A scene from Inexcusable Fantasies
Author: Susan McCully
Description: Funny look at lust, love and finding one’s true desires be they Martha Stewart’s marzipan or Oil of Olay.
First Produced: 2012
Date Added: 10/31/2013
Content Advisory: References to lesbian sexuality and vibrators. Limited strong language.
Keywords: Comedy · Gay and Lesbian · Memoirs · Gender and Sexuality · Feminism · Mostly Female Characters · Small Cast Size
1 Act, 65 Minutes
2 Females, 0 Males
NOTE: Inexcusable Fantasies is fully protected by copyright law and is subject to royalty. All inquiries concerning production, publication, reprinting or use of this play in any form should be addressed to firstname.lastname@example.org.
Original Production Information
Inexcusable Fantasies was presented November 2012 at The Strand Theatre, Baltimore, Maryland with the following cast and crew:
Director: Eve Muson
Inexcusable Fantasies was presented May 2013 at the Prague International Fringe Festival and August 2013 at the New York International Fringe Festuival with the following cast and crew:
Director: Eve Muson
Review by Andrew Rothkin
Coasting down the highway with a Harley trembling between your legs… Lusting after Martha Stewart and her agile, accomplished hands…. Grieving over the loss of your one true love/sex toy…
These are but a few of the glimpses into Susan McCully’s journey in her masterfully-written two-woman piece, Inexcusable Fantasies – a sort of coming of age story of a middle-aged woman. Or rather, I suppose, a coming of middle-age tale.
While it is difficult to know precisely which elements are autobiographical and which are the work of an exceptionally fertile mind, I prefer to think that with a few theatricalities aside, McCully is sharing her truth, indeed, baring her very soul. She apologizes for nothing. After all, she spent her childhood apologizing – for looking too different, for feeling too different, for much of her very existence. In a straight-laced, conservative hometown with straight-laced, conservative parents, a homely child (i.e. one ill-suited to wear the Miss America crown) is outsider enough; when the child is also LGBT, fitting in – or more importantly, feeling worthy within one’s own, sexy skin – can seem an insurmountable task.
When she initially graced the stage and began to erupt with poetic prose, I was awed by McCully’s wordsmithery, her intricately woven stream of words whose meanings and allusions seemed three steps ahead of me. I took a breath a prepared myself for an hour of esoteric meanderings… a play wherein I would enjoy a very gifted writer’s wordplay, but not one in which the actor/writer would connect with me nor would I connect to the material… beyond an appreciation of clever language. Thankfully, within the first three minutes of the piece, both McCully and I took a breath and relaxed, and I eagerly traversed the story by her side, a companion to her sometimes sad, often hilarious, always wise reflections.
The excellent Rachel Hirshorn fused in and out of her stories, transforming into various women in Susan/Michelle’s life – most notably, her mother and long-time lover. Like McCully herself, Hirshorn was a delight to watch and listen to, displaying charm and solid skill, adept at both the comedic and the dramatic elements. Perhaps more importantly, the two played wonderfully off of each other with real and palpable chemistry – each making the other look all the better.
The entire piece was beautifully staged by Eve Muson, easy, smooth and polished, highlighting the theatrical as much as the real, the touching as much as the funny. Billy D’Eugenio’s light design, Lian French’s prop design and Mallorie Ortega’s sound design evoked the various moods and shifts very well, adding to the emotional undertones and to the storytelling as a whole.
Though I have some mild criticisms (hey, that’s my job!), such as wanting a more relaxed, somewhat more naturalistic intro, a tighter, more definitive ending (perhaps bookending a tweaked beginning), and some edits to the lovely but long motorcycle monologue, Inexcusable Fantasies is a very well-done, thought-provoking, feeling-inducing, often laugh-out-loud-funny piece of theatre – and I am very happy I saw it. I encourage you to run out and do the same.
reviewed at the 2013 New York International Fringe Festival
Review by Rachael Collins in expats.cz (2013)
As there are so many incredible shows on offer at the Prague Fringe, it’s easy to see how you would miss one in order to see another, or have to choose between one Divadlo and the next. However, there are no excuses for missing Susan McCully’s ‘Inexcusable Fantasies.’ Read the review.
Excerpt from Inexcusable Fantasies
Tell me we’d get to edit the captions too. Just once to rewrite the lines under a power tool, action shot expose . . . She is the most erotic combination of butch and femme in motion when she whips out her Porter Cable 18 volt drill driver and applies just the right amount of pressure at the right torque setting to keep from stripping the screws. The galvanized wide-shank wood screw cries out in that high pitch vibrato as Martha keeps rolling her round and round. Then, she runs her finger across the surface making sure its flush. With the last slat on slat joint of her trellis complete she pulls back, sated, so satisfied—arms almost akimbo before she demurs dropping her hands back over her hips and pulling the heavy cable-knit heather green sweater back over her arms exposing only her wrists—that tease. We want to see her arms again, and she knows it. There is only one way that a woman has such sculpted muscle development in the flexor ulnaris of her dominant forearm . . . Do you know?! DO YOU?
Ah, . . . tennis?
This is feeling really inappropriate.
What do you mean?
Just stay over there and “drop it,” you . . . icky.
What are you trying to say?
How dare you suggest—say outright—sully and blurt such repulsive things about Martha. About Martha! You may not pretend to put nasty thoughts in her mind. That is filthy.
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