HERE'S WHAT WE GOT IN THE WORKS...
William Shakespeare wrote a few questionable scenes, to say the least. In several of his stories, women are attacked, or very close to attacked, sexually, finishing with the quaint forgiveness of the man. To top it all off, these were stories written by men, and played by male actors.
We’re taking several Shakespearen women involved with sexual violence, and putting them into a kind of Shakespeare “survivor group” together.
Lavinia has it a lot worse than a lot of the group: her hands and tongue removed, her body deflowered, her life taken out of mercy by her own father, she feels a little disconnected from the comparatively mild stories of group. When her friend Sylvia is attacked by a man named Proteus, who is then immediately forgiven for the attempted crime, Lavinia can’t sit still anymore, and she’ll stop at nothing to find her own personal justice.
Lavinia is a solo performance piece played by one male actor. Following the Shakespearean tradition of cross-gendered performance, Lavinia meditates on an ingrained male desire to write and control the stories of the women they love, and the desire to break free from the systems that make up our world’s stories.
Lavinia was developed in a short showcase at the National Theatre School of Canada, as a part of a cabaret event called selfstart. It was then showcased in the Off-Off Broadway Festival, produced by Samuel French Publishing house in New York City.
A woman is attacked one night at a bus stop, and becomes magically and instantaneously pregnant, giving birth two magical twins; one dark, one light, both quite…inhuman-looking. With no food or home, the woman shelters the twins in an abandoned building, but when the two get playing with their mother’s gun, light twin shoots the dark twin by accident. Before mother can bury the dark twin, light twin embraces his brother, magically reviving him.
One possesses the destructive power of a tank, one possesses the hopeful power to revive. Mother sells the brothers’ extraordinary powers as a street sideshow, soon abandoning and selling the twins to the army. Kids with Guns mixes the arts of break-dance and clown to deliver a spectacular carnival of violence which seeks to reflect the extremities of the world.
Kids With Guns was first developed by Jon Lachlan Stewart and Hamza Adam in a short textless piece. It then was developed by Vincent Forcier directing, as a part of our trilogy Afterlives. The most successful of the three pieces, we are now going forward to develop a full production of this unique, textless piece.
Life on the trailer park ain’t easy: Chris owes a whole lot of money to his own mom’s new boyfriend, for coke he lost. Makes sense that he decides to plot with his own dad on how to kill his mom to get some nice fat inheritance money. So they hire Joe. Killer Joe. Assassin extraordinaire. Problem is Joe asks for money up front, and seeing as Chris doesn’t have any money, Killer Joe makes a small exception: he gets to have Chris’ daughter, Dottie, until he gets the money.
Killer Joe is one of the first plays of Pulitzer Prize winner Tracy Letts. This raw tale of love and the loss of innocence in a scarred and battered world is brought to Montreal in its FIRST Quebecois Translation. Surreal is excited to be developing its first completely French production.
Killer Joe is slated for a public staged reading on February 7 of 2015, at La Licorne in Montreal, Quebec. Come check us out.