Yesterday was Valentine?s Day, which means it?s that time of year again: the annual incarnation of ?The Vagina Monologues.? If I sound less than enthused, it?s because I am. ?The Vagina Monologues? is a very problematic piece of theater, as it can easily turn into a harrowing and monotonous dirge of self-indulgent monologues rife with pregnant pauses and not much else. There are always some laughs, as author Eve Ensler provides the cast with a solid foundation, but these are often ruined by pacing problems and poor execution.
The University Theatre Association?s production of ?The Vagina Monologues,? however, is an entirely different show. Director Brittany Jordt and associate director Kathryn Bilbo ? University of Wisconsin?s Senior Bachelor of Arts acting specialist and Master of Fine Arts acting candidate, respectively ? have made effective and innovative choices to employ music, song and movement to break up the litany of monologues. Though at times the players? inexperience shows, the diverse cast of students and community members brings a maturity and sense of humor to a performance that is both powerful and inspiring.
?The Vagina Monologues? is an episodic play that is run annually across much of the country in connection with V-Day, a movement aimed at ending violence towards women. In the show, a number of women, though it can also be just one, present any number of monologues based on real interviews Ensler conducted with more than 200 women. The topics of these interviews range anywhere from child birth to the emotional subject of rape, with some topics in between including what some women believe their vaginas would wear if they wore clothes or what they would say if they could speak. These stories can be powerful and emotionally devastating.
Ensler?s particular talent, however, comes in the great comedy she finds in even the most depressing monologues ? and ?The Vagina Monologues? can be unbearably funny. But what is perhaps the most engaging aspect of the show is the freedom it gives every director to guide the overall affect of the show.
?For each production of ?The Vagina Monologues,? there are certain monologues that must be included, as stated by the rules,? Jordt said. ?Those monologues create a framework from which you can work around, adding in ?optional monologues? which change a little every year.?
This flexible structure allows the director and actors a certain level of interpretation and creative license with Ensler?s script, which is a good thing because the show has several traps built into its structure. Though some of the monologues deserve a slow contemplative feel, too often they drag along with an unnecessary reverence. Without a single instance of interaction onstage to excite and stimulate, a slow pace can kill the show and castrate the comedic moments because the audience is too bored to respond in any significant way.
The directors of the UTA production, however, have addressed this problem in some very successful ways.
?When we began [the show], we were looking to include in some way music, in terms of singing and having a band on stage, and also including movement of some sort,? Jordt said.
The singing was an unexpected and welcome decision, with a few of the women breaking into song at various points in their monologues. The movement was also supplied by a chorus of three girls who accompanied their simultaneous monologues with interpretative and expressive choreography to great effect.
?We?re also planning on having a band on stage to provide us with some sort of tempo, some sort of rhythm, so that we can break up the back-to-back monologue feel so that people have some sort of release,? Jordt continued.
The performances themselves are excellent, finding that precarious balance between sweet and sour. There are moments, however, when the greenness of the cast shows, when the pace starts to drag a little and the inequality of performance quality appears. Some actors reveal the slightest hints of frustration when they know they?ve dropped a line, while others appear somewhat timid, lacking the tempered confidence of countless performances.
Mostly, however, the cast executes at the highest of levels. The women exhibit an uncanny understanding of their roles, cast for their diversity of age and background and connection to the pieces. They also possess an honesty and grasp of comedic timing that is refreshing and entertaining. Youn Jung Kim?s performance of ?Say It,? the story of a sexual slave for the Japanese army during World War II, is earth-shattering. Leia Espericueta ? performing the infamous ?Woman Who Loved to Make Vaginas Happy? piece during which she mimics every conceivable orgasmic moan ? is absolutely hysterical. But these are just two out of a gaggle of outstanding performances.
?The Vagina Monologues? has never been so alive. Great direction and a well-matched cast animate this show with their unique approach and endearing heart, easily fording the river of problems the script can present to even the most experienced cast. Everyone who loves ?The Vagina Monologues,? loves theater or even simply loves vaginas should go see this show.
