Philly Fringe 2018: Radiant Bloom Productions presents Irene Molloy's 'The F Word' (first review)

Women outnumbered men in the opening's audience by a ratio of 8:1. But The F Word might prove revelatory for men ignorant of the ways in which women have been mistreated in American society, and how arduous and demeaning the struggle for equality has been.

For those who are aware, it's a review (as well as a revue) that celebrates the cause.

"Sisters Are Doin' It for Themselves"

Demetria Joyce Bailey, Meredith Beck, Erica Cochran, Heeya Kim, and Kalyn West make up the female ensemble, and they're great together. The songs are sincerely sung, cleverly staged, and inspiring. The cast includes two men, Ryan McCurdy and Jacob Shipley, who provide musical accompaniment on guitar, beatbox, and vocals, along with Braden playing keyboard.

These men occasionally become the heavies who resisted progress (you won't believe what Charles Darwin said about women). But The F Word, like feminism, isn't anti-male, it’s pro-equality; men participate in the narration as equals.

Songs include historical oddities such as "Sister Suffragette," "Rosie the Riveter," "A Woman's Place," and "The Pill." Oldies that people of a certain age will recognize are "I Am Woman Hear Me Roar" (with beautiful harmonies), and "Stand by Your Man," both shared sans irony, and "The Times They Are A-Changin’." The anthems "Respect," Can't Keep Quiet," and "Rise Up" become rousing celebrations.

Those who learn nothing from history…

The F Word tells its story chronologically, helped by uncredited projections that put faces to names and show the fervor of famous demonstrations. A light approach -- punctuated adroitly with moments of solemnity -- keeps the narration from bogging down.

The cast moves from defining feminism and dispelling myths to the first wave that finally secured voting rights (after 72 years of struggle). They progress through the changing roles of women during the world wars, the second wave of the 1960s, and the third wave, which continues today.

Molloy’s script acknowledges current forms of feminism that advocate for bisexual, gender-fluid, and trans people as well as minorities, including the disabled, who are often excluded. There's even a mention of white feminism, which of course is covered hilariously in Lee Minora's White Feminist.

The F Word offers a brisk, fun primer. Women obviously enjoy it, but if we really want to make progress, every woman should bring a man or six who need some enlightenment, or The F Word is just preaching to the choir.

To read Melissa Strong's review, click here.