与“ Fefu和她的朋友”一起American Conservatory Theater在艺术总监的领导下Pam MacKinnonhas arrived.

大胆。这是雄心勃勃的。这很奇怪，智力，但热情，嬉戏和富有想象力。这是一个质疑和不道歉的艺术，但可以帮助您面对挑战，并在您做到这一点时会带来收益。这是一个值得像旧金山一样充满活力和创造力的城市的艺术。

“Fefu,” which opened Wednesday, April 6, under MacKinnon’s direction, is unbound by the Strand Theater’s proscenium. Sure,Maria Irene Fornés’experimental 1977 play starts that way, with audiences seated traditionally before a fastidiously appointed 1930s parlor blanketed in funereal shades of blue and purple. (Tanya Orellana did the magnificent set design, of which this scene is just the first of many delights.)

但是随后我们分为四组，目睹了四个短片，这些场景同时在建筑物的不同角落中分别发生。我们在后台掠过，在距离远处看到的客厅后面，在腹部楼梯间上下行进，我们可能永远不会见过。We’re in the home of Fefu (Catherine Castellanos), and on the way to different nooks, we pass more bits of set design — tasseled lampshades, folding shoji screens, a clothbound journal, a toiletry set, doilies — that might make you involuntarily hush, as if you’re a child creeping downstairs to spy on an adult party you’re not supposed to see.

And what a party it is, full of affection and ideas and candor but flickering with danger, thanks in large part to its hostess.

FEFU与她的朋友们一起练习慈善机构的筹款演讲，是克里斯蒂娜（SaritaOcón）等规范的人，可能只是挑衅。披上了一系列波西米亚版画（Sarita Fellows进行了狂暴的时尚，定义的服装设计），并且喜欢挥舞着一支步枪，她肯定只有空白，Fefu肯定看起来很贴心。

Yet in Castellanos’ interpretation, when Fefu opens the show with the glorious line “My husband married me to have a constant reminder of how loathsome women are” or proffers any number of her koans, she’s not trying to unsettle her guests out of meanness or to cast herself as somehow superior. She’s trying to figure things out in real time. She’s on a quest to be genuine with herself, a quest that draws others in and makes them be genuine, too. She’s wrestling with grief, partly over a recent incident that left Julia (Lisa Anne Porter) in a wheelchair and affected her brain, and the grief is winning.

卡斯泰拉诺斯（Castellanos）的表演使您想看到她的佳能中的每个角色，似乎都从无底的想象力和范围中汲取灵感。她的台词似乎不是来自剧本，而是来自她自己的炼金术士的魔力。然而，所有这些努力，技巧和才华永远不会引起人们对自己的关注。她非常自然，体现了为角色服务的谦卑所意味着什么。

她的两侧是一些最出色的湾区表演者的女演员。经常扮演伙伴或富豪角色的Leontyne Mbele-Mbong作为该组织的财务主管变得狡猾而神秘，将恶作剧注入了诉讼程序中。波特的朱莉娅（Julia）在一个独奏，卧床不起的场景中以某种方式桥梁，seance，confession和“对抗”使幽灵感觉像脖子后部的冷气一样真实，观众距离她只有几英寸的距离。Marga Gomez’s塞西莉亚茎Stacy Ross’Paula like a shark that’s sniffed blood and can’t get the scent out of its nose.

有些时刻不会达到自己的印记，因为从薄壁上分散了同时场景的声音，当观众重新集中在主要游戏空间中时，该节目在第三部分中失去了一些能量和重点。尽管如此，“ FEFU和她的朋友”仍然是一个吉祥的成就。它创造了一种神奇的感觉，即剧院正在周围发生。它轻轻地朝着您的无所畏惧，关于欲望，男人，友谊和社会阶层的诗意思想，这大声说话时会激动。

After two years of artistic scarcity, “Fefu and Her Friends” offers abundance, daring and vision.

n“Fefu and Her Friends”:由玛丽亚·艾琳·福纳斯（MaríaIreneFornés）撰写。由Pam Mackinnon执导。到5月1日。两个小时30分钟。$ 25- $ 110，可能会更改。ACT的Strand Theatre，S.F。1127 Market St.415-849-2228。www.act-sf.org