Its characters challenge traditional expectations, both in sexuality and gender. At the discretion of the company (and perhaps even the audience, through pre-show surveys), each performance of Mythos will be cast in a distinctive manner. A female vampire may seduce a female human for one audience;  a male vampire may seduce a male human for the next; another audience may witness hetero-normative relationships playing out. Dramatic power struggles develop very differently when a female is the seducer rather than the seduced. The character of the Deity, when played at a particular performance by a gender-fluid performer, will offer audiences the opportunity to view theatre through a nonstandard lens. The Mythos cast will reflect all forms of diversity: ethnicity, gender, age and body-type. Through diverse casting and fluid character portrayals, the play will challenge traditional expectations of attraction and desire.


The audience/patrons use industrial caged freight elevators to descend stories ‘underground’ to the CORPS DU SANG – an alternative dance club where the vampires play.  Exposed brick and industrial steel galleries, pounding club music and LCD monitors decorate this Goth-meets-Grunge club. Sweat-soaked dancers writhe to blood-pounding music on a crowded dance floor.  Tufted velvet banquettes and chaises, steel cafe tables and chairs litter the space.  The human audience gambles with their fate as they willingly mingle and dance with the undead before the show…

As the Ringmaster begins the evening’s revels with the song, “Come Out And Play”, the audience finds that they are already a part of the show. Actors and actions happen amongst and around them; at the bar, the dance-floor, on raised platforms and catwalks, with video closeups broadcast to large screens throughout the space.

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