Pamela Rabe is trying out vibrators. Together with designer Tracy
Grant Lord and Sydney Theatre Company head of props Alex Stuart,
she is discussing the various knobs, attachments, switches and
screws used for the Chattanooga vibrator, a rather large, awkward
and medically invasive looking contraption from the turn of the
century. In the actor's warm-up area Helen Thomson is chatting to
Jacqueline McKenzie about how a Victorian Woman might sound when
treated with such a contraption; how she may experience a
"paroxysm".
Perhaps not your average discussion during a break in rehearsals
but according to director Pamela Rabe such discussions have become
"part of constructing the reality of Victorian America" for STC's
production of Sarah Ruhl's Tony Award nominated play In the
Next Room or the vibrator play. This charming, witty
comedy, set in the late 1800s follows Catherine Givings, played by
Jacqueline McKenzie, and her doctor husband (David Roberts). As
Catherine struggles with her inability to breastfeed her child, Dr
Givings is increasingly absorbed by his work - treating women (and
the occasional man) for hysteria by way of a "massage device" that
produces a "paroxysm".
Dr Givings: The congestion in your womb is causing your
hysterical symptoms and if we can release some of that congestion
and invite the juices downward, your health will be
restored
When the lonely Catherine begins to befriend Mrs Daldry (Helen
Thomson), one of her husband's patients, she become increasingly
fascinated by the electrical-powered instruments and sounds coming
from the next room.
Pamela was intrigued by In the Next Room or the vibrator
playwhen she first heard about it opening in the United
States. Intrigue soon led to fascination as she read her way
through the script. "I knew that it had attracted a lot of
attention and garnered several award nods, like being short listed
for the Pulitzer Prize and nominated for Tony Awards but I didn't
expect to be as drawn to the play as I was," says Pamela. "I
love the period in which it's set, the cusp of the Modern World -
the time of Ibsen, Chekhov and Shaw - and was fascinated by the
subject matter, the treatment of patients with electrically-powered
vibrators, in that unexpected context. It first appealed on
that basis alone, as an historical eye-opener."
However, it was one small stage direction written by Ruhl that
captured Pamela and excited her director's instinct about a
possible production. "Early on, there is a reference to the
depiction of the first 'paroxysm' experienced by a patient on
stage," explains Pamela. "Sarah gently nudges the actors to
'remember that these are the days before digital pornography.
There is no cliche of how women are supposed to orgasm, no idea in
their heads of how they are supposed to sound when they climax.
[Her] first orgasm could be very quiet, organic, awkward, primal.
Or very clinical. Or embarrassingly natural'.
"I was hooked. For me, 'embarrassingly natural' is as close a
definition as I can think of for the state of sublime performances
I have been touched by. And I don't mean 'naturalism'. I'm
talking about the shocking intimacy that can be achieved between an
audience and a performer when that connection is alive. Electric. I
was tingling with excitement at the possibilities of the play in
performance, and incredibly moved - to tears and laughter - by the
beauty and joy and truth of the story she had created."
After In The Next Room or the vibrator playwas programmed
to kick off STC's 2011 season, Pamela set about casting, looking
for actors that she describes as "special beasts". "I need actors
with a strong sense of comedy - possessing the skills and craft to
guide an audience through finely balanced material, as well as the
courage and sensitivity to be emotionally truthful and brave in
performance. They also needed to be very good with props!"
Being 'good' with props is an understatement. As last count during
technical rehearsals there were over 100 props being handled by the
cast, in addition to plentiful costume changes. Pamela says she is
thrilled with her cast, which in addition to Jacqueline McKenzie,
David Roberts and Helen Thomson also includes Marshall Napier, Josh
McConville and Sara Zwangobani, and that they have discovered a
beautiful tone of performance for this lyrical, yet very human
story.
"It's a big, tender play", says Pamela "I love Sarah Ruhl's
unabashed poeticism. And her cheek and wit in finding the poeticism
in vibrators. It has a lovely light quality but the drama is so
vital - domestic, yet emotionally urgent. I think it's this
contrast, this painterly light and shade that will enchant
audiences. "
Laura Scrivano
In the Next Room, or the vibrator play, Drama Theatre,
Sydney Opera House, 7 February - 27 March, 2012.
Feature: In the Next Room
Date posted: 18 Feb 2011Author: STC