By (composer): Njo Kong Kie

Sarah Jean is a mathematics prodigy who finds safety in numbers, in the reliability of their defined nature. Her affinity for unhealthy relationships, however, remains a complete mystery. Her flings turn into year-long relationships against her better judgment and her confusing emotional patterns are only now coming to light. It’s time for Sarah Jean to make sense of her past in terms she understands and to discover there is more to time than just its inevitable passing. Elliot is a theoretical physicist who spends most of his time thinking about time and how to unify all physics. So when he meets Carmen, a violinist, the two bond over talks about music and theory. Talks that lead them into bed and into a marriage that should and shouldn’t be. As their relationship teeters through time, work and family become a balancing act, and theories are thrown to the stars, revealing truths they’re not ready to face.


Njo Kong Kie

Njo Kong Kie was born in Indonesia and grew up in Macau where he received his musical education from the Academia de Música São Pio X. Long-serving pianist and music director of La La La Human Steps, Kong Kie gave close to 600 performances with the company throughout Canada and abroad between 1996 and 2012. Music from his album of original compositions Picnic in the Cemetery has been used on the stages of the Nederlands Dans Theater, Ballet de l’Opéra national du Rhin, Hubbard Street Dance Chicago, Ballet British Columbia, and the Singapore Dance Theatre. He has created original soundtracks for the Silesian Dance Theatre (Poland), Point View Art Association (Macau), and for choreographer Anne Plamondon (Montreal) and filmmaker Alejandro Alvarez. His original creations for the stage include operas and musical theatre, such as knotty together (with Anna Chatterton), La Señorita Mundo (with Kico Gonzalez-Risso), The Futures Market (with Douglas Rodger), Mr. Shi and His Lover (with Wong Teng Chi), and the non-text based concert theatre Picnic in the Cemetery. He calls Toronto home.


“This play is as brilliant as it is haunting—a perfect combination of music, math and science that doesn’t make your head hurt, but manages to make your heart hurt.” —Veronica Appia, The Theatre Reader
“Moscovitch is often called a ‘hot’ Canadian playwright. But according to the laws of science, what is hot will inevitably cool. By now, she has surely proven that the more accurate descriptor is rock solid.” —Carly Maga, Toronto Star
“[Infinity] makes you feel as much as it makes you think.” —Susan G. Cole, Now Magazine


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120 Pages
8.50in * 5.50in * .25in


February 17, 2017



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DRAMA / Canadian

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