Fucking A

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Fucking A
Written by Suzan-Lori Parks
Date premiered February 24, 2000 (2000-02-24)
Place premiered Houston, Texas
Original language English
Genre Classical Tragedy
Setting USA

Fucking A is a play written by American playwright Suzan-Lori Parks. It was produced by DiverseWorks for Infernal Bridegroom Productions, and premiered at the DiverseWorks Artspace in Houston, Texas on February 24, 2000.[1]


Fucking A is inspired by the novel The Scarlet Letter, written by Nathaniel Hawthorne in 1850. Fucking A shares several similarities with this work; both of the main characters are named Hester and are strong females with an unwavering love for their illegitimate child. Both Hesters also bear the letter “A” as a symbol of how society defines them: the modern Hester is an abortionist, the original is branded for adultery.[citation needed]

The idea for the play came to Parks while she was canoeing with a friend, when Parks yelled out, "I'm going to write a play, a riff on The Scarlet Letter, and I'm going to call it 'Fucking A'. Ha, ha, ha!"[2] While Parks was initially joking, she couldn’t get the idea out of her mind. She began working on the play, but after 4 years of drafts and rewrites she still hadn’t come up with a workable plot. She threw out everything except the title and the name Hester, and considered throwing out the latter as well, but the voice of Hester filled her mind and persuaded her to retain it and write Hester's story.[citation needed]

In the Blood[edit]

Hester's story, however, was not called "Fucking A", but In the Blood; a contemporized version of Puritan adultery and guilt, about Hester La Negrita and her struggle to survive in a world filled with sexual oppression, along with her five children, all by different fathers. “You have to listen to those voices when they talk to you,” said Parks.[citation needed] Once it was finished, she was then able to go back and write all of Fucking A, which she refers to as a "revenge tragedy" about abortionist Hester Smith.[2]

Plot synopsis[edit]

While In the Blood took place in a contemporary urban world, Fucking A has no such identifiable historical grounding. Set in "a small town in a small country in the middle of nowhere,"[citation needed] it is a dark fable worthy of John Webster and other Jacobean tragedies.[citation needed] Ms. Parks composed brief sardonic songs in the style of Kurt Weill for her characters, with such titles as "Working Woman's Song" and "My Little Army." The world revealed in the play is bleak and dystopian; one of naked and sadistic power where its subjects are subject to arbitrary imprisonment, where sexuality and fertility are discussed in an alternate language (translated on over-stage screens).

Hester Smith is an abortionist, physically branded with the letter “A”. The play begins with Hester talking to her friend "Canary Mary" about her son "Boy", whom she has not seen for 20 years, since he was imprisoned as a child for stealing a piece of meat from a wealthy family. The "rich bitch" who denounced him has grown up to marry the vicious "Mayor," who is the head of state. Hester describes how she writes to her son, and how she is saving her fees to pay for an outing with him. Canary confides to Hester that the Mayor has been cheating on his wife with her, and further discloses that the First Lady isn’t able to bear a child and the Mayor’s ready to leave her. Canary is confident that the Mayor will choose her, while Hester is left daydreaming about the day she can see her son again. Canary later walks through a park where she meets an escaped convict, "Monster". She notices he has a scar on his arm, and after a few exchanged words she continues on her way.

The scene changes to a bar where three hunters are bragging to each other about which one will catch Monster for the bounty. Hester arrives at the bar to find "Scribe", so he can write a new letter to send her son, but while there she meets another man named "Butcher" who takes a liking to her. Meanwhile, Monster meets an emotionally broken First Lady in the park, they exchange some kind words, and in the end she asks if she can kiss him. He agrees, and they kiss.

The next day Hester arrives home to find Monster has broken into her home and has set fire to her house. He robs her of some of her money, but in seeing her scar, which matches his, he starts to lose face and runs off. The next day, Hester finally has enough for her to pay for a furloughed picnic with her son. When she finds that the price has risen, she returns with more money as the plot takes a decidedly operatic turn. As she lays out the picnic spread, the guard brings out a prisoner called "Jailbait", who Hester ecstatically assumes is her son. She embraces him and tries to get him to show her the scar she gave him on his arm when he was first taken away to prison, but he is more interested in the food than he is in her. Halfway through the meal Hester realizes Jail Bait is not her son, at which point Jailbait claims that he killed her son in prison. Hester is frozen with shock, and as Jail Bait finishes eating and begins to rape her, she is still too stunned to resist.

