"In the Next Room or the Vibrator Play" by Sarah Ruhl has much in it to discern. Perhaps a bit too much for men who are unable to deal with the topic of feminine sexuality. This period piece is set in an unnamed American city during the Victorian era of the 1880's, a time when female sexual climax was little understood, nor the ramifications of overt stimulation by crude electrical devices.
The leading medical journals of the day diagnosed female sexual repression as "hysteria." In order to counter such a diagnosis, doctors of science such as Dr. Givings (Shad Willingham) would recommend treatments in which genitalia would be stimulated with these early vibrators, oftentimes resulting in unexpected "paroxysms" and sometimes accompanied by discharges in female patients.
Ruhl uses the phrase "in the next room" to great thematic device. People who are in the next room find sexual fulfillment and what goes on behind those closed doors piques the interest of the doctor's wife, Catherine (Katherine McClain).
Catherine is shown to be greatly conflicted. She is a new mother who cannot produce enough milk to satisfy her baby's needs and she questions whether she is adequate in other ways. She is intrigued by the patient, Mrs. Daldry (Lucy Faust) who enters the operating theater cold, repressed and unable to function. Following treatment, she emerges with color in her cheeks and a smile on her face. Catherine begins to eavesdrop on the sounds emanating from the locked door, trying to understand what is behind the whirring electrical sounds and the gasps and moans of pleasure that follow as Mrs. Daldry receives numerous treatments at the doctor's hands and those of his more-than-willing nurse Annie (Morrey McElroy).
Through her association with the Daldrys, Catherine is introduced to a wet nurse, Elizabeth (Kesha Bullard), who has tragically lost her infant and whose breasts remain full of nutritious milk for her baby. At first she is reluctant because Elizabeth is a negro. Dr. Daldry, who proudly proclaims his family's long association with abolitionism, agrees without hesitation. "You'd rather have a negro Protestant than an Irish Catholic, wouldn't you?" Knowing his child needs greater sustenance, he explains to his wife that "milk is without intention."
Ruhl explores several areas of inadequacy and the lack of intimacy during this time. The men are shown as fumbling, inept and lacking sexual prowess. Due to society's norms, the women and men are so embarrassed and self-conscious of their own bodies that they keep themselves bound in layer after layer of heavy clothing.
Willingham's portrayal of Dr. Givings is sometimes comical. While administering treatment to his patients, he is prone to talk about any manner of scholarly or scientific topics, probing them as to what they are feeling. He is at the height of aloofness and detachment while in the operating theater and he carries that indifference with him in his relationship with his wife. She yearns for the doctor's bedside manner, but one that holds greater passion and desire for her.
When Mrs. Daldry returns for more and more treatments - even when the doctor is out - the two conspire to break into the next room to use the machine to experiment on themselves. Along the way Mrs. Daldry begins to find a forbidden attraction to Annie and she responds to her in subtle and more overt ways. While she and Annie are in the next room, the frustrated Mr. Daldry (Jason Kirkpatrick) begins to feel a romantic interest in Catherine.
Meanwhile, artist Leo Irving (Clint Johnson) confesses he is lacking mental stability and cannot focus on his art due to a recent love tryst that went awry. He manifests all of the symptoms of "hysteria" and so Dr. Givings decides to offer him treatment. "Hysteria is very rare in a man," he admits, "but then again he is an artist." The doctor brings him into his operating theatre and uses his device to stimulate the man's prostate gland to great effect.
Later, Irving has renewed interest in painting again and he makes contact with Catherine and Elizabeth, asking to paint the latter as she suckles Catherine's now-thriving infant. Catherine admires his art and begins to feel the pull of sexual desire towards him. At the same time Catherine begins to feel envy towards Elizabeth as she begins to bond more with the child during feedings. Yet Catherine's feelings are not to be returned. As he paints her, Irving begins to yearn for the happily-married Elizabeth, an interracial liason that is doomed to fail.
Catherine demands the doctor use the device on her. Reluctantly, he complies, but when she experiences desire for him during the procedure, he is repelled. He flees the scene, regretting his decision to "treat" his wife. But, when the doctor later experiences jealousy for his wife and her obvious attraction to Irving, there is an opportunity for the two of them to find joy through renewed passion for one another. Just as the patients trust the doctor's abilities with the device in the next room, this experimentation requires faith and trust in each other.
The doctor is eventually challenged by his wife to save their marriage by focusing less on his practice and more on her. "Love me for your job!" she implores. When the couple literally disrobe and he sheds all of his clothing and inhibitions, there is little doubt the two will find sexual fulfillment.
Aimée Hayes directs this very talented cast with solid, standout performances by everyone. As Elizabeth, Bullard has a very difficult role to play, acting as a mother in mourning and a minority living in the shadow of a larger, more affluent society. Faust and McClain are brilliant in their scenes together as they endeavor to explore why the device has dissimilar results on each other. Faust also excels in her scenes with McElroy as the characters of Mrs. Daldry and Annie grow closer inextricably to one another. There is a tendency to paint the male characters with a broad brush of buffoonery. It is not until the end of the second act that Willingham's character begins to emerge with real depth and sensitivity.
There is a lot going on in the two and a half hours in which the play runs. At times there are scenes that are largely comical and at other times, there are beautifully poignant scenes that evoke deep emotion. "In the Next Room, or the Vibrator Play" was a finalist for this year's Pulitzer Prize for Ruhl's inventive use of comedy and drama. It has a lot to deal about female sexuality and desire, but it also deals with sexual liberation on many different levels.
David Raphel's set design of a Victorian-era home is notable as are the many well-executed, multi-layered costumes designed by Laura Faye Sirkin-Brown. Lighting design by Joan Long is top drawer and the sound design by Jeremy Lee is also worthy of mention.
"In the Next Room, or the Vibrator Play" runs now through September 26 with evening shows on Thursdays, Fridays and Saturdays at 8:00 p.m. Sunday matinees are held at 3:00 p.m. Tickets are $35 for Fridays and Saturdays and $29 for Thursday night and Sunday afternoon performances. Tickets are available by calling the box office at 504-522-6545 or by ordering online here.
Comments