“Autobiographical but not self-indulgent, poetic but not overly abstract, emotional but not too sentimental or saccharine …
a stunning, confessional piece of theatre.”
- Aisling Murphy, Intermission Magazine

Description:

Overhead projection meets performative research essay meets personal narrative as Claren attempts to reconcile her Alberta oil-industry roots with the current environmental emergency. The project was born of a frustration with divisive Canadian politics, rampant hypocrisy, and a lack of team spirit when facing impending doom. It unpacks some of the forces that drive global warming and Western alienation in a personal account of what it is to live in a modern, capitalist environment, be a self-serving organism, and also care about the earth and fellow creature kind. What does it really mean to sacrifice and to survive? How can we harness our agency and responsibility in a global crisis?

As the show travels, it is tailored to each locale and updated according to current political events. This way the show stays live, relevant, and carefully written to speak directly to the audience and meet them within their own cultural context.

Promotional Materials

Click here to watch the trailer on vimeo

Photos by Raf Antonio and Eden Graham

Footage by Drew Berry. Raw footage available for promotional material creation.

Media + Accolades

2023 Dora Mavor Moore Award Nominee
Outstanding Scenic and Projection Design
Independent Theatre Division

Reviews:

“whimsical and informative … cosmic and intimate.”
- Istvan Dugalin

“Autobiographical but not self-indulgent, poetic but not overly abstract, emotional but not too sentimental or saccharine … a stunning, confessional piece of theatre.”
- Aisling Murphy, Intermission Magazine

“Grosz is such a magnetic, grounded performer”
- Glenn Sumi

Interviews:

• “That’s what this play is about, holding seemingly irreconcilable truths at the same time, and making space for the dissonance and discomfort that comes from that.” Interview with Sesay Arts (text)

• Interview with Radio Aluna (audio)

• Interview with Hye’s Musings (video, youtube)

• Interview with Michelle Robinson/Native Calgarian Podcast: Video, Audio 

• Interview with Leslie Barcza (text)

• Interview with Phil Rikaby, Stageworthy Podcast (video, audio)

Audience Feedback:

Toronto Feedback

• “A must see– smart, funny, provocative, humane, empathetic. And the analog scenic design is so exceptionally good. Plus Claren’s performance was beguiling, vulnerable, commanding.” - Andy McKim

• “I was opened up, flattened.” “Holds our despair and hope in the same hand.” “Dazzling, powerful, kind, sharp.” “Medicine.” - Jessica Hiemstra

• “open and straightforward in concept and feel, but hugely complex in its formation and execution” “strong, specific, and generous” “simple virtuosity of the team of live projectionists” - Trevor Schwellnus

• “I cannot say enough good things about this show.” @danamortley 

• “Haunting and whimsical and just beautifully executed.” @aisling_murph_

• “Gorgeous and complex meditation” - @mirka.creates

• “Mesmerizing and unflinching  and vulnerable and charming” “somehow filled me with existential dread and hope at the same time” “seriously unique” - @brynkennedy 

• “I’ve never been so happy to feel so much existential dread” - @elizabethh.st 

• “The kind of theatre that helps you engage with very thorny conversations with more equanimity and endurance.” - Rachel Cairns, @aborshpod

Edmonton Feedback

• “Don’t walk RUN to see this show.” - @emgraceryan

• “Oh Edmonton you don’t want to miss this one. It’s smart. It’s special.” - @cythia.jimenez.hicks

• “I love the smell of gasoline was such a thoughtfully executed piece - incorporating lighting and props that made my designer heart RACE, text burning holes that made my playwright soul go WOW IT HURTS BUT THANK YOU, everything was all so brilliantly performed.” - @claudiakulay

• “Both deeply personal and worldly. bridge-gapping + all too relatable.” - @henryarkade

Presenting and Development History:

• Expanse Festival presentation March 2025

• World Premiere, presented by Nightwood Theatre with the support of Aluna Theatre, March 2023.

• Work-in-development showcase, RUTAS International Performing Arts Festival, October 2022.

• Work-in-development digital showcase, CAMINOS Festival 2021

The production features projected drawings courtesy of the talented Emily Jung. The performer has been styled by Ami Blaxland. ASL Interpreted nights feature hearing interpreters Rogue Benjamin and Savannah Tomev. I love the smell of gasoline has been developed with dramaturgical support from Andrea Donaldson, Cherish Violet Blood, and Keshia Palm as well as consultancy from Michelle Robinson. Originally workshopped in 2021 with Jay Northcott, Emily Jung, Taylor Young and Lu Linares as projectionists and collaborators and their participation helped shape the visual score of the piece.

Ancillary Activities

Creator and performer Claren Grosz is also available to facilitate Overhead Projection Workshops that delve into the practical tools, knowledge and materials as well as the creative proccesses for developing analogue projection in a theatrical setting.

ASL Performances Available

We partnered with Sage Lovell, Deaf artist, writer and entrepreneur, to create an integrated ASL performance. Alongside eachother, Sage and Claren deliver a connected performance. For ASL archival view here (pw: Petroleum).

Photos of Sage Lovell and Claren Grosz by Eden Graham

This project was developed with support from Nightwood Theatre, Aluna Theatre, the Canada Council for the Arts, the Ontario Arts Council and the Toronto Arts Council with funding from the City of Toronto.