Hey there, time traveller!
This article was published 3/7/2019 (606 days ago), so information in it may no longer be current.
In a show that resists trends — and even conventions of theatre itself — a writer and an actor perform an edgy and interesting, 30-minute dialogue on gender, land and colonization. Don’t worry, you haven’t missed the first three episodes — as playwright Frances Koncan tells the audience: "They’re not written yet but the title worked for George Lucas."
And so begins a plot where not much happens: a settlers’ cart breaks down on the Oregon Trail, there is tainted water and "dysentery" everywhere, and no options left but to die. But, like Waiting for Godot, dying is impossible. All that’s left is to talk and wonder who stole the oxen.
This is why audiences will enjoy best Koncan’s observations on why people invade one another’s lands and bodies alongside the on-stage struggles of Maegan, a drag queen who just wants to be. It’s all very post-modern and post-colonial, intended to provoke rather than entertain.
— Niigaan Sinclair