check out the fun trailer:

 

And check out this interview with actor Tricia Brioux in the Beach Metro Community News. Keep up with Alumnae Theatre on Facebook, Twitter and Instagram.

 

Toronto Fringe: Art, friendship & astroturf in the quirky, edgy, hilarious The Grass is Greenest at the Houston Astrodome

Adrian Rebucas, Lauren MacKinlay, Anne van Leeuwen, Richard Young & Carson Pinch. Photo by Megan Terris.

 

High Park Productions takes us to The Freedom Factory gallery (22 Dovercourt Road, south of Queen St. East) for a fly-on-the-wall view of the aftermath of an explosive art show opening. The Toronto Fringe production of Michael Ross Albert’s The Grass is Greenest at the Houston Astrodome, directed by Robert Motum, is a quirky, edgy, hilarious look at the indie art world and a group of artist friends as they struggle with finding fulfillment in the personal lives and careers.

Photographer Amy (Lauren MacKinlay) manages an art gallery that’s soon shutting down, so she invites her art school friends to hang their work in one final show—one that quickly closes when radical feminist painter pal Caroline (Anne van Leeuwen) goes all rock star in a hotel room on the place. Cleaning up the debris of art work, wine glasses and broken dreams, Amy is assisted by gallery intern/sculptor Pablo (Carson Pinch) and conceptual artist friend Marshall (Adrian Rebucas) while Caroline fumes and smokes outside before rejoining her friends to explain herself and face the music. And just when you thought things couldn’t get more complicated, Caroline’s fiancé John (Richard Young) arrives and the gang discovers that he already knows Marshall.

Remarkable work from the ensemble, who keeps it real and present amidst all the insanity, razor sharp hilarity and satire. Heartfelt, insightful discussions about the art world, the nature of art and creativity, and the artist’s place within it all—and the existential crisis every artist must confront regarding their work, the precarity of their financial status, and their struggle for personal meaning and fulfillment.

The production features dramatic, evocative works by local female artists Shannon Gernon, Christine Miller, Krista Sobocan and Zabrina Szymanski.

The Grass is Greenest at the Houston Astrodome continues every night at 8 p.m. at The Freedom Factory until July 15. It’s sold out for the remainder of the run, but you can always drop by and take your chances on scooping up a spot from a no-show.

Want to check if the show you want to see is sold out? The Toronto Fringe folks have set up a page for sold-out shows, updated daily.

 

 

NSTF: Giving the last word where last word’s due in the startling, sharply pointed, satirical JONNO

Jason Deline and Erica Anderson in JONNO. Costume design by Christina Urquhart. Set design by Chandos Ross. Lighting design by Steve Vargo. Photo by Dahlia Katz.

 

Rabbit in a Hat Productions presents Alix Sobler’s JONNO, directed by Paul Van Dyck for the Toronto Fringe Next Stage Theatre Festival, running now at Factory Theatre.

JONNO was inspired by a famous sexual assault case that saw a popular Canadian radio personality put on trial—we all know who—and comes in the wake of subsequent sexual harassment and assault scandals that have called out Hollywood celebrities and, most recently, a prominent Canadian theatre artistic director. Delving into the mind of the perpetrator and providing a platform for the myriad complex responses from, and impact on, the survivors—the play speaks beyond any one particular case.

Jonno (Jason Deline) hosts a popular talk radio show; his rich, full tones open the episode with a spoken word essay, and his charming interview style doesn’t shy away from confrontation. One by one, we see his romantic encounters with women turn violent: feminist blogger Marcy (Erica Anderson), singer/songwriter Dana (Parmida Vand) and sex worker Bernadette (Glenda Braganza). The only witness is Mr. Donkey Long Ears (Allan Michael Brunet), a stuffed toy from his childhood who he shields from seeing too much.

When word of his actions goes public, he is visited by Maureen (Alanis Peart), a corporate rep from his employer who has some exploratory and pointed personal questions to ask. A self-professed feminist and lover of women, Jonno genuinely sees nothing wrong with what he’s done—he sees his sexploits as being simply imaginative and out of the ordinary.

