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Boston Globe

Fresh Ink's ‘Sugar' offers a modern look at the oldest profession

'It may seem like I just appeared on the scene,' the 32-year-old Moses says with a laugh, 'but I've been working at theaters across the country for the past decade.' A citizen of Seminole Nation of Oklahoma with Mvskoke (Creek) heritage , and a cofounder of Groundwater Arts (which leads theater workshops in climate justice and de-colonization), Moses grew up in Oklahoma, but moved to Providence four years ago to earn her MFA in directing at Brown/Trinity Rep. Her first experience with Boston audiences came about when the Furnace Fringe Festival (produced by Boston University students) presented her play 'Sections' in 2017. 'I was struck then by how engaged the audiences were,' she says. 'Ninety percent of the audience stayed for a 20-minute talk back that lasted over an hour. People weren't used to being seen and were eager to talk about their experiences.' Advertisement Tiffany Santiago, playing Brooke, hides under a desk while fellow actors shake hands as they rehearse a scene from their production of 'Sugar." Taylor Coester for The Boston Globe When Fresh Ink asked her to submit a script for consideration, Moses, who has already written 17 full-length plays, chose 'Sugar,' a drama that turns the 'Pretty Woman' trope on its head. In the play, Brooke, a 20-something who is working three jobs but still can't make enough money to pay all her rent, student loans, utilities, and food bills, turns to sex work that ultimately helps her get her life back on track. 'She games the misogynistic system for a woman's benefit,' says Moses. 'I think the people that write stories like 'Pretty Woman' are writing about their fantasy, and don't engage in sex work or have any real connection to it,' she says. 'This play is autobiographical in a way and tells an authentic story that asks questions about the ways in which we treat marriage, women's bodies, and identity as commodities.' 'Sugar' director Audrey Seraphin says Moses makes specific choices while weaving several layers of ideas throughout the play. 'Tara creates tension between moments of comfort and discomfort,' Seraphin says. 'For example, she uses country music throughout the play — first as a weapon [to try to quiet noisy neighbors] and then to provide insight into a character's personality, but always to move the story forward. She also uses art [Brooke's chosen profession], sometimes to antagonize, but also to heal and connect.' Moses, Seraphin says, also creates complicated and nuanced friendships that emerge out of need. Sometimes it's misplaced, as in Brooke's friendship with a college roommate who sees her as token, while at other times, with Brooke's business partner, a successful investment adviser, it can be empowering. Advertisement 'She describes Brooke as ethnically ambiguous, operating in the margins as an unknown brown woman,' Seraphin says. 'That's already a complication.' But Moses also provides Brooke with a strong arc, allowing her to lay out her dreams in the opening scene, and then, in the course of the play, take advantage of a business opportunity to make them a reality. 'Tara makes very specific choices that poke fun at stereotypes one minute and then suggest some some dark things the next,' Seraphin says. 'Trauma doesn't have to be violent or sexual to harm. But by giving Brooke control, she allows her to figure stuff out, and most importantly, by the end, we know she's safe.' Climate Plays After each reading, the plays are paired with a local conservationist, climate researcher, and/or climate activist who can speak to the issues addressed in the play and continue the conversation. Festival tickets are $50. For more information, go to Advertisement SUGAR By Tara Moses, presented by Fresh Ink Theatre, at the BCA Black Box Theatre, April 17-May 3. Tickets $35.