David Schulner

First clone Luke Taylor is determined to rescue his wife and newborn child from the clutches of the wretched government, but first he has to deal with the sudden onset of a deadly genetic disease. Meanwhile his wife Amelia is no slouch when it comes to getting herself rescued by another one of the Luke clones who is working as a prison guard.

So this play does something really interesting with the way it handles time. The entire play is one continuous scene, but there are onstage transitions between large chunks of time. One character might be packing a bag to leave, and then they'll be unpacking because they've just arrived home. Some of these transitions were really impressively written, but the rapid pace of the whole thing made it impossible for me to really sit and process everything going on. So I feel like the time gimmick show more kind of weakens the play while also being a fairly interesting spectacle. I would have liked a little more depth to the characters before "things" start occurring, but that's just personal preference. show less

Things are looking bad for the clones. Amelia and Eva are safe but the government operatives are closing in, as well as redneck anti-clone vigilantes. Enter some Japanese clones (also kickass ninja fighters) to save the day?

Luke Taylor finds a bloodstained man in his kitchen, who looks exactly like him. Thus his life takes a weird turn as he realises that there are hundreds of clones like him, now hunted by the government which created them. That government is now trying to ban the stem cell technology which created the clones. Luke and his young family are caught up in all of this.