Discussion of LGBTQ issues tends to be contemporary.

Enter Ludwig Lohengrin.

A solo show written, directed and performed by Kyall Rakoz is a look into the world of King Ludwig II of Bavaria, oft referred to as the “Mad King.”

The story is told through a variety of scenes and characters, over 15 by my count, with Rakoz playing them all with unique affectations, charting Ludwig’s life from a young boy to his eventual demise and beyond.

Ludwig himself never appears on stage. The story painted of him through external accounts is of that of a gentle, loving character, who is ultimately plagued by internal conflicts.

Though homosexuality was decriminalized in Bavaria before his time and he was beloved by his people, Ludwig struggled to reconcile his identity and his duty.

Through the ingenious use of a white bedsheet, light-and-shadow tricks, unique inflections and settings, Rakoz is able to slip seamlessly between characters.

The script weaves historical facts with colourful anecdotes beautifully.

It’s a tragic story with shining, comedic moments and the show, unlike Ludwig’s life, ends with clarity.

In the final scene, we realize that Ludwig is like the paper swans he was obsessed with. Ludwig, like the swans, is unable to truly fly. Without the support of his peers, Ludwig was stifled. A must-see play for allies and supporters alike.