Last a go

Samuel Müller whirls across the stage, embodying, in a frenzied succession, a kaleidoscopic parade of characters, voices and identities. But as they become aware of their own fictional nature, the play begins to burn: the plot unravels, logic implodes, and reality is swept into a maelstrom of paradoxes. What follows is a performative, metafictional chainsaw massacre in which the last remnants of reality are mown down like B-movie characters in a bad horror film – full of a zest for performance, absurd self-reflection, irony and controlled chaos – unpredictable, exhilarating, radical.