I can pin this play’s escape from cliche on one really important twist. In this play, the soul mate is not always the opposite gender, nor always in a sexual or even romantic relationship with you. While the Aloysius (Lou in one life, Aloys in another) is always a man, his soul mate Valentine switches between being a man and a woman (played by two different actors). In one life, Valentine is even a budding female-to-male transsexual unsuccessfully seeking her father Aloysius’ approval.

Seeing the frustrations of their love across their lives as they are guided to a conclusion they don’t understand by a nearly-all-knowing mischief god in a field of blocks that represent their other lives distorted by other-worldly perspective manages to create a tragic atmosphere that culminates in what I felt to be a very powerful climax. The climax is also helped by some of the most effective use of well known music in a fringe play I’ve seen in a while (simple formula, touching well known song + touching scene).

I feel the only downside to this play for me was a digression into a kind of myth-building that I don’t think can really be pulled off on the small stage. It makes an admirable effort, but I would have been ok without the flashback to the Fox’ origin story. I have to say, though, that it would have made an excellent graphic novel.