This theatre research reimagines Eugène Ionesco’s Rhinoceros as a contemporary exploration of conformity in the digital age. Through movement, sound, lighting, costume, and stage design, the production examines how people are seduced into collective behaviour and challenges audiences to reflect critically on conformity within their own lives.

This research examines how non-profit arts organisations balance ethics and economics under financial pressure. Using data-driven decision-making and “concerned markets,” it shows how these organisations protect mission, affordability, and community care while sustaining operations, demonstrating that cultural institutions quietly support resilience, inclusion, and long-term social value.

This thesis uses theatrical horror to confront the “superwoman schema” that discourages Black women from seeking mental health care. By breaking theatrical contracts to induce unpredictability and empathy, the work mirrors the societal rupture Black women face when pursuing therapy, motivating audiences toward understanding and systemic change.