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About
Meet Lauren, a journalist in the midst of covering a high-profile domestic violence case while a growing sense of unease pervades her thoughts. Now meet Luke, whom Lauren has asked to tell her story to the audience. Through Luke's voice, Lauren reflects on buried memories of sexual experiences from her adolescence. Are these experiences just a part of being a woman, or are they trauma? And does Luke have the authority to help her understand her own life?
From the Governor General's Literary Award–winning playwright of Sexual Misconduct of the Middle Classes, Hannah Moscovitch is at the height of her dramatic powers in this masterful provocation about the role men's voices play in women's stories. Through an ingenious metatheatrical device, Red Like Fruit courageously interrogates the messy contradictions and complexities of complicity, consent, power, and truth in the post #MeToo era.
• Red Like Fruit was inspired by reading a news story by journalist Maggie Rahr about a prominent member of the Liberal Party who had physically assaulted his long-time girlfriend (who also worked for the Liberal Party), was arrested, charged, and convicted of assault, and the conviction was hushed up within the party and the man was quietly rehired at his job.
• First produced by 2b theatre company at the Bus Stop Theatre in Halifax, Nova Scotia, from April 3 to 21, 2024.
Lauren, a journalist feeling a growing sense of unease while covering a domestic violence case, asks a man named Luke to tell her story to the audience. Through his voice, she examines buried memories of sexual experiences from her adolescence. Are these experiences just a part of being a woman, or are they trauma? And does Luke have the authority to help her understand her own life? In Red Like Fruit, celebrated playwright Hannah Moscovitch masterfully employs a metatheatrical lens to interrogate complicity, consent, power, and truth in the post #MeToo era.
"The feminist movement needs a dose of medicine . . . Hannah Moscovitch's latest work, Red Like Fruit, is a horse pill."
"An expert forensic search into the most ungraspable truths of womanhood."
"A simply delivered and devastating tale of the background radiation of sexism and sexual assault that becomes inextricably baked into women's identities."
"What makes this new play brilliant, however, is not merely the story itself, but how that story is told. Moscovitch forces her audience to confront their own prejudice. She asks us to question who we believe - and why."
"A true masterpiece"
"Written by Hannah Moscovitch, and the finalist for the Susan Smith Blackburn Prize, this super-smart and devastating two-hander is both formally and narratively galvanising . . . Red Like Fruit is slippery stuff, playing with ideas around consent and probing how we hear women's stories. In the process, it does something remarkable; it gives us all the voice to tell about the things we feel that nobody wants to hear."
"[Red Like Fruit] leaves behind a profound uncertainty about how far we can protect women from exploitation while leaving space in our culture for the daft, anarchic energy of real sexual desire. Moscovitch's writing, though, is dazzlingly precise, vivid and thought-provoking throughout . . . Moscovitch's words shine through with a magnificent clarity, searching and searching again for some kind of truth among the overheated culture wars of our time."
From the Governor General's Literary Award–winning playwright of Sexual Misconduct of the Middle Classes, Hannah Moscovitch is at the height of her dramatic powers in this masterful provocation about the role men's voices play in women's stories. Through an ingenious metatheatrical device, Red Like Fruit courageously interrogates the messy contradictions and complexities of complicity, consent, power, and truth in the post #MeToo era.
• Red Like Fruit was inspired by reading a news story by journalist Maggie Rahr about a prominent member of the Liberal Party who had physically assaulted his long-time girlfriend (who also worked for the Liberal Party), was arrested, charged, and convicted of assault, and the conviction was hushed up within the party and the man was quietly rehired at his job.
• First produced by 2b theatre company at the Bus Stop Theatre in Halifax, Nova Scotia, from April 3 to 21, 2024.
Lauren, a journalist feeling a growing sense of unease while covering a domestic violence case, asks a man named Luke to tell her story to the audience. Through his voice, she examines buried memories of sexual experiences from her adolescence. Are these experiences just a part of being a woman, or are they trauma? And does Luke have the authority to help her understand her own life? In Red Like Fruit, celebrated playwright Hannah Moscovitch masterfully employs a metatheatrical lens to interrogate complicity, consent, power, and truth in the post #MeToo era.
"The feminist movement needs a dose of medicine . . . Hannah Moscovitch's latest work, Red Like Fruit, is a horse pill."
"An expert forensic search into the most ungraspable truths of womanhood."
"A simply delivered and devastating tale of the background radiation of sexism and sexual assault that becomes inextricably baked into women's identities."
"What makes this new play brilliant, however, is not merely the story itself, but how that story is told. Moscovitch forces her audience to confront their own prejudice. She asks us to question who we believe - and why."
"A true masterpiece"
"Written by Hannah Moscovitch, and the finalist for the Susan Smith Blackburn Prize, this super-smart and devastating two-hander is both formally and narratively galvanising . . . Red Like Fruit is slippery stuff, playing with ideas around consent and probing how we hear women's stories. In the process, it does something remarkable; it gives us all the voice to tell about the things we feel that nobody wants to hear."
"[Red Like Fruit] leaves behind a profound uncertainty about how far we can protect women from exploitation while leaving space in our culture for the daft, anarchic energy of real sexual desire. Moscovitch's writing, though, is dazzlingly precise, vivid and thought-provoking throughout . . . Moscovitch's words shine through with a magnificent clarity, searching and searching again for some kind of truth among the overheated culture wars of our time."