VIBRATOR is stimulating on Cleveland Playhouse’s Second Stage
As reviewers and special guests came up to the media table in the lobby of the Allen Theatre, before the opening night performance of IN THE NEXT ROOM (or the vibrator play), they were given a bag of “goodies” supplied by the show’s sponsor, Ambiance, which bills itself as “the store for lovers.” Without going into detail about the gifts, the contents were a perfect hint of what was to come once the lights went up on CPH’s Second Stage.
During the late nineteenth century, terms like “hysteria” and “frigidity” were used to describe maladies associated with the “weaker sex.” Everyone, from Thomas Edison to Sigmund Freud to the medical profession, jumped into the fray trying to get women to transform into “their finer selves.”
Without knowing it, the men were acknowledging puritanical attitudes, which deemed that women were to be subservient to their husbands, and their duty was to make sure their husbands were satisfied. Male controlled views of life resulted in females not reaching emotional or sexual climax and, therefore, were in a state of constant frustration.
It is ironic that now, in the twenty-first century, women are still being controlled and demonized by a political system in which respect for the female body and the ability to control their own destinies are being subjugated by religious groups and a political party.
Sarah Ruhl’s IN THE NEXT ROOM (or the vibrator play) is an often funny, emotional and revealing tale which examines female sexual desire, motherhood, breastfeeding, jealousy, personal discovery and the rigidities of society.
The setting is a prosperous town outside of New York City in the 1880s. Dr. Givings is a young doctor who has a fascination with technology and believes through physical and mechanical vaginal manipulation he can cure women of their moodiness, hysteria and depression.
Catherine, Givings’ wife, has recently given birth to a baby, but does not have enough natural milk supply to satisfy the child. A wet nurse is hired. The baby bonds quickly with the caring, emotionally and sexually satisfied, Elizabeth. Catherine, not only is frustrated from a lack of attention from her husband, but is now in a state of having no outlet for her satisfaction of emotional and female needs.
In the meantime, Sabrina Daldry comes to Dr. Givings for help. She transforms under the care of the doctor and Annie, a nurse-midwife. Sabrina and Catherine soon form an alliance to discover why their lives have been so angst filled. Part of the reason, they believe, includes that their “husbands creep quietly into their beds at night and only use the missionary position,” thus satisfying themselves but leaving their wives unfulfilled.
A free love painter, snow (the symbol of love), making snow angels, some level of awareness on the part of men of the needs of women, the binding restrictions of the female clothing of the era, use of the electronic device on a male, sage advice from a wet nurse, and a piano interlude, all come together to provide heightened awareness.
Though the play is a little too long, especially the protracted second act, and the staging of the ending is a big over the top, CPH’s production, under the direction of Laura Kepley is well done. The show is well-paced, the acting is top notch, the stage set by Michael Raiford is visually stimulating, Michael Boll’s lighting creates the proper moods, and David Kay Mickelsen’s costume designs, especially the women’s clothing, are era-correct and breathtaking.
Nisi Sturgis walks the fine line between angst and giddy with precision as Catherine Givings. Jeremiah Wiggins, as the educated yet clueless Dr. Givings, is excellent. Gail Rastorfer makes the uptight nurse, Annie, a symbol for the need for women to act on their impulses. Birgit Huppuch is delightful as Sabrina Daldry, transitioning perfectly from “hysterical” to freed from frustration. Donald Carrier is so very “proper” as Mr. Daldry. Rachel Leslie, as the Black wet nurse, Elizabeth, develops a character that clearly displays a satisfied woman who, relieved of the Victorian “white person’s” attitudes, responds to life on a real level. Zac Hoogendyk gives the right free-spirited attitude to painter Leo Irving.
Be aware that the play contains sexual reenactments, full male nudity, and explicit language.
CAPSULE JUDGMENT: IN THE NEXT ROOM (or the vibrator play) is filled with laughter, views of the needs of women, naïve treatment of the “weaker sex” by men, excellent acting, and a beautiful set and costumes. This is a production well worth seeing.
