“The work begins promisingly, casting Shriner as a small-town, high school show choir nerd who loses her virginity to an elusive, emotionally unavailable boyfriend. While the man-child proves disposable, Shriner’s love for the sexual chase and experience becomes one of the “10,000 pieces” that compromise her character. Branded by her peers in Indiana, and into her undergraduate college years at Millikin University in Central Illinois as a “bad” girl of dubious morals, Shriner makes the (seemingly) conscious decision to let her freak flag fly.
But then a #MeToo reckoning is squeezed into a momentum-slowing fashion between its riotous setup and compromising denouement. While painfully authentic and emotional, the sudden pivot to a plotline involving a past sexual assault undercuts what is previously served up as a narrative of female agency. As a feminist writer who urgently believes that more complicated, messy stories for and by women are needed across the entertainment spectrum, it pains me to see the production’s structure as an inadvertent capitulation to the very patriarchy it critiques. The subsequent upshift to a final 10 minutes of sex comedy ends with Shriner’s proscripted, heteronormative conclusion. It’s not what we’re lead to expect and it feels like a cheat.”