Lakhasly

Conclusion
This incredible piece of theater does not and cannot answer for the universal female experience because that experience does not exist.

Conclusion

This incredible piece of theater does not and cannot answer for the universal female experience because that experience does not exist. As gender is socially constructed, imposed “answers” to the definition of female, woman, and femininity come from an unseen source outside of the feminine experience that dictates what women can be, should be, and will be. Thus, instead of looking for answers that are already enforced upon feminine experiences, we must search for the questions. What exists, then, in Fefu’s home is a didactic environment for exploring these questions critically and without apology amongst active spectators, designers, and performers alike. Through the use of a non-linear plot, diverse representation, and an active dialogue of gaze between actors, spectators, and characters in an established theatrical world, this production of Fefu and Her Friends dives head-first into the gender issues that have persisted over generations with the specificity of our own modern diverse narrative as an instrument to change and expand perceptions of gender into the universal human experience. While this plunge into the depths is altogether terrifying, this experience fortifies and impels the human necessity to excavate questions about gender and representation, even in the face of blindness.