In 1985, in cartoonist Alison Bechdel‘s comic strip DYKES TO WATCH OUT FOR, two women discuss seeing a film. One character explains that she only goes to movies if they meet certain criteria – the movie has to have at least two women in it, who talk to each other, about something other than a man.
In 1935, seven girlfriends gather at Fefu’s luxurious country home in New England. The house is well appointed, looking like a Cedric Gibbons’ MGM fantasy torn from Norma Desmond’s imagination. Thank you designer Ryan McGettigan, for the skewed lintels, the wallpaper shreds of women through art history (Grant Wood’s American Gothic pinched pioneer wife; a
FEFU AND HER FRIENDS IS A POWERFUL EXAMINATION OF WOMANHOOD, says Julia Oppenheim Traber, director of Catastrophic Theatre’s current production of the María Irene Fornés avant-garde play, which runs through Mar 8. Split into three parts that chronicle the course of a day, Fefu follows a group of 1930s women as they gather at their friend’s home to