Review: Larissa FastHorse’s ‘Fake It’ has historic debut at the Taper

Timing is everything in comedy, and one wonders about the extent of Larissa Vasizres “to” make it “may have been produced in Mark, Taper Forum In 2023 when he was originally scheduled.

The world has turned from its axis relatively since that time when the identity policy can be discussed, the theme of the FastHORSE farce, the mockery, and the defense of it without fear of government revenge. Donald Trump has returned to the White House a revenge against the diversity of diversity, fairness and integration initiatives, moving a new version of Red Scare, except for the target color scheme now is anything not white.

Since non -profit agencies around the Earth are scrambled to learn how to respond to the anti -DEI policies and threats, the late first show of “the fake to make it” represents a satirical war between two non -profit groups that operate on behalf of the original American reasons.

Good intentions are not a guarantee of good behavior. In “Thanksgiving Play,” FastHORSE Currently with Farhan, a ruthless White, the hypocrisy woke up. Here, the way to distort the signals of virtue and moral pressure is taught in a non -profit field, as the public service turned into a competitive sport and spoils even those who have devoted themselves to raising their societies.

“Fake until you make it” does not expect the terrible situation to be revealed in 2025. But, it is useful, it exceeds the strict partisan groups that have absent our thinking and made the joint enlightenment look completely out of reach.

The play that was created intelligently, which is a joint production with the Washington DC, is shipped with its own historical importance. This is the first time that the original American playwright has been shown at the TAper Planting Stage – and it didn’t happen almost. (Explicitly interview With the Times Ashley Lee correspondent, Fashthorte revealed that it did not interfere in the square stage after CTG stumbled, “There was a lot of pain and pain that did not make this process difficult.”

When the play begins, River (Julie Bowen was removed from the fame of the “modern family”), a white woman who runs a country of indigenous population, is a restriction to prevent anyone from tampering with her cat. Wynona (Tonantzin Carmelo), an original woman who is proudly driving Nobush, is an organization that seeks to remove gas plants, the main goal of River.

The two women work in the same office complex and bitter enemies. Wynona has designs on Cat River, and River continues to grow plant species on the workplace that Wynona is on a fanatic mission.

The battle lines are drawn and immediately exceeded in a farce that is a farce from the bedroom and to the administrative corridors and rooms. The doors that cover, as a shaking doors to do, are open to work spaces, where a lot of time is spent on planning and loss.

The wrong identity is a major perception of this type, and FastHorm takes this task to another intellectual level. While he discovers in ridiculous disguise, “fake to make it” interrogate the meaning of racist identity and originality, and he left no ideological position safely by the paradox.

The non -profit universe of Fashorms includes a group of characters of various ideological obligations and tactical curricula. Theo (Noah Ben), the partner of Winona, is the environmental activist who is cleansing thousands of acres of English ivy with a wild California to find himself recruited in Winona’s war against the river. Theo, who is white, wants to marry Winona, but her conscience will not allow her to start a family with a non -original.

However, she is, however, a reward as her common wife if he pretends to be an original request submitted for a job in River. She wants him to wear a major grant request to improve her choice opportunities. Theo has concerns, but his passion for Wynona exceeds Scruples.

Two other non -profit leaders have their headquarters in this wing of offices. Grace (Dakota Rai Hebart), defender of changing race, launched an organization to help people transmit their identities “morally and safely”. She is an original woman who is eager to experience other souls, and she provides fashion designer EB Brooks the opportunity to create a competition from intense international clothes, designed to put an unambiguous claim with new cultural identities.

Eric Stanton Betts, left, and Brandon delsid in “Fake It to You to You to the Mark Taper Forum.

(Makela Yepez)

Krys (Brandon Delsid), which is known as a sexual liquid, heads an organization calling for a soul community. When Mark (Eric Stanton Pits), who is impersonating the original applicant Theo, is in the office to apologize for losing the interview with River, Krys runs an intervention in Winona. But Mark, his colleague, is two spirit of the soul with a lot of sexual attractiveness, complicates the loyalties.

Split mathematics is elegantly placed by FastHorms, which is planning the chaos that followed with Elan. The production, which was directed by Michael John Garsi, quickly reaches the speed of the sailor on a vital set by Sarah Ryung Clement full of local colors and original crafts.

But as much as I admired the genius examination of the theatrical writer of the identity policy through a cup of a farce, I never surrendered to the logic of comedy. My resistance was not just a function of the political scene that was radically changed, which made Dei not care about laughter.

There is a mockery in the heart of “fake to make them” that walk from the characters. FastHorm, its credit, does not write planning plays. She refuses to treat her original hero as a hero. But in making Wynona very flawed and river, it reduces Al -Narji, FastHORSE reduces our interest in the results of their battle. Small on their homes, I found myself indifferent.

Dakota Rai Heber, the left, and Brandon Delyside in “Fake to make it” at the Mark Forum.

(Makela Yepez)

Grace, who refuses to be limited to the demographic category, is in many ways the most controversial characters. However, it acquires the upper hand in the debate about the identity policy through a sympathetic and flexible perspective as controversial. Unfortunately, the way it is published as a scene of a scene that makes it difficult to take it seriously when it is important.

The real hero of the play may be the theatrical writer, who was not a quarter. But a more emotional, emotional touch in Winona has paid theatrical profits. In a farce, we expect to see characters, soaked in the positions of their manufacture, and behave in the worst. But we need to take care of them enough to stay attentive, and for this to happen, we must think they are able to self -consciousness, if not growth.

A farce is a notorious, as a critical, a critical type Eric Bentley Note. It allows us, as he writes in “Drama”, to put “psychological violence” by laughing. We know that brutality does not actually happen, so we are compatible with the evil Jinks. But a corner should be maintained for affection, and FastHORSE does not outperform a River cat of abnormal abuse.

Krys and Mark arrives at the moment of giving. Lust of God that allows them to overcome the lies that they collected together are not sufficient to compensate, but Delsid and Betts have a sweet chemistry.

The Boen and Wynona’s Wynona River plays shortcomings in their characters. There is no danger from the end of the sugar. Amy Prinman takes a funny role without fear when the “fake” moves to the stage in April. Carmelo, which can integrate a moment, moment, or two of the reflection in its fierce photography, which is uncompromising, will travel with the rest of the actors to Washington, DC,

Bean’s Tom Bristles in the way Wynona plays the race card. (“You can only say” blood money “to win with every argument,” as I told her), but it is a physical paste in her hands, leaving the impression of a good man with a large identifier and there is no column in the spine.

The play ends with a joke that made me wonder whether the central theater group has entered the cats. (I was hoping to make the anniversary of the broken murder that occurred in “O Lord of drugs, dear” At Kirk Douglas Theater).