![]() Much to our annoyance (and sometimes displeasure, or relief, or frustration), many of these pictures are fakes. "Is that Bigfoot?" "Who is that with Marilyn Monroe?" "THERE IS NO WAY THEY WILL BE ABLE TO CATCH THAT BEAR!" Then we see some outrageous picture and cannot manage to rip our eyes from it. We'll be sitting at our desks and relaxing on our lunch breaks and decide to take out our phones and look at our Facebook and Twitter accounts - "just for a minute," we all tell ourselves (as we bold-facedly lie to ourselves). It’s about looking for where reality blends up against technique blends up against stan culture blends up against the conscious performance of self.Whether we mean to or not, we probably all spend way too much time looking at and reading about viral pictures on the internet. ![]() But I think it demands of the audience a keener eye, which is exciting to me. Now that the women are way more studied in the medium, feel almost closer to an amazing actress. We were interested in considering these women in the lineage of raw performance artists like Karen Finley and people of that generation who were really incorporating their own trauma in conscious but also sometimes dangerous ways. ![]() When we first started This American Wife, that switch hadn’t happened yet. They’re coming prepared and understanding the medium in which they’re functioning. Crystal Minkoff was saying that she studied an entire season of Beverly Hills like it was a textbook. All the women in Salt Lake City have seen Vicki Gunvalson scream about her family van. All of these new wives that are now joining the show are verified fans of the show. There are all these stories of people discovering Housewives during the pandemic. We were like, “The car drives up, and the door opens, and her heel steps out, and then there’s a slow pan up.” Then we both realized we were referencing Glenn Close in 101 Dalmatians.įoley: A theme that we investigate in our show is this idea that people come to the Real Housewives in moments of trauma or alienation. You can see a direct line from the animated Cruella, famously based off of Tallulah Bankhead, to the aesthetics of Mary-Kate and Ashley Olsen in the baggy clothes and emaciated cigarette, and even further to a character like Kristin Cavallari.īreslin: There was a moment when we were working on This American Wife when Patrick and I were describing a shot that we wanted to get. That’s not how Cruella and I raise our children.” There’s something about that that was foundational to my fixation on problematic women. Any time my parents would try to discipline me or my two sisters, I would be like, “Oh, that’s so interesting that that’s how you child rear. I had an elaborate story in my head where I was married to her and we had 12 daughters, all of whose names were Victoria. Patrick Foley: My imaginary friend growing up was Cruella de Vil. Below, Breslin and Foley talk about a few of the plays, books, and people that influence their flair. They are two of today’s most exciting theater creators, and their rising profiles led to backing from playwright Jeremy O. Michael Breslin and Patrick Foley, two of the company’s founding members, conceived, wrote, and starred in This American Wife after discovering their shared affection for Bravo’s lucrative Housewives franchise. Wife’s cocktail of lowbrow inspiration and highbrow commentary perfectly distills Fake Friends’ meta sensibilities, as also seen in as also seen in the Pulitzer-nominated 2020 streaming production Circle Jerk. The satire-cum-melodrama This American Wife - first staged in 2017 and performed virtually last month - blends actual Housewives dialogue with an eerie scenario in which the actors from the collective adopt standard reality-TV theatrics while playing exaggerated versions of themselves. Photo-Illustration: The Cut Photo: Brian Galderisiįor its latest production, the erudite theater collective known as Fake Friends has turned its attention to one of our era’s seminal texts: the Real Housewives.
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