Are Miss Good and Mr Love homosexual? Is Mrs Woodmillars a transvestite, transsexual or suffering from schizophrenia? We don’t know, DO YOU? And most of all, would it make a difference to you?

Mrs Woodmillars – Helah Milroy | Mr Love – Aska Siragusa | Miss Good – Nathalie Boukpeti |

sound design – Cissi Tsang

theory & artistic assistance – elisabeth m eitelberger

written, directed & live sound – bello benischauer


Three characters soliloquise in a private little setting – although their worlds don’t seem to mix or match, they relate to each other somehow.
And if it is only the problems they face, or the guilt they feel inside, or the anger they have towards their daily routine or their own inability to get a grip on their lives – they all struggle, but they get by, they manage to survive. They remember their childhood, revel in their past, start making accusations (addressing whom – the audience?) in trying to avoid any confrontation they could have with their present situation, their own self right now. Because they know it would hurt too much, they would just fail, or they think they would, and they are simply afraid of taking a chance to change something, to experience something new, something they don’t know, something they cannot expect or foresee… They are afraid of any physical contact they could have… so they declare the whole space as their field of practice and start approaching the audience.

Boundaries between performer and audience begin to merge: do the characters stay in their little corners, or do they come out and hold your hand, sit on your lap or lead you back into their ‘room’?

Three individuals are caught up in a world of signs, rules, torn between obeying, functioning and looking for their individuality. Driven by fear to face their own human nature, they tend to hold on to doctrines they were brought up with, remembering what it was like when they were a child. But in questioning their own human existence, they drift away into a trance-like state of surreality. Will they ever arrive in their lives? Will they ever experience what it is like to love and be loved? Will they ever be ready to go on the roller coaster of an emotional journey, without hiding behind something, a person, a drug, some sort of movement? Will they, in fact, will WE ever know what human existence is really about? Will we ever feel it, or will we let life go by unnoticed, because we rush about and miss the moment, not just once, the whole time…


Based on a self-written performance text the temporary ensemble of the Existence Theatre under the guidance of bello benischauer initiates an experimental process to confront the individual (within the ensemble and in relation to an audience) unconcealed with one’s own self, the other and the in-between – inside a particular space, which gets transformed through the performance, highlighting its architectural setting.

In the realm of their EXISTENCE THEATRE practice (combining video, sound, performance art and creative writing), Australian/Austrian artists bello benischauer and elisabeth m eitelberger write abstract texts for their projects, which reflect on socio-/cultural/political issues and the individual’s dealing with it. Theatre-like but more performance-based they have established their own unique practice over recent years, breaking traditional layers of audience and stage, creating surprising situations, not in front but in the middle of their audience, which they touch physically at times.

Projects/productions take place internationally and in common and unusual locations.