The next scene opens with the First Lady discovering she is pregnant but knows she has had intercourse with many guys, but since Monster is the possible father, she wants to abort the child, but decides to pass the baby as the Mayor's instead. The abortion doesn't work and she has the biggest monster child ever made. Hester is now bent on revenge against the First Lady for putting her son in prison in the first place, and devises a plan with Canary to kill the First Lady, utilizing Butcher's unwitting help. Hester starts to put the pieces together and realize that Monster is actually her son, but struggles to accept that he is not the angel that she thought he was. When Hester learns that the First Lady is pregnant she changes her plan and decides to abort the baby instead of killing the First Lady so that she can echo the pain that the First Lady caused her. The next day Canary and Butcher bring a drugged First Lady to Hester’s house, where Hester aborts the baby, not knowing that it is her own grandchild. Just after Butcher and Canary leave, Monster, being chased by the Hunters, runs into the house. Hester accepts that Monster is actually her son. As the barking of the Hunters’ dogs grow louder, Monster tells Hester that if he is caught they will not kill him but torture him mercilessly. He begs her to kill him, and although at first she is incredulous, she finally decides that to save him from pain. She slits his throat like a pig, which Butcher has told her is the least painful way. The Hunters enter and see that he is already dead, and although they are disappointed they still drag his body away because there is “still fun to be had”.[3] Hester stands alone in her house for an instant, but soon gets her abortion tools and goes into the other room to continue her work.

Character Guide[edit]

  • Hester Smith: The abortion provider and main character. Her son has been sent to jail by the First lady.
  • Canary Mary: A friend of Hesters and a "kept woman", a prostitute.
  • The Mayor: Leader of a small piece of land. Cheats on his wife with Canary Mary.
  • The First Lady: The Mayor’s wife. She is unable to bear children which really bothers the Mayor. She sent Hester’s son to jail.
  • Butcher: A local Butcher who falls in love with Hester.
  • Monster: Escaped convict turns out to be Hester’s son. Real name is Boy Smith.
  • Freedom Fund Lady: Collects money from Hester for the picnic bail.
  • Scribe: He writes beautifully, and Hester goes to him so he can write a letter to her son for her.
  • First, Second, and Third Hunter: All three them are bent on catching Monster for a money prize and also so they can torture him.
  • Jailbait: He is mistaken for Hester’s son and he’s the one who actually has the dream picnics with Hester.
  • Guard: Brings Jailbait to Hester.
  • Waiting Woman #1 and #2: Two women waiting to abort their child.
  • 3 Freshly Freed Prisoners: They sing a song during the play.

Character Analysis[edit]

The story centers on Hester the abortion provider. She works as an abortion provider for the “Rich People”, as she calls them.[4] Her son was sent to prison by the First Lady, who is a very rich woman. This shows that Hester is a poor woman who seems to live in an oppressed world. The playwright never suggests it in the writing, but Hester is mostly likely an African-American woman living during the racist era of America. Racism isn’t evident in the play, but when Hester continually talks about how she has to work for the “Rich People”, it’s easy to relate that time period. Hester in herself is a strong and determined woman, and even though working as an Abortionist is a disgraced occupation, she continues to do it just to see her son again. She loves him so much that at the end of the play, she is able to save him pain by killing him.

Monster is someone who seems like a kid who was at the wrong place at the wrong time. Granted he does eventually become more of a criminal as time passes (he robs Hester and threatens the First Lady), it seems like if he hadn’t been sent to prison that he would’ve grown up a good kid under the guidance of his mother. The prisons of course had changed his perspective on life. “Better a monster than a boy. I made something of myself. It wasn’t hard”.[5] If only he could’ve grown up into something better than a monster.

The First Lady is Hester’s archenemy and almost complete opposite. She sent Hester’s son to prison, but Hester is working on getting her son out. The First Lady is unable to bear children, so no matter how much money she has, she is unable to do what a poor woman like Hester can do. The Mayor is displeased with her inability and openly cheats on her with Canary Mary. The First Lady can see that she will be replaced and her world is crashing down on her. She spirals into depression and in her angst she actually gets impregnated by the same man she sent to prison, Monster. She wants to abort the baby, so the thing she found so disgraceful in the first place, she sees as something she must do. She can be seen as the woman with the money and no love in her life, while Hester has numerous people who love her, but very little money.[citation needed]


The play is full of dark humor, although it is influenced by the structure of classic tragedy.[citation needed]


