Written by Bret Fetzer & Keiko Green
Directed by Gavin Reub
April 22 – May 14, Thursdays – Saturdays at 7:30PM
PWYC Preview: Thursday, April 21
PWYC Industry Night: Monday, May 2
The Queen City Comicon throbs and bustles with fans in cosplay, celebrities on the rise (or on the way down), disgruntled vendors hoping to make a buck, and desperate staff members trying to hold the whole damn thing together. A young fangirl finds out she’s pregnant, an actor promoting his new movie tries unconventional means to get laid, and Sailor Moon and Darth Vader fall in love. Passion, comedy, and geekdom collide as thirteen characters’ lives intertwine over the course of one epic day.
“…approximately eight intersecting narratives involving 13 characters unfolds. They’re all pretty compelling. It’s sort of like a stage version of Robert Altman’s Nashville but for nerds and not as weird. The narratives involve a range of issues, revealing the human drama humming beneath the alien sheen of commercial comic-cons… Te Yelland was a stand-out. She plays an often quiet, contemplative aspiring writer named Hazel, who’s not into all the hubbub of the comic-con. She’s the one deciding whether or not she wants to have a baby. It’s challenging to play a captivating introverted character—the impulse to over-brood often wins out — but Yelland’s subtle gestures and easy humor drew me in.” – The Stranger
“Fetzer and Green have created several memorable characters and plots and have done a fantastic job of weaving them all together in a story. Puny Humans contains clever dialogue, spoken by fully formed fascinating characters in intricately connected stories. It’s topical. It’s timely. It’s full of wit and wisdom. It’s a huge delight for genre fans but it’s accessible to non-fans as well. It’s a strong piece of theater writing.” – Seattle Gay Scene
GUS — David Rollison
BRADLEY — Ben McFadden
KEITH — Nic Morden
EMMA — Rachel Guyer-Mafune
JOAN — Kelly Johnson
LAUREN — Grace Carmack
ALICE — Heather Persinger
NATASHA — Patty Bonnell
SAM — Zenaida Smith
HAZEL — Te Yelland
PAULETTE — Lauryn Hochberg
GORDON — Cole Hornaday
JACOB — Kevin Bordi
Poster art by the incredible Peter Hon, local Seattle illustrator
Written by Kelleen Conway Blanchard
Directed by Bret Fetzer
Oct 24-Nov 22
Thurs-Sat at 8pm | Mon, Nov 10 industry night
All Thurs PWYC
$20 general/$18 advance tickets
$12 senior, military, TPS / $5 student
The life of Countess Elizabeth Bathory- the historical noblewoman accused of bathing in young girl’s blood so she could live forever young becomes a supernatural tale both creepy and creepily funny in the hands of the playwright of “Kittens in a Cage” & “The Underneath”.
Kelleen Conway Blanchard lends her unique voice to the story of Elizabeth Bathory, the Hungarian Countess fabled to be one of the inspirations behind vampire lore. Bathory is rumored to have killed anywhere from 60 to 600 young woman and bathed in their blood to preserve her youth.
This fictional account follows the countess from her happy marriage to the fierce warrior Ferenc to her conviction and death bricked up within the walls of her castle. Along the way it explores her possible motivations for the sadistic murders of which she stands accused.
Landing solidly on the dark side of dark comedy, Blood Countess still employs plenty of Kelleen Conway Blanchard’s trademark humor and linguistic gymnastics. This historical horror story is filled with dead birds, headless soldiers, eel pies, and pailfulls of blood.
Blood Countess is directed by Bret Fetzer, and features original songs by Rick Miller, reuniting the team behind Gregory-nominated hit Kittens in a Cage.
Terri Weagant makes her Annex debut as Elizabeth. Weagant has appeared on stages big and small from Seattle Shakespeare Company and Book-It Repertory Theatre, to Theater Shmeater and upstart crow collective. Supporting Weagant is a group of wonderful local talent including Gregory-nominated Mary Murfin Bayley, Blanchard veterans James Weidman and Erin Stewart, and retuning Annex actors Ashlen Hodge, Martyn G Krouse and Sarah Winsor.
