"Songs of Bilitis" is the type of play that could only be produced in a handful of cities, so it makes sense that it is appearing in Los Angeles. The show, produced by the Rogue Artists Ensemble, pushes the boundaries of theater, and even borders being performance art. The creativity and passion of the artists involved in the performance made it a very memorable show.

The members of the Rogue Artists Ensemble, who also produced "D Is for Dog," think of themselves not as actors, playwrights, or directors, but rather as artists in a larger sense of the word. In a city where so many people cling to dreams of acting, the Rogues are incredibly refreshing with their multi-disciplinary approach to the arts. Their eclectic approach becomes increasingly apparent when glancing through the show's program, where cast and crew members mention their backgrounds in puppetry, burlesque, physical theatre, podcasting, sculpture, poetry, and even Egyptology.

The Rogues’ mission is to produce “unique experiences for audiences by creating original works and adaptations that push the boundaries of modern storytelling,” and in "Songs of Bilitis," they do just that. The multimedia collaboration of masks, puppets, and video clips helps remind audiences of the many ways to bring a story to life beyond the confines of a movie screen, making the show live theater at its most imaginative. Most of the elements add to the story, though the puppets detracted more than they added.

Playwright Katie Polebaum collaborated with the other artists to tell the mysterious story of Pierre Louÿs’ disingenuous collection of erotic poems. Pierre (Christopher Rivas) is a failing French poet who gets a second shot at achieving his literary dreams when, through an act of magic—or merely his own alcohol- and drug-induced stupor—Bilitis (Aryiel Hartman), the ancient Grecian woman who has captivated his dreams each night, allows him to share with the world her own passionate lesbian love story. Polebaum’s wonderful, emotion-ridden dialogue make the relationship between Pierre and the woman of his imagination seem real. She very effectively blurred the lines between what was Pierre’s reality and what was a superfluous distraction.

The Getty Villa initially commissioned the play to explore the unknown reason for Louÿs' fabricated poems. This play offers an inventive explanation of how and why the avant-garde French writer began what the Rogues consider to be “the most elaborate literary hoax the world has ever known.”

This play offers an inventive explanation of how and why the avant-garde French writer began what the Rogues consider to be “the most elaborate literary hoax the world has ever known,” and explores the transformation from youthful innocence to passionate love, and finally to hardhearted disillusionment. The sensuality and passion demonstrated by the cast brings this obscure story to life, and is enhanced by the mesmerizing onstage chemistry between Rivas and Hartman. Even though the puppets add an unintentionally comedic aspect to the performance that detracts from the serious themes and emotions of the play, Hartman’s incredibly moving emotional performance as Bilitis and Rivas’s convincing rendition of an obsessive, Ernest Hemmingway-esque writer are able to compensate for the distraction. For those who are not alienated by being in the presence of puppets that exaggerate the nakedness of the characters and many close encounters with almost on-stage sex, this hyper-theatrical performance is a great way to become aware of the many possibilities for artistic self expression.

While "Songs of Bilitis" is not for the faint of heart, it takes a really unique look at art, literature, and the range of human emotions and sanity.

Reach Staff Reporter Sara Newman here; follow her on Twitter here.

"Songs of Bilitis" plays at the Bootleg Theater (2220 Beverly Blvd, Los Angeles, CA) through March 30. Tickets are $25. More information can be found at RogueArtists.org.