Page extent: 104
ISBN: 9781786822598
Binding: PaperBack


Taylor Mac

PaperBack (21 Jun 2017)

“Stop behaving like a man!”

“We are men!”

Isaac gets home from serving in the marines to find war has broken out back home. In a nondescript town somewhere in Central Valley – America, Isaac’s mom Paige is blowing up entrenched routines.

Fed up with domestic patriarchy, Paige has stopped washing, cleaning and caring for their ailing father, who recently suffered a stroke. She reigns supreme.

Ally to their mother’s new regime is Isaac’s sibling Max. Only last time Isaac checked, Max was Maxine. Once the breadwinner, Isaac’s dad has toppled from the head of the household to the bottom of the pile – a make-upped puppet emasculated by Paige once and for all.

Additional Information

ISBN13 9781786822598
Binding PaperBack
Page Extent 104


'Radical ideas should shine brightest of all. They should be exciting to learn, know and teach. They should be accessible to all the people they have the potential to lift up... Thanks to New York playwright Taylor Mac however, that cost is just the price of a ticket, to Belvoir Street theatre’s production of Hir... [it] reminds us of theatre’s potential: to be a brilliant conduit that makes ideas alive and accessible. Hir doesn’t merely explore themes of gender fluidity, queer theory and the subversion of toxic masculinity, because that would be dull. It lightens the weight of concepts that many find foreign or fraught, places them in a family setting and detonates them. Shrapnel flies everywhere... This is not real life – this is theatre and, on this stage, the message is that you don’t get away with it. Power flips and karma comes for you in the shape of a gauzy white nightie.' The Guardian ★★★★★

'Perhaps no play this year inspired a greater sense of awe than Taylor Mac’s audacious dive into the dysfunctional-family playpen of American theater.' New York Times

'New York playwright and performance artist Taylor Mac’s Hir is a play of absurdity, anarchy and anger. While Mac has some sly fun at the acronyms and pronouns of the new gender terrain – ‘hir’, ‘ze’ and so forth – the play’s targets are the systems and cultures of the American patriarchy, the machine that turns men into bullies and beasts.' The Stage