“Blanchard has written a gothic comedy that resists the temptation of camp. Instead, she lands startling punches with vivid and unexpected language… The two leads make grimly charming predators, bored by and superior to everything except morts, both petit and grand. Weidman brings a refreshingly abstracted, understated moodiness to a role that some actors would take as an excuse to chew up the scenery, while Weagant gives a positively sociopathic performance, fully unable to understand—and, in the end, not really caring—why other people don’t find chopping off people’s hands and branding the servant girls with hot coins diverting.” – The Stranger
“It would be easy to make the argument that Kelleen Conway Blanchard’s new play, ‘Blood Countess’ is a natural selection for October, with its Halloween balance of the horrific and the bizarre, its combination of cartoonish terror and god-awful blood lust. Blanchard, however, never lets a first impression become the content of her plays. As in ‘Kittens in a Cage’ and ‘The Underneath’ the initial triteness of commonplace tropes provide an easily accessible gateway to well-developed and compelling characters dealing with the absurdity of their situations with genuine emotion and real internal conflict. There are plenty of laughs throughout ‘Blood Countess’ but we never lose sight of the fact that these uncommon people are dealing with exactly the same challenges that we deal with daily, and that caring about their struggles is at least as rewarding as the pure entertainment of the evening…This is real drama. And it works.” – Seattle Actor
“…a gleefully fractured history tale that’s part wickedly black comedy, part demented love story and part scathing prod at the sexual and religious climate of the era… …with a sly performance as the bloodlust-consumed countess […] Weagant keeps the boiling passion simmering beneath the surface…” – Seattle Times
“Blood Countess is a lot of fun. As the countess, Terri Weagant’s unconventional looks and excellent expressive range are riveting… two other characters in her entourage are far more freaky: a deranged, id-like provocateur named Fitzco, played with nearly boundless perversity by Erin Stewart; and a priest, played with chilling, sexualized placidity (and heavy eye makeup) by Martyn G. Krouse. Bathory’s violence-loving libertine husband Ferenc (James Weidman) is another unctuous delight. In Bathory’s grim castle (a simple, black-walled, portrait-adorned set by Susannah Anderson), victims progress from birds to a parade of neighborhood girls (all winningly portrayed by Sarah Winsor)… canny performances and a wacky, Wikipedia-confirmed bite of Hungarian history make the Bathory vein a worthwhile draught.” – Seattle Weekly
“The mayhem is directed by Bret Fetzer as he uses Annex’s usual minimal technical accessories to exceed their low monetary value and provide great stagecraft at the same time. With Ian Johnston’s support for set design, Gwyn Skone providing inventive creepy lighting, super costuming and wigging from Samantha Armitage (probably on a miniscule budget), and sound by Kyle Thompson, the overall effect is a very sophisticated production… The play could be seen as a ‘Halloween’ event at this time of year, but that downplays its execution, cast and the beautiful poetry of the script. Blanchard seems to love creepy, but also demonstrates that she loves language more. Go get your fright on and also experience a multi-layered biography.” – Miryam Gordon
Story & Lyrics by Bret Fetzer
Music Composed by Sari Breznau & Eric Padget
Tue-Wed 8pm | Feb 4-26
$10 gen | $5 stu
Sly American fairy tales about alligators and debutantes, told with sprightly vigor and combined with gorgeous choral singing. A storytelling experience like no other.
“As a storyteller, Bret Fetzer is a five star performer and writer. Following in the tradition of the great Southern storytellers, his writing is imaginative, funny and engaging; the performance, in which Mr. Fetzer assumes all the voices and characters himself, is beyond superlatives.” – Drama In The Hood
appearing on Feb 18-19
Production Manager – Catherine Blake Smith
Stage Manager – Cynthia Kelly
Costume Consultant – Samantha Armitage
Lighting Consultant – Alex King
Written by Kelleen Conway Blanchard
Directed by Pamala Mijatov
Thurs-Sat at 8pm | Oct. 18 – Nov. 16
Preview Thurs, Oct. 17 | Industry Night Mon, Nov. 4
$20 general, $12 TPS/Seniors/Military, $5 Students.
All Thursdays Pay-What-You-Can.
Something monstrous is bubbling up at the new waterpark. Something icky is making Tina, misunderstood girl genius, uneasy—her little sister Winnie has a piece of tentacle in a jar that hisses, her mom Denise is taking too many pills, and the local Sheriff can’t bake enough crumb cakes to make himself feel better about the body parts washing up on the shore. And just what does the fry cook at Salty’s Sea Palace have in his pants? Welcome to the world of The Underneath, the latest play from the writer of Kittens in a Cage and Hearts Are Monsters. Featuring Daniel Christensen, Meaghan Halverson, Tracy Leigh, John McKenna, Pilar O’Connell, Mandy Price, and James Weidman.
