Tinder; the digital experience promising broken hearts and a fire-starter for fighting. That is, if you put it into the hands of Corenski Nowlan, director of #Swipers: the light-hearted rom-com that turns direr than an accidental super-like. Those who have been following the promotions may have noticed the ominous spray paint floating around pamphlets and posters alike; just what is Virex?
The play opens in a dusty little bachelor pad, complete with a mattress on the floor and a single beer in the fridge. In walks Maddy, played by Syd Stuart, gawking at what can only be the witty dialogue between her and a match, followed closely by Gabe, played by Jason McIntyre. The relationship between these two lovers is readily likened to a volcano, with a lapse in Gabe’s faithfulness erupting into an onslaught of back-and-forth screaming about online dating. Coupled with stage combat featuring pillows and relationship issues, the word “bae” doesn’t sound like a real word anymore.
“We wanted to do a play that was truly a product of the year 2019,” says Nowlan. “Social media is no longer a way for us to express our identities as individuals… social media has become our identity.”
“We want our audience to think about the culture of fear that we live in.”
Stuart delivers her lines with the vigour of a slam poet and the viciousness of a young adult who’s just been cheated on, while McIntyre’s charismatic tone and hand gestures make for a particularly entertaining character. Put them together and you create a tension that will dislodge even the most stoic audience member.
About a third of the way through our romance romp, a power flicker interrupts the actors and their dialogue, but they quickly jump back into the scene, only slightly fazed by the split-second blackout.
Nothing out of the ordinary here, nope.
Back at the bachelor pad, the source of the couple’s screaming walks through the door in the form of Carissa, a studious sociology student played by Sophia Hébert. After Gabe unsuccessfully tries to navigate the world of polyamory, Maddy catches him in the act and invites Carissa over as a means to embarrass him.
Though the representation of polyamory is rather improper, the sheer ridiculousness of these characters tells us that you won’t think to get your knowledge of sexuality from these two anyway.
Gabe and Maddy finally find a found common ground in doing whatever they can to frustrate their visitor, opting for an outrageous portrayal of millennial-era internet cringe. As Hébert’s eccentric character tries to make the two act like proper human beings for the sake of social media-related research, they all spiral downward into a shouting match of high blood pressure and niche internet references, leaving Carissa flustered by the tongue-in-cheek attitudes and the use of emojis in verbal speech.
Suddenly, the mystery surrounding Virex comes crashing down all around the audience, completely dragging viewers away from the rom-com and into an immersed, unsettling predicament.
Those lengthy disclaimers fed to us during the play’s promotion now bear their fruit as Virex forces the audience to live-stream their brand of shocking terror:
“Content Warning: Expect the unexpected. This is unconventional, immersive theatre. All potential audience members must understand that the play is not what it seems. Through the use of lights, sound, projections, and masks, we are crafting a unique atmosphere that could unsettle some people:
Recommended ages 16-and-up. Moderate use of strong profanity. Safely choreographed fight scenes. Use of flashing lights. If you suffer from PTSD, an anxiety disorder, or a heart condition, please attend at your own discretion.”
This adventurous twist on theatre is not for faint of heart, and Nowlan hopes that the production will lead theatre in a brand new direction.
“I hope they think about what’s possible in theatre when you think outside the box,” says Nowlan. “I hope it inspires people to take risks with their art.”