This expanded edition of FEFU AND HER FRIENDS includes the original version of the play, which takes place in five different environments, as well as a one-set variation, conceived and directed by the author two decades after the original 1977 production. Both the original and the single set version are available for licensing.
One of Off-Broadway’s best-loved plays, originally directed by the author. The audience follows the lives of eight women. For this play, María Irene Fornés received one of her nine Obie awards.
“A wonderful, important play.” —Susan Sontag
“Fornés is America’s truest poet of the theater.” —Erika Munk
“An extraordinary play of uncommon insight and wit.” —Los Angeles Herald Examiner
“One of the most powerful plays written about the mysteries and shared hallucinations of the female experience.” —L A Weekly
“Though written in 1977, the message of FEFU AND HER FRIENDS remains ever the same: women don’t know what to do with feminism. Or rather, they don’t know what to do with themselves. It’s a strange, unsettling play, not least because the strong women characters are at a loss with each other and with themselves. Without a man to center around, they disintegrate into cattiness and then madness. Fefu is probably deranged to begin with. She ‘pretends’ to shoot her husband with a gun that may or may not be loaded. She likes men better than women and in fact finds women ‘loathsome.’ Fefu and her friends are a group of society women, circa 1935. They’re bored and affected in the manner of wealthy women who have too much free time. The play begins with plans for a charity benefit being planned at Fefu’s New England estate. During the second part, four different scenes play simultaneously in four different rooms. The audience is led around to each in no particular order. In the final act, the women turn giggly, then bitchy, and then everything takes a tragic turn. Though not a realistic play neither is it strictly allegorical…at the heart of the play [is] ‘a provocative statement about women to this day.’ Fornés’s self-loathing, self-doubting women only gradually come to understand the glossy surface and the dark underbelly that is the dual reality of their lives. It’s thought-provoking but challenging, not for those who enjoy escapism in their theatre.” —Jenny Sandman, CurtainUp