“A show about the evil ocean … begins with humping and gore, which is a good precursor to the rest… Playwright Kelleen Conway Blanchard is drawn to pulp material, injecting it with funny grotesquery and ear-catching details… These moments, where actors have the freedom to just let loose with strings of Blanchard’s perfectly deranged rambling, make the show worth checking out.” —The Stranger
“Through the ingenuity of set designers Bret Fetzer and Susannah Anderson, there’s also clever and almost instantaneous transformation of the small stage into five separate sets… Meaghan Mary Halverson provides a really good portrayal of youth and innocence as sweet Winnie, the nice little girl who is abducted by the slithering monsters. Pilar O’Connell, as her brilliant but emotionally wounded and therefore nasty sister, is equally powerful. She’s cruel, angry and rebellious, yet you can’t help rooting for her. The dread, menace and humor underpinning ‘The Underneath’ work really well.” – Seattle Times
Co-produced by Rain City Projects
January 29 – February 13
Tuesdays & Wednesdays, 8pm
$10 general / $5 student, TPS, senior, military
Two people meet. Two people connect. Ordinarily, this might be a night out on the town, perhaps going bowling—but if those two people are a playwright and a director, it’s a very different game. These directors and playwrights have never worked together before, but we’re going to see what their chemistry will create. Co-produced by Rain City Projects, each night of SECOND DATE will feature these three one-act plays, which are being created as you read this:
BLACK LIKE US
written by Rachel Atkins
directed by Tyrone Brown
Featuring: Caitlin Gilman, Laurel Ryan, Qadriyyah Shabazz, Sarah Winsor, and Amber Wolfe
written by Tracy Vicory-Rosenquest
directed by Katherine Karaus
Featuring: Asa Bass, Laurence Hughes, Jana Hutchison and Joan Jankowski
THE SIBYL AT COMMOTION STREET
written by Jaime Cruz
directed by L. Nicol Cabe
Featuring: Andy Buffelen, Justine Freese, and Keiko Green
Book & lyrics by Bret Fetzer
Music by Peter Richards
Directed by Bret Fetzer
Fri-Sat at 11 pm, Oct 26-Nov 16
$10 general / $5 student, TPS, senior, military
PWYC Industry Night: Monday, Nov 12 @ 8pm
No show on Fri, Nov 2
Audrey & Nelson starts with two hapless twentysomethings waking up in bed together with only the vaguest memories of how they got there. But Audrey and Nelson decide to explore the possibilities! What follows is a rueful comic musical about sex, traffic lights, bad language, singing penises, and broken hearts. All characters, including their talking genitalia, are portrayed by puppets. Book and lyrics by Bret Fetzer (writer of Planet Janet, Passport, and Blind Spot [co-written with Juliet Waller Pruzan]), music by Peter Richards (of the local band Dude York). Directed by Bret Fetzer.
Written by Kelleen Conway Blanchard
Directed by Bret Fetzer
Thu-Sat at 8 pm, July 27th-August 25th (Thu PWYC)
$15 general / $10 TPS, senior, military / $5 student
Kittens in a Cage tells Junie’s story, a good girl gone bad, sent to the pen by a buncha rats. From the knife fights in the showers to riots in the prison mess hall, Junie has to toughen up fast. Lucky for Junie, she’s got Vickie. A tough love story about bad broads that can’t get no breaks.
Junie, a juvenile delinquent with a heart of gold, gets thrown into a prison cell with hardened arsonist Vickie. But as they team up against the predations of prison queen bee Jeanine and her cannibalistic sidekick Barbara, not to mention the deranged scientific schemes of the Prison Matron, Junie finds her heart swelling up over Vickie. Does Vickie feel the same? Will Jeanine take vengeance in the shower? What’s up with those rumors of strange furry babies in the Matron’s secret laboratory?
Kittens in a Cage features an all female cast of Annex favorites, original songs by Rick Miller performed on the ukulele by Francesca Mondelli, and Kelleen Conway Blanchard’s unique voice. Kittens in a Cage is a love story, a story of breaks both good and bad, a story of survival, and an agonizingly funny portrayal of women behind bars.
