TRUMP, TRAUMA AND A WAR THAT WON’T GO AWAY

by Laura Collins-Hughes (January 16, 2019)

‘Based on the bravery of Jill Harth,’ ‘Based on the bravery of Tasha Dixon.’ ‘Based on the bravery of Rachel Crooks.’ That’s what it says in the ‘Grabber’ program after the titles of individual plays: a statement of awe at Mr. Trump’s accusers for stepping into the media glare.

A NIGHT AT THE THEATER WITH TRUMP’S ACCUSERS

by Alyssa Shelasky (January 16, 2019)

The play itself was terrific. Each of its eight acts honored a victim and her story (one act actually honored the victims who haven’t yet spoken). Some were disturbing, some were hilarious, most were both.

The Pussy Grabber Plays succeed by doing more than just calling us back to these accusers’ stories. They hold our attention and direct us towards nuance, creating exquisite, unexpected windows into the lives of women who were previously reduced to a single trauma.

‘It was totally surreal to see someone play me onstage. It was wild,’ Stoynoff tells PEOPLE. ‘She made me laugh, which was good. That’s the reaction I was hoping to get from the audience, and we did.’

[T]he play doesn’t simply recapitulate the allegations of harassment and assault for the sake of keeping the details in public consciousness—instead, it gives each woman the opportunity to tell her story in the way she sees fit.




 
 
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