The two main questions that drive my work, as developed throughout this course, are: For a given piece of theatre, how does audience member identity change the meaning of the work? How can or should theatres make work that holds white audience members accountable for their presence (both their physical bodies in the audience seats, and historical presence in the theatre industry) without just making work for white people and thereby reinforcing the hegemonic whiteness of the theatre industry? Through an analysis of the play Fairview by Jackie Sibblies Drury, I argue for a radical interrogation of what Jill Dolan calls “theatre that works:” how does theatre work, and most importantly, for and on whom? Fairview works by manipulating and upending theatrical structure, form, and tools to create, as playwright Branden Jacobs-Jenkins writes, “the most perfect illusion, because that is where catharsis begins with audiences.” Different audience members undergo the illusion of suffering, recall actual suffering, and experience catharsis with different references in mind, and those references both shape and are in turn shaped by the viewer’s identity. Ultimately, I argue that Fairview, via its innovative structural and dramaturgical breaking down and repositioning of the audience, gives us a new definition of subversion, the possibility for subversion in action, and a model for what subversion, justice, and reckoning can look like in the theatre and amongst an audience.