Hir at Red Stitch Photo: Teresa Noble “The youth don’t understand you can’t mess with form and content at the same time.” Isaac has been in the army; the weight of the war is still in his body, causing him to stoop, to not look people in the eye, to vomit. He’s returned home, hoping to be embraced by his parents and his sister. But his family has changed; this comfortable home is now a mess of clothes on the floor and dirty dishes, empty cupboards and piled up furniture. This is not the reunion Isaac was looking for. Father Arnold has had a stroke and mother Paige is feeding him a cocktail of pills to keep him docile. He’s on estrogen and made-up like a clown. Max, who was once Maxine, now identifies as transgender and insists on the pronouns of “ze” and “hir”. The “hir” and “here” homophone is key to Paige’s many rants throughout the play; with all this brand-new information at her fingertips, she’s ready to change the world. And she’s starting with upending the
Playwright, Critic, Screenwriter.