THE TORONTO STAR
By Mira Freidlander
One of the better works was Suzy Got Her Lips Tattooed by Far Fetched Productions, also in part by a student cast. Last performance is Friday at Buddies. Writer/actor Sandra Jensen-Kabayama and writer/director Brenda McFarlane collaborated with the cast on a series of fast-paced sketches dealing with male/female tensions around such issues as sex beauty and power.
Two scenes stand out for their honesty and raw emotional power.
The first is the strongly acted story of 16-year-old virgin Chris (Michael Anderson), whose lack of sexual prowess is making him an outcast in a school locker room. When he meets 14-year-old Jenny (Elinor Holt), his need to “score” outweighs all else. It’s the story of a nice guy who becomes not so nice.
Equally good is a scene between Eric Kever Ryle and Alda Neves. This classic date rape scene deals with the psychological intimidation preceding the physical violence.
Xtra
George Olds
Why did Suzi get her lips tattooed? “To make them look bigger.” That’s the answer found in this powerful play by Sandra Jensen-Kubayama, Brenda McFarlane and company and directed with razor sharp edge by Brenda McFarlane. The real reason? To please men. Performed by one of the strongest ensemble casts I’ve seen in years, Suzi delineated the confusion between what men want (respect?) and what men think they want (to get laid?). Scenes alternated between witty and the ironic, the wildly funny to the harrowingly dramatic.
It would be unfair to single out any one performance over another. I will simply state this was excellent theatre. Kudos all around.
Now
Jon Kaplan
Some alternative companies attract festival audiences with intriguing show titles and never deliver the goods, Suzy guarded statue — the line refers to a woman who’s had her lips were drawn so she can appear more perfect man — succeeds as a hard-hitting series of skits that look at images of the ideal woman and a growing female anger around male attitudes towards women while the material is in startling its presentation is fresh and often sharp. The fast-moving production directed by co-author Brenda McFarland, clearly captures the self-denial, ears and self-hatred that women are forced into when they feel they don’t meet the (male) standards of society. The sketches involving the male characters in a growing awareness of double standards don’t carry quite the same punch a number of performers have a chance to shine including Susan McClay as the bulimic woman whose private moments are worse than hell and Meita Winkler as first a construction worker was made over into a Barbie clone and later a performer who reinvents the tale of Lilith.