Kittens in a Cage is directed by Bret Fetzer. Blanchard and Fetzer previously teamed up on Small Town (produced by Annex Theatre in 2007) and Hearts are Monsters (produced by Macha Monkey Productions in 2010).
“‘Kittens in a Cage’ is a f***ing riot. ‘Kittens’ takes on women’s-prison B movies and pulp novels with biting wit—no worries about offending anyone—and a gorgeous splatter of comically short prison uniforms (top buttons undone), smeared red lipstick, bright blue eye shadow, bouffant hairdos, and crazy accents…. This wicked, uproarious show features an all-female cast—not impossibly rare, but not common enough. Bosoms heave, brains leak out of heads, and women make out. Blanchard seems fully aware and in control while she wades into the muck of exploitation entertainment, with a wink and a nod (and a shiv) to its complicated history of empowerment.” –The Stranger
“In a nutshell: Kittens in a Cage is a funny, witty, naughty romp through chicks in prison films, with a spicy dash of horror and all overlaid with a delicious lesbionic sauce of camp and heaving bosoms.” –Seattle Gay Scene
“So what’s not to love about a play starring 7 local powerhouse actresses and written by an equally strong local, female playwright?! Given the dearth of substantive roles for women in theatre and film, it is great to see a show like ‘Kittens in a Cage’ infused with so much estrogen and feminine prowess…. The entire cast does a great job, and it is obvious that they are having a lot of fun in their respective roles; and when I saw the show on opening night, it was obvious that the audience had just as much fun watching them.” — Drama in the Hood
Reviews of past Bret Fetzer / Kelleen Conway Blanchard collaborations:
Hearts are Monsters
“Hearts Are Monsters, a loose riff on Hamlet, fills the small stage at
Rendezvous with the gallows humor and elegant garishness of a 1970s
exploitation film…Monsters has a style that hovers somewhere between
John Waters, Daniel Waters (Heathers), and Jack Hill (Switchblade
Sisters, Foxy Brown), but Kelleen Conway Blanchard’s world-premiere
script bristles with dense, dirty intelligence, and the jokes come
thick and fast…The cast, directed by Bret Fetzer, never plays the
script for camp, but delivers the craziest lines with a dead-ahead
seriousness that makes the comedy that much sharper.” – The Stranger
“[Small Town] is snappy and quick-paced; Fetzer, who has an obvious
knack for comedy, keeps things flowing nicely, and he seems to work
well with actors, drawing from each a solid performance. The staging
is exceptional, especially considering the tight space of CHAC’s
downstairs venue; for instance, by virtue of a ratty couch that flips
back on hinges, Stu Lionel’s underground abattoir is revealed. It’s a
nice touch, as is the split-second conversion of that same couch into
a mammoth dining table. Also noteworthy are the wonderful musical
interludes that punctuate the action: Bud’s uproariously heartfelt
crooning of the Scorpions’ “No One Like You,” or the final number, an
astonishing bluegrass version of Outkast’s hit “Hey Now,” with the
whole cast chanting the chorus in a flat-footed monotone. These
moments stand out not only for their expert execution but also for
their refreshing sense of levity—of good-hearted fun and comic warmth,
for lack of better terms.” –The Seattle Weekly
Conceived & directed by Bret Fetzer
Thu-Sat at 8 pm, Oct 21-Nov 19
$15 general / $10 TPS, senior, military / $5 student
PWYC Industry Night: Monday, November 7
Annex Theatre invites you on a journey to 1993, the year River Phoenix died, WWF’s RAW was launched, Bill Clinton was inaugurated, and Whitney Houston convinced the world she would always love them.
Bret Fetzer and his ensemble of local performers present a moody musical mash-up, a retrospective with modern resonances. There will be singing, there will be dancing, there will be wrestling, there may be a few answers, but the fun will lie in asking questions.
c. 1993 (you never step in the same river twice) began with the death of troubled young man, who happened to be a huge celebrity. Bret Fetzer found himself unexpectedly saddened by the death of River Phoenix; Fetzer had always liked Phoenix, but hadn’t realized the emotion and hope he’d projected onto the young actor. Looking for a way to examine the cultural impact of icons and celebrities, Fetzer turned to theater; looking for a larger frame for this exploration, he turned to 1993, the year Phoenix collapsed on a Los Angeles sidewalk and died of a drug overdose.
