[NOTE: This review contains a major spoiler in the second to last paragraph. Audience members who wish to be surprised are advised not to read it.]
When the #MeToo movement went viral in 2017 it began exposing the complicity of the entertainment industry in maintaining and covering up predatory power dynamics between older male gatekeepers and younger women new to the industry who saw their exploitation as a necessary stepping stone in their burgeoning careers. But that power dynamic was not new nor was it limited to Hollywood. Hannah Moscovitch’s 2020 script illustrates the same patterns alive and well in academia and the writing industry.
The last time Kendall Feaver’s work appeared on Griffin’s stage was the dense and jagged examination of mental illness The Almighty Sometimes. In this new work, Feaver takes on an equally thorny topic of sexual assault on university campuses, as well as the implications for feminism, racism, and the power imbalances that uphold these sacred institutions of knowledge.
It’s the 80s and the air is thick with money; the promise of endless American economic growth just recently cut down by a recession. But the greed is still palpable and it’s gaining momentum amongst the desperate Chicago real estate agents of David Mamet’s imagination.