The women he choked, hit, kicked and coerced into sexual activity would say otherwise. But, unlike Jonno, who’s perfectly clear and happy to rationalize the events surrounding the encounters, the women are left wondering what the fuck happened and try to make sense of it all as they second guess, struggle with self-doubt and give him second chances. And while the responses of the women are different, all are valid as they play over events in their minds and debate the situation with each other.

The shocking moments of sexual violence are balanced nicely by satirical scenes of corporate investigation, surreal conversations between Jonno and Long Ears, and some darkly funny girls’ night out debates over wine. And the imaginative, effective staging aptly illustrates the serial nature of Jonno’s behaviour, while creating space for the more playful, theatrical elements of the piece.

Amazing work from the cast on this sensitive and infuriating subject. Deline does a great job with the public and private faces of Jonno: the smooth-talking, accomplished, pro-woman radio host and the callous, violent and sociopathic misogynist. Brunet makes an excellent Long Ears; inspired by Eeyore from Winnie the Pooh, he is sweetly droopy and sulky—and acts as both witness and counsellor to Jonno’s actions. A childhood toy/imaginary friend, he is Jonno’s displaced conscience and child-like innocence—even, perhaps, humanity.

jonno-productionphotod-5163_orig
Alanis Peart, Jason Deline & Allan Michael Brunet in JONNO. Costume design by Christina Urquhart. Set design by Chandos Ross. Lighting design by Steve Vargo. Photo by Dahlia Katz.

The women in the cast make for a powerful unit of their own. Like Jonno, these characters are attractive, intelligent and accomplished in their own right—and each takes the journey from victim to survivor in her own way. Philosophical and lyrical, Vand’s Dana strives to gain an understanding through conversation with Jonno. Anderson’s wide-eyed activist Marcy thrives in dialogue with fellow survivors—and finds her inner warrior as a result. Braganza’s Bernadette is sensuous, irreverent and outspoken; surprisingly conservative, Bernadette is a reminder to not judge a book by its cover. And Peart is a hilarious powerhouse as the mercurial, assertive Maureen, who fights fire with fire when she puts Jonno in the hot seat.

With shouts to the creative team for bringing this starkly real and magical world together: Christine Urquhart (costume), Chandos Ross (set), Steve Vargo (lighting), Richard Feren (composer and sound), and Jade Elliot (fight and intimacy coordinator).

In the end, while we may be able to muster a modicum of sympathy for the devil, we believe the women—and whatever personal history or demons Jonno may have do not excuse his actions.

Giving the last word where last word’s due in the startling, sharply pointed, satirical JONNO.

JONNO continues in the Factory Theatre Mainspace till January 14; for exact dates/times and advance tickets, visit the show page.

The secret thoughts of grownups & the stories they tell in the gripping, darkly funny Mockingbird Close

Tiana Leonty & David MacInnis—photo by Jackie Brown Photography

 

When truth collides with fiction, who can you trust?

INpulse Theatre Co. presents the Toronto premiere of Trevor Schmidt’s Mockingbird Close, directed by Ryan F. Hughes and running at Red Sandcastle Theatre.

Iris (Tiana Leonty) and Hank (David MacInnis) live in a nice, clean split-level home on a nice, quiet cul-de-sac in a nice, safe, crime-free neighbourhoood. Their picture-perfect 1950s suburban life is turned upside down when their young son goes missing. Only, when they try to recall the day he disappeared, they can’t seem to get the story right.

As they conduct a door-to-door search on their street—the titular Mockingbird Close—we encounter their neighbours (all played by Leonty and MacInnis); and it’s dark comic portraits all around as we meet them. The vain, judgmental, hyper-religious, baking Lois Vent. Sidney Blackwell, the strangely charming older man with his prized train set in the basement and a bed-ridden wife upstairs. The attention-starved, “Mrs. Robinson” Mona Hobbs. The odd, soft-spoken Jarvis Jermaine. No one has any information on the missing boy—and all are concealing something. And then there’s the malevolent, mysterious older lady; the one the neighbourhood kids call “the witch.” There’s a dangerous, unsettling undercurrent on this street; and each of its inhabitants has a dark, hidden edge.

