This is a Costume Drama

Once Brendan Wyatt's sphincter and genitalia have been presented almost like clinical exhibits, or William Ellis seen only on screen, has alternatively stimulated his penis then allowed it to subside, there's not much left to say on the subject of nakedness, although that doesn't stop Hoskins from saying it. –The Toronto Star

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In THIS IS A COSTUME DRAMA, the body is both the subject and the stage—an archive, an altar, and a revolt in one. The work is not bound by the traditional confines of narrative; it is instead an unrelenting examination of identity, image, and the self-imposed illusion of costume. Here, flesh turns to fabric, fabric to code, and what was once a vessel for identity is stripped of all pretense.

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This is a drama of embodiment, not representation. The performers shed layers, not just of costume, but of meaning itself. Through a charged visual and sonic landscape, each movement questions the very notion of identity as performance. In this act of disrobing, they confront the audience with their most raw, unfiltered selves.

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What begins as a seemingly extravagant display—an opulent costume drama—quickly dissolves into a critical deconstruction of spectacle itself. The work resists illusion, favoring instead the truth found in vulnerability, refusal, and radical presence. In THIS IS A COSTUME DRAMA, identity is not worn but unmasked, not constructed but deconstructed. It is an urgent act of peeling away the layers of fiction that bind us, revealing what lies beneath: the unvarnished truth of selfhood, in all its messiness, complexity, and beauty.

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