1993, it turns out, was a pretty busy year. While sifting through its cultural remnants a second theme began to emerge. One cannot examine celebrity without the media nor can one examine the media without noting their focus on sexual politics and their disparate portrayals of men and women. From the graphic Bobbitt headlines, to the music of P.J. Harvey and Billy Ray Cyrus, to the romanticism of Sleepless in Seattle; tensions, contradictions and double standards were in fine form in the early 90’s. While River Phoenix’s overdose only added to his mystery and sex appeal, Courtney Love’s struggles made her an object of ridicule; a drunken clown.
Once c.1993 was cast, the production began to take shape during development workshops in August. The 15 performers and nimble crew gathered to experiment and brainstorm, drawing on the research and initial ideas of the director as well as their own memories. (Not every member of the cast was old enough to have vivid recollections of the cultural climate of the 90s. In fact, not every member had been born by the show’s title year.)
The beauty of ensemble generated work lies in the contribution of each member to both the creation and execution of a project. This is also the challenge of ensemble generated work. c.1993 thrives from the strength of a collective consciousness working under a unifying vision. The result is a non-linear, highly musical performance piece; more theatrical essay than a well-made play.
History, even recent history, fascinates with its unique mixture of the alien and the familiar. We may have sleeker haircuts and wardrobes with considerably less flannel, but we still build cultural movements around new musicians. We still pin our hopes on Presidential candidates offering change, only to be disappointed. We continue to blur the lines, not only between sports and entertainment, but between entertainment and any situation, competition or career that will compel viewership. And we still get sucked in to the sexy, soulful drama of self-destructive young men, while shaking our heads and clicking our tongues at their female counterparts.
Among the fine ensemble, Phoenix and his My Own Private Idaho castmate, Keanu Reeves, are portrayed by actresses Danielle Daggerty and Emily Lockehart, respectively. Daggerty skillfully employs Phoenix’s mannerisms, like the constant brushing back of his hair and tendency to look away from his interviewer. The brash foil to Phoenix’s tender-hearted soul is none other than Courtney Love (the luminous Melinda Parks), who commands the stage in fierce red undies while powering through Hole’s “Violet.” Somehow Parks makes Love both vulnerable and tough, reclaiming a multidimensional woman from clownish caricature. Her performance alone is worth the price of admission.
About Bret Fetzer
Bret Fetzer is a playwright, director, and performer who’s been working in Seattle theater since 1987. His plays—which include Planet Janet, The Story of the Bull, Blind Spot (co-written with Juliet Waller Pruzan), and Clubfoot, or, Tales from the Back of an Ambulance (co-written with Stephen McCandless)—have been produced by theaters in Seattle, Portland, San Francisco, and other cities around the U.S. He was commissioned by Seattle Children’s Theatre to write a play for young audiences: Everyone Knows What a Dragon Looks Like. He has recently directed Hearts Are Monsters by Kelleen Conway Blanchard for Macha Monkey Productions and solo performances by Matt Smith and Stokley Towles, as well as all five episodes of Scot Augustson’s late night serial Penguins for Annex. His collections of original fairy tales, Petals & Thorns and Tooth & Tongue, are available through www.pistilbooks.com. He has been the artistic director of Annex Theatre, the theater editor of the Stranger, the building manager of Richard Hugo House, and a vacuum cleaner salesman. He was also a field agent for the Barbie Liberation Organization, who, in 1993, switched the voice boxes of Teen-Talk Barbies and talking GI Joes, resulting in toy soldiers who said “Let’s go shopping!” and sprightly blonde dolls who said “Dead men tell no tales.”
Riot Grrrl, Interviewer, ensemble
River Phoenix, ensemble
Bee Girl, Tom Hanks’ kid, Cadet, ensemble
Wrestler, Meg Ryan, ensemble
Gus Van Sant, ensemble
Bill Clinton, Wrestling Announcer, Cadet, ensemble
Keanu Reeves, Reporter sick of penises, ensemble
Wrestling Referee, Double Dare Host, Tom Hanks, ensemble
Courtney Love, Academic discussing Madonna, ensemble
Lorena Bobbitt, Oscars Host, ensemble
Kurt Cobain, ensemble
Whitney Houston, Wrestling Announcer, Shannon Faulkner, ensemble
John Bobbitt, ensemble
Martha Plimpton, Wrestler, Howard the teddy bear, ensemble
Fri-Sat at 11 pm, Aug 6-26
$10 gen / $5 TPS/senior/student
PWYC Industry Nights: Mondays, August 15 & 22
End times are near in the final episode of Scot Augustsonʼs black-and-white comedy Penguins! The conflict of priests vs. nuns comes to a head, along with exorcisms, conspiracies, lesbian love, historical secrets revealed, and more of the caustic comedy thatʼs brought this late night serial acclaim and dismay! Directed by Bret Fetzer.
