You awaken to a world made by men, ruled by kings.

You are an object in this world, sought after and then forsaken.

What do you do?

If you are Ophelia, and find yourself in a play within a play within the play Inertia, you throw yourself a kick-ass, punk rock, funeral party, celebrating female power and railing against the misogyny machine.

Inertia is intensely self-aware, beautifully expressed, and deeply fragmented. An actor in the midst of an existential crisis brings to the Fringe Festival his one-man version of Hamlet, the story of a prince floundering in an existential crisis. Over the course of the festival he seduces a much younger actor with beer and base flattery. Damage is done. Not content to follow the script, the younger actor/Ophelia switches the roles, seizes the throne, and commits her own acts of violence.

Quite rough around the edges, and not intended for mass appeal, there is a certain spark of magic here.