Review by Lisa Gauthier Mitchison, read the full review here.

Alan is a tenured cultural psychology professor. When one of his undergraduate classes submits a letter of complaint about a paper of his destined for publication, which he shared with them during a class, the dean, Michaela, challenges her former lover because she uncompromisingly rejects his research on female circumcision being performed in Africa. She dismisses his work as being credible, stating that he, as an American white male, could not reliably procure this information and claiming that the intangible nature of his field cannot provide actual facts.

His findings show that the majority of the women having the procedure embrace it as sacred because it is an initiation into the empowering women’s secret society of Bondo. They feel they are claiming their bodies’ femininity, and it forms bonds of sisterhood among them. Michaela also accuses Alan of stealing her similar research idea and of fetishizing black women. However, her own vitriol seems to be moored more in her own anger as a woman scorned (even ten years later) and in her own cultural superiority complex. Michaela has arranged to have the study repeated, headed up by a highly recommended graduate student at the university, who is from Sierra Leone, Lydia—a young black woman.

Rob Johansen, as Alan, and Milicent Wright, as Michaela, are both well-known, accomplished presences on Indianapolis stages, and they do not disappoint here. Under guest director Lavina Jadhwani, their body language, facial expressions, and line delivery create a realistic portrayal of a couple at odds both personally and professionally. Given their shared history, Johansen’s initial awkwardness and Michaela’s cold reception of him make their elevating, heated confrontational debate more personal.

They are joined on stage by Paeton Chavis, as Lydia, who is also a force on stage. Her character holds her own, chin high, when faced with her educational “superiors.” In this role, she exudes the passion and strength of conviction that is often most evident in a younger generation. She also adopts a lilting accent to reiterate her character’s heritage. (Whether it is authentic or not, I cannot say, not being a student of African language, but dialect coach Chelsea Anderson pulled a musical cadence from Chavis.)

The show’s uses the hot-button issue of female circumcision, but through this, it also takes to task people’s inherent if subconscious belief of their own culture’s superiority. While the show is intense, there are brief moments of levity to break up the swirling rush of intellectual discourse. The emotionally charged verbal sparring can be overwhelming, but the inclusion of these breathers deters mental overload in preparation for the next onslaught of academic and personally fueled arguments.

Phoenix’s lower stage is moved almost to the center of the room, designed by Bernie Killian, allowing audiences an even closer and immersive experience.

Seth Rozin’s new play is based on actual accounts, not just speculation, which expands the play’s purpose, challenging audiences to examine their own emotional reactions and cultural prejudices.

The show is ninety minutes with no intermission, so get your drinks and cookie bars before it starts.

For an interesting read on the subject, check out https://www.theatlantic.com/international/archive/2015/04/female-genital-mutilation-cutting-anthropologist/389640/.