Father Jones & Hitchhiker
Sister Jenny Memphis
Sister Mimi Coco
Technical Director/Photography/Graphic Design
Avery Reed & Meaghan Darling
ABOUT PERFORMANCE TIMES, PUBLIC TICKETS AND PRESS TICKETS
PENGUINS 5: Mea Maxima Culpa, Baby
August 6th through August 26th
1100 Pike Street East / 2nd Floor
The Performance Dates include:
August 6th, 12th, 13th, 19th, 20th, 26th at 11pm
August 15th and 22nd at 8pm for our Industry Pay-What-You-Will Nights
$10 General Admission: Advance / Door
$5 General Admission: Student/Senior/Military/TPS
PRESS TICKETS / PRESS PACKETS
If you are an editor or writer of any medium that would like to review this show, please contact our Marketing & Communications Director, Brian Peterson, at firstname.lastname@example.org.
You will receive two complimentary press tickets for opening night, a press packet and a link to our online press photo gallery – which includes all press photos taken, our video trailer for the show.
“Augustson’s late-night serial comedy Penguins is a breath of fresh, filthy air…its balls-out devotion to depravity is executed by a talented, canny cast.”
– The Stranger
“Brawny, brogue-brandishing badass Sister Bernadette (Lisa Viertel) demands some basic rights for nuns, which triggers a priest/nun gang war that makes last year’s pitiless Cannes winner Gomorrah look like an afterschool special…We’re talking Doubt on Ecstasy, smack, and aerosol cheese…The hour-long show felt like half that, and I wished Penguins: Episode 2 would have begun immediately after.”
– Seattle Weekly
“Ultra-lowbrow, extreme Catholic camp…[director] Fetzer keeps his cast moving full-tilt…You wouldn’t think there’d be any thrill (perverse or otherwise) left in priest-and-nun exploitation, but [playwright] Augustson mines the veins of altar-boy molestation and convent lesbianism with such fervor, he might win you over.”
“I thought it was absolutely fucking great…If all late-night theater were like this, it would devour prime-time theater, which would be fantastic.”
Written by Brandon J. Simmons
Directed by Carys Kresny
Fri-Sat at 8 pm, April 22-May 21
$15 general / $10 TPS, senior, military / $5 student
PWYC Industry Night: Monday, May 9
There’s something odd about Kilkin Farm. The ducks parade about in skirts and bonnets and carry on forbidden love affairs with the hounds. Badgers and foxes negotiate their bloody deals behind the henhouse, bartering for flesh by day, and stealing it by night. And Miss Potter, the farm’s indomitable mistress, is driven nearly to madness.
Only Potter can unlock the mysteries of this world. As she examines the hidden corners of her own past, layers of passion and regret weave themselves into a tale that blurs the lines between love and violence, food and sex, and ultimately, the artist and the art she creates.
Love! Whimsy! Terror!
The underbelly of Beatrix Potter comes to life in The Tale of Jemima Canard. A young innocent, capricious but willful, falls under the romantic sway of a predatory cad—but the characters are not Edwardian ladies and gentlemen; they are ducks, hounds, badgers, and foxes. As the author is interrogated by one of her own characters, layers of love, envy, jealousy, and much worse become revealed as the play delves into the deceptively whimsical lives of Jemima, her hard-as-nails sister Rebecca, the rugged but earnest St. Hubert brothers, the degenerate Tommy Brock, Miss Potter herself, and the elegant and alarming Tawny Whiskered Gentleman. Seattle actor Brandon J. Simmons makes his playwriting debut with this anthropomorphic dream-play, using Potterʼs The Tale of Jemima Puddle-Duck as a springboard to explore the nature of fate and time, blurring the lines between animal/human, love/violence, food/sex, and the artist and the art she creates. Directed by Carys Kresny, who previously dug her directorial fingers into dark and roiling emotions in The Changeling and Penetralia at Annex.