Part murder mystery and part spiritual quest, The Karamazovs looks at how individuals come into their own, and struggle to create an identity that is pure and free of their family's history. In a playful marriage of the experimental and the classical, The Karamazovs uses text, movement, and live video, along with a total disregard for the arcane gender roles of Dostoevsky's novel, to ask how a a person can be good in today's world.
In a small town in the middle of the country, Fyodor Karamazov is dying. His children (Alyosha, Viv, and Dmitri) return home to settle a dispute about money. Despite carving out new lives for themselves (Alyosha has found refuge in religion, Viv is a queer intellectual, and Dmitri is a charismatic screw-up) each is in the midst of their own personal crisis. Their attempts at connection are complicated further when Dmitri is charged with murder and they are forced to reconcile their need for justice with their capacity for love.
The Karamazovs looks at the gaps in the novel's story, where abuse and misogyny are accepted, and subverts them as Liz, Fyodor's caretaker, narrates the play. This act reclaims the novel, allowing audiences to see The Karamazovs as a story about individual resilience, and ultimately, the unshakeable interdependence between all people.