The Greek god of love, Eros, descends to a modern rooftop in search of his lost soulmate, Psyche. There he finds Poppet, a blind woman sunbathing alone. He awakens her and reveals her true identity, promising immortality if she will give up her mortal life.

Their reunion is interrupted by Poppet’s brother Morris, a flamboyant would-be Shakespearean nun, who falls for Eros himself and begs to be taken too. As myth and reality intertwine, the three navigate love, loss, identity, and destiny leading to a final leap of faith.

The play blends lyrical romance and metaphysical musings with sharp humour, ultimately veering toward a near slapstick, panto style ending that embraces chaos, camp, and catharsis.

A Still Life. A bunch of cut
flowers – not dead – not live.
A life within death.

This is a play about a play with
no plot. No narrative. None.
No formula – no construct.

A play that isn’t. Where the
dialogue – I trust – doesn’t
sound like writing.

Set in the land of another.
The world in-between.

Dolly remains who she’s not.
Roger a person like any other.
Special.

The recorded history – thirteen
centuries ago – as shocking
as it is now.

The action – such as it is –
informs – evolves – stumbling back
to where it began.

Destined to end without one.
The Still Life.

Everyone’s a liar.
If you accept the premise – survival is the great leveller – then you will also - at some point – indulge in this time honoured - not so gentle art – in your own private arena where all is never quite enough.
Meet Mark, Paulina, Sasha.
Mark put the art in artifice. A wealthy politician – expert in his conniving sincerity while expanding upon the benefits of ‘transparency’.
A man with no challenges – no morals – eagerly awaits his new expensive escort confined to wealthy lowlifes like himself.
Paulina (Powalina) looks like she might spoil the fun – for although a liar – is acutely aware of it – and would like to shove Mark’s selfish ego up his pampered Paris end.
Sasha – however – is the undeniable liar - ‘par excellence’. Mark’s estranged wife – pregnant - lies about the identity of the father – achieving a lower basement status surpassing them all.

It’s the last night of ‘Lear’.

Sarah plays Cordelia – having an affair with Tom – who plays Fool.

A relationship based solely on sex to begin with develops into something more meaningful as the evening progresses.

Both having a childhood deprived of a father, forges a much deeper bond, becoming, paradoxically, that of a ‘family tie’.

This, in turn, is aided and abetted by Robert, an alcoholic, who plays Lear, grieving for his own daughter, and finding some solace, in Sarah, and perversely – Cordelia.

Tom, a stripper before the play, becomes jealous of Robert’s preoccupation with Sarah wanting him to share it with his own similar need.

Echoes of Lear provide a sounding board for the three of them, and finally, some form of resolution.