It all starts with the projection of a video on sexual education as seen through the eyes of conservative Catholics (a pleonasm, I guess), who have to face the challenge of talking about procreation without giving away that having sex can actually be, well, beautiful, passionate, orgiastic – and perfectly divorced from its reproductive functions. After an elderly bigot has explained how the man’s stiff penis deposits its sperm into the woman’s slippery vagina in a way that manages to take all the fun out of sex, a woman in a wedding dress appears on stage. Grace Shaber, brilliantly played by Kristin Winters, shows up for the part of the bride in a casting. The male voice of the (casting) director, pre-recorded as all male voices turn out to be – Parulyte thus metaphorizing the infamous male gaze as invisible yet all-observing, almost totalitarian presences –, submits her to what resembles a police questioning, intruding into her personal life choices by asking her why she herself isn’t married and whether she doesn’t feel like „damaged goods“ because no one has thought about her as the right candidate for life. The play then lets go off its metafictional frame and immerses... View Article