[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.
Anna is 18 and, while she hasn’t gone to uni or really figured out a plan at all, she wants to take control of her life. Part of this includes no longer taking the medication she’s been on for her entire adolescence in order to reclaim an earlier, more authentic version of herself. This isn’t a decision just for her, though, as a new boyfriend, her mother, and her long-term psychiatrist complicate the practicalities of mental health and being unwell.