Rooted in the Helen of Troy myth, this theatrical installation explores the exploitative roles women are coerced into playing. Helen is the “everywoman”. Trapped in echoes of our own double binds, she’s faulted for the world’s catastrophes whether she’s painted as an object of weakness or one of sexual deviance. She exists in four roles: whore, wife, lover, and child, with any number of performers dividing up the text. The performance itself is immersive and in a promenade-style
allows interaction with the Helen(s) in delegated space(s) where audiences can choose which versions of Helen to watch and/or turn away from. Focusing on feminist concerns such as believability, assault, objectification, sexuality, and consumption, the performance invites engagement with multiple artistic mediums and ultimately seeks to empower and transcend gender dynamics.