The first half of the play is realistic; the second, surrealistic. The protagonist in each half—make that in each scene—differs from the last. That’s just two instances of Geraldine Inoa’s unique, far-out approach to writing a play—in this case Scraps, now in a West Coast premiere at the Matrix Theater, which has become a kind of showcase for black plays which were successful in New York (such as The Mountaintop).
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