Incorporating storytelling with satirical fetishization of normalcy and wholesomeness, Mockingbird Close is part fairy tale, part psychological thriller—one might even say David Lynchian. What really happened? And did it even happen?

Leonty and MacInnis are a two-person master class in their performances, playing on the edge of send-up and nuance as they flesh out these secretive, discomfiting characters. Leonty’s Iris is a neat, prim and somewhat high-strung wife and mother; the perfectly coiffed wife in an emerald green cocktail dress who greets her returning husband at the door with slippers, the paper and a martini. And Leonty runs the gamut, from narcissistic and controlling Lois to desperately lonely seductress Mona. MacInnis is the picture of the flawlessly pressed professional and husband; precise and socially astute, he too is tightly wound—more of the ticking time bomb variety. He is eerily engaging as Sidney and creepily attentive as Jarvis. MacInnis and Leonty seamlessly tag team a single character as they take turns portraying the mysterious and manipulative dark lady behind the final door at the end of Iris and Hank’s search.

The secret thoughts of grownups and the stories they tell in the gripping, tension-filled, darkly funny Mockingbird Close.

Mockingbird Close continues at Red Sandcastle until September 16; get your advance tickets online or at the door an hour before show time. Advance booking recommended; it’s an intimate space and last night’s opening was a packed house.

Keep up with INpulse Theatre Co. on Facebook. You can also find them on Instagram: @inpulsetheatre and Twitter: @inpulse_theatre

NSTF: Past & future collide with biting political satire in the hilariously trippy The Death of Mrs. Gandhi & the Beginning of New Physics (a political fantasy)

Everything but the Bard takes us on a time travelling, feminist political fantasy in Kawa Ada’s The Death of Mrs. Gandhi and the Beginning of New Physics (a political fantasy). Directed by Ada and overseen by artistic producer Renna Reddie, The Death of Mrs. Gandhi is currently running in the Factory Theatre Mainspace during the Toronto Fringe Next Stage Theatre Festival (NSTF).

In 1984, a group of female political heavyweights meet for Indira Gandhi’s funeral: Margaret Thatcher (Elley-Ray Hennessy), Benazir Bhutto (Tennille Read), Imelda Marcos (Nina Lee Aquino) and a young go-getter intern named Kim Campbell (Trenna Keating). When their gathering is interrupted by a mysterious woman named Malala (Ellora Patnaik), they find themselves trapped in a quantum bubble. The new arrival claims to be from 2030, and she has some information and instructions for them to get back to their time and space—and save the world!

Outstanding work from the cast, serving up sharp and darkly funny renderings of these women. Hennessy is hilariously imperious as Thatcher; condescending and imperialist to the core, the Iron Lady has a soft spot for “boyfriend” Ronny Reagan. Read does a lovely job with the ambitious young Bhutto; vain and privileged, she’s a favourite of Thatcher, who’s taken the young leader in waiting under her wing to be her mentor. Aquino gives an LOL turn as Marcos; cluelessly decadent, fancying herself a modern-day Marie Antoinette and crazy like a fox, she’s the penultimate 80s material girl.

Keating is adorkably mousy as the anxious young intern Campbell; super apologetic and deferring to Thatcher in all things, she shows her teeth when she comes to realize that Malala has something important to say. Patnaik gives us a sassy and determined grown-up Malala; brutally honest and ballsy, she stands her ground with this group of impressive, powerful women to fulfill her mission. And she has some startling and unusual ideas to save the future.

Featuring intrigue, espionage, top secret machinations and some wacky new physics, The Death of Mrs. Gandhi lampoons sexism, racism, imperialism and political propaganda.

Past and future collide with biting political satire in the hilariously trippy The Death of Mrs. Gandhi and the Beginning of New Physics (a political fantasy).

The Death of Mrs. Gandhi and the Beginning of New Physics (a political fantasy) continues in the Factory Theatre Mainspace until Jan 15. Get your advance tix and passes online; and check out the full NSTF schedule.

Photo: Tennille Read and Elley-Ray Hennessy – by Cylla von Tiedemann