Fucking A is without a doubt largely an expressionism piece because of its own characteristics. It’s a dark and repressive world and Hester is trapped in her own society because of her lack of wealth and the fact that she’s an Abortionist. The entire play has an abstract feel to it, and also goes from a normal state to a nightmare state. The names of the characters are also very generic, such as Monster, Mayor, Jail Bait, etc. The amount of blood that’s in the play, as well as the amount of rape and death can easily be interpreted as a dark world and a dark distorted mind. It is a fairly short play and it follows Hester’s quest/journey to see her son again. It’s not only a look into Hester’s state of mind and emotion, but the playwright’s as well.[6]


Suzan-Lori Parks created a separate type of language called "Talk". It is used only by the women in the play.[citation needed] The women who speak in "Talk" also speak English, but use "Talk" when they are talking about pregnancy or vaginas.[citation needed]

Here is an example of "Talk":[7]

Canary:Die la-sah Chung-chung? Sah Chung-chung lay schreck, lay frokum, lay woah woah crisp woah-ya.

Translation: And her pussy? Her pussy is so disgusting, so slack so very completely dried out.

Hester:Rich Girl she tum woah Chun-chung crisp woah-ya, Rich Girl!

Translation: Rich girl yr pussy is all dried out, Rich Girl!

When "Talk" is used there is a projector of some sort that shows the translation onto the stage.[8]


The overall theme or idea of the play is the mother’s love for a child. Hester is an Abortionist; so every day, she has women who come in to rid themselves of an unwanted child. She’s helping women who don’t have enough love for their child, all the while she is scrapping and saving everything she can just to have a small picnic with her son. The collection agency tells her she has to pay double to see him now, and it doesn’t even faze her. She continues to work towards her goal because she loves her son so much. Women are coming into her work to kill their sons, while Hester kills for her son. She aborts the First Lady's unborn child because of how she put her son in jail. In the end is the true test of how much Hester loves her son. He begs her to kill him in order to save himself from torture, and of course at first she is reluctant. Ultimately her strong love for him is the only thing that enables her to kill him to save him from pain. She was once a woman who aborted other women’s children, finally it comes around full circle that she has to abort her own child.


There are two things that make this play special, the inclusion of "Talk" and the songs that Suzan-Lori-Parks actually wrote herself. The translation for "Talk" is projected onto the stage at the same time as the actors are speaking it.[8] It gives it a great other dimension of the play and is a beautiful sight to see when the actors and the projections are in sync. There are many songs that are originally written and interestingly just about every character has a song that they sing. In a later rendition of Fucking A which was played in the Public Theater in New York, the role of Monster is played by popular rap artist Mos Def. Although it is said to be the low point of the play, it can be a great spectacle for Mos Def fans to see him in such a dramatic role.[9]


Suzan-Lori Parks wrote numerous songs for this play. Just about every character has a song that expresses something about themselves. Hester has a song called “My Vengeance” and even the Hunters have a song called “The Hunters Creed”. These songs are often sung during a scene where the character will break off and sing. It adds an interesting emotional element to the play and also shows off Park’s musical and lyrical ability.

Here is one of the songs from the play:

Monster: “The Making of a Monster”[5]

“Youd think it'd be hard
To make something horrid
Its easy.
Youd think it would take
So much work to create
The Devil Incarnate
Its easy.
The smallest seed grows to a tree
A grain of sand pearls in an oyster
A small bit of hate in a heart will inflate
And that’s more so much more than enough
To make you a Monster.
Youd think itd be hard
To make something horrid
Its easy.”



Fucking A was originally produced by DiverseWorks for Infernal Bridgegroom Productions on February 24, 2000, in Houston, Texas. It was directed by Suzan-Lori Parks. The cast consisted of Tamarie Cooper, Amy Bruce, Charlie Scott, Amy Dickson, Andy Nelson, Troy Schulze, Lisa Marie Singerman, Cary Winscott, Keith Reynolds, Alexander Marchand, and Daniel Treadway.


It was presented Off-Broadway at the Public Theatre, opening on February 25, 2003. Directed by Michael Greif, the cast consisted of Susan Blommaert, Bobby Cannavale, Mos Def, Peter Gerety, Jojo Gonzalez, Jesse Lenat, S. Epatha Merkerson, Manu Narayan, Chandler Parker, Daphne Rubin-Vega and Michole Briana White.


It was presented Off-Broadway at the Romulus Linney Courtyard Theatre, opening on August 22, 2017, in conjunction with Parks' play, In the Blood. These plays were presented as part of Residency One, a year-long artist residency at Signature Theatre[13]. Directed by Jo Bonney, the cast consisted of J. Cameron Barnett, Brandon Victor Dixon, Ben Horner, Joaquina Kalukango, Marc Kudisch, Christine Lahti, Ruibo Qian, Elizabeth Stanley, and Raphael Nash Thompson.

About the author[edit]

Suzan-Lori Parks is an award winning female American playwright who was born in 1964 in Fort Knox, Kentucky. For her undergraduate degree she studied English and graduated with honors in 1985 from Mt. Holyoke. Also in 1985, under the encouragement of writer James Baldwin (who she studied with), she created her first ever play called The Sinners Place. “He had faith in me long before I even had faith in me,” she said.[14] The Mt. Holyoke theatre faculty refused to produce it. It took her another 4 years till she was better known after she wrote Imperceptible Mutabilities in the Third Kingdom.[15]

Being an African-American, Parks often wrote plays that related to class struggle and race. Some plays were controversial such as The Death of the Last Black Man in the Whole Entire World. However “critics applauded Parks's use of history, language and stereotype.” In turn she received a National Endowment for the Arts Playwriting Fellow for it. Not only writing plays she also produced a film called Anemone Me. Parks also writes the music for some of her plays herself, such as Fucking A and In the Blood.[15]

“I write because I love black people. That in itself should take me a long way.”—Suzan-Lori Parks [15]


Imperceptible Mutabilities in the Third Kingdom

  • 1990 Obie for Best New American PlayVenus
  • 1996 Obie for Best New American PlayTopdog/Underdog
  • 2002 Pulitzer Prize
  • 1995 Lila-Wallace Reader's Digest Award
  • 1994 W. Alton Jones Grant Kennedy Center Fund for New American Plays
  • 1992 Whiting Writers' Award
  • 1990, 91 National Endowment for the Arts, Playwriting Fellow
  • 2001, MacArthur Fellow


  1. ^ Parks, Suzan L. The Red Letter Plays. New York: Theatre Communications Group, 2001. (P. 114)
  2. ^ a b Parks, Suzan L. "The Power and Audacity of Spoken Black English." Interview. Academy of Achievement. 10 Oct. 2007. 12 Feb. 2009 <"Archived copy". Archived from the original on 2008-07-05. Retrieved 2009-03-02. >.
  3. ^ Parks, Suzan L. The Red Letter Plays. New York: Theatre Communications Group, 2001. (P. 220)
  4. ^ Parks, Suzan L. The Red Letter Plays. New York: Theatre Communications Group, 2001. (P. 148)
  5. ^ a b Parks, Suzan L. The Red Letter Plays. New York: Theatre Communications Group, 2001. (P. 218)
  6. ^ Rush, David. A Student Guide to Play Analysis. Carbondale: Southern Illinois UP, 2005. (P. 216-229)
  7. ^ Parks, Suzan L. The Red Letter Plays. New York: Theatre Communications Group, 2001. (P. 119)
  8. ^ a b Sommer, Elyse. "A CurtainUp Review 'F***ing A' " Curtain Up, March 16, 2003. February 12, 2009
  9. ^ None. "Headlines: Mos Def to Star in Parks' Fucking A at Public." Broadway.com Your ticket to Broadway. 25 Oct. 2002. 12 Feb. 2009 <[1][dead link]>.
  10. ^ Parks.2C_Suzan_L_2001._P._114
  11. ^ curtainup2003
  12. ^ http://www.signaturetheatre.org/shows-and-events/FAQ--The-Red-Letter-Plays.aspx
  13. ^ https://www.signaturetheatre.org/About/playwrights-residencies/Residency-One.aspx
  14. ^ Marshall, John. "A moment with ... Suzan-Lori Parks, playwright." Seattle PI 26 Mar. 2006. Books. 13 Feb. 2009 <http://www.seattlepi.com/books/123373_moment26.html>.
  15. ^ a b c Lenahan, Edward. "Suzan-Lori Parks." Temples for Tomorrow An Online Project in African American Literature. The College of Charleston. 12 Feb. 2009 <[2]>. Archived September 21, 2008, at the Wayback Machine.
  16. ^ Women of color women of words. Rutgers University. 13 Feb. 2009 <[3]>. Archived January 18, 2009, at the Wayback Machine.