In the Next Room
Sun, 15 May 2011, 09:13 amGordon the Optom1 post in thread
In the Next Room
Sun, 15 May 2011, 09:13 am‘In the Next Room - or the vibrator play’, is a multi-nominated, Tony Award play. It was written in 2008 inspired by Rachel P. Maines’ book ‘The Technology of Orgasm’ which was drawn and collated from real life experiences.Ruhl is probably best known for her play ‘The Clean House’ that had a hugely successful run at the Perth Playhouse a year ago.
This play Sydney Theatre Company Production that is showing at the Sumner Theatre, in the Melbourne Theatre Company complex, 140 Southbank Boulevard, Southbank, Melbourne. The 2 hours and 40 minutes play starts at 8.30 pm. The season ends on 21st May.
The play is set in the 1880s, just after Thomas Edison has given electric lighting to the world.
Dr Givings (David Roberts) is a tranquil, logical practitioner, not frightened by new technology. In his sumptuous parlour, along with the stylish soft furnishings, are modern electric globes, backed up by the comforting flicker of candles. His surgery has the latest technical advances (very good props), including a modern device for treating that ‘common female ailment - hysteria’. The female patients love it and strangely keep returning for more.
Dr Giving’s is a popular and busy doctor, consequently his wan, yet spirited wife, Catherine (Jacqueline McKenzie) leads a tediously, forlorn existence. This is the era of the repressive Victorian ‘Kensington System’ that came about when Prince Albert died, leaving Queen Victoria with nine children - despite the Queen being revolted by pregnancy and breastfeeding!
Dr Givings retains a stiff upper lip as he ‘treats’ a new patient, Mrs Daldry (Helen Thomson), who has arrived with her haughty, but anxious, husband (Marshall Napier). Helped by the doctor’s strict assistant nurse, Annie (Mandy McElhinney), Mrs Daldry begrudgingly undresses in preparation for her therapy. She requires Annie’s assistance because of the multitude of tight fitting layers of clothing she wears. Unable to strip or dress without help, it is no wonder that she is sexually disinterested – or ‘without vapour’. A woman was not expected to achieve any sexual pleasure; this was for the man to enjoy only. With sincerity Dr Givings informs Mr Daldry that his wife's treatment will take weeks, and may result in "paroxysms" (fits) however she will be happier and more inclined to carry out her marital obligations.
As the room lights flicker, her hysteria is relieved. As she surrenders to the personal care, we experience her ‘revelation’ coupled with her weird and wonderful trauma. Sabrina emerges from the consulting room mysteriously revitalized, she is glowing. On seeing the new happiness of her husband's previously lacklustre patients, Catherine seeks their companionship, and thereby discovers the realities of the next room.
Alone and coping badly with being a mother, Catherine is tormented by her inability to feed her child. Dr Givings agrees to hire a wet nurse, Elizabeth (Sara Zwangobani) the Daldrys’ religious housekeeper whose infant son has just died.
There then arrives a shy anxious artist (Josh McConville); his hysteria condition is no problem for Dr Givings ‘after all he is an artist’. He is treated with the modified version, the Chattanooga Vibrator.
Will the good doctor and his patients find what they are really seeking in life?
Director, Pamela Rabe and her assistant director, Naomi Edwards have done a wonderful job with a very delicate topic, yet at times quite blatant and controversial script. They have filled it with humour and, with an absolutely wonderfully strong cast, produced an informative yet palatable play for even the most sensitive audience member. A balanced script which threw out the right amounts of light and shade. The conversations around motherhood, faith, and divinity.
Under the eye of artistic director Simon Phillips, the set was truly amazing, the quality of the props, the clever design – proved in the final scene - and when combined with a most accomplished lighting design (Hartley T A Kemp) the atmosphere was at times electric. The costume designer (Tracy Grant Lord) had a large variety of styles, from the dowdy wet nurse, the drab nursing assistant through to the most stylish and elegant ladies outfits – which changed regularly throughout the play.
Composer and sound designer, Iain Grandage, was on the ball with some marvellous mood music.
The whole show was more satisfying than even the Chattanooga machine. Not many nights left, but worth trying to see. Long live Thomas Alva Edison, and we now have a totally new meaning to the famous 1989 film quote, ‘I’ll have what she is having’.
‘In the Next Room - or the vibrator play’, is a multi-nominated, Tony Award play. It was written in 2008 inspired by Rachel P. Maines’ book ‘The Technology of Orgasm’ which was drawn and collated from real life experiences.Ruhl is probably best known for her play ‘The Clean House’ that had a hugely successful run at the Perth Playhouse a year ago.
This play Sydney Theatre Company Production that is showing at the Sumner Theatre, in the Melbourne Theatre Company complex, 140 Southbank Boulevard, Southbank, Melbourne. The 2 hours and 40 minutes play starts at 8.30 pm. The season ends on 21st May.
The play is set in the 1880s, just after Thomas Edison has given electric lighting to the world.
Dr Givings (David Roberts) is a tranquil, logical practitioner, not frightened by new technology. In his sumptuous parlour, along with the stylish soft furnishings, are modern electric globes, backed up by the comforting flicker of candles. His surgery has the latest technical advances (very good props), including a modern device for treating that ‘common female ailment - hysteria’. The female patients love it and strangely keep returning for more.
Dr Giving’s is a popular and busy doctor, consequently his wan, yet spirited wife, Catherine (Jacqueline McKenzie) leads a tediously, forlorn existence. This is the era of the repressive Victorian ‘Kensington System’ that came about when Prince Albert died, leaving Queen Victoria with nine children - despite the Queen being revolted by pregnancy and breastfeeding!
Dr Givings retains a stiff upper lip as he ‘treats’ a new patient, Mrs Daldry (Helen Thomson), who has arrived with her haughty, but anxious, husband (Marshall Napier). Helped by the doctor’s strict assistant nurse, Annie (Mandy McElhinney), Mrs Daldry begrudgingly undresses in preparation for her therapy. She requires Annie’s assistance because of the multitude of tight fitting layers of clothing she wears. Unable to strip or dress without help, it is no wonder that she is sexually disinterested – or ‘without vapour’. A woman was not expected to achieve any sexual pleasure; this was for the man to enjoy only. With sincerity Dr Givings informs Mr Daldry that his wife's treatment will take weeks, and may result in "paroxysms" (fits) however she will be happier and more inclined to carry out her marital obligations.
As the room lights flicker, her hysteria is relieved. As she surrenders to the personal care, we experience her ‘revelation’ coupled with her weird and wonderful trauma. Sabrina emerges from the consulting room mysteriously revitalized, she is glowing. On seeing the new happiness of her husband's previously lacklustre patients, Catherine seeks their companionship, and thereby discovers the realities of the next room.
Alone and coping badly with being a mother, Catherine is tormented by her inability to feed her child. Dr Givings agrees to hire a wet nurse, Elizabeth (Sara Zwangobani) the Daldrys’ religious housekeeper whose infant son has just died.
There then arrives a shy anxious artist (Josh McConville); his hysteria condition is no problem for Dr Givings ‘after all he is an artist’. He is treated with the modified version, the Chattanooga Vibrator.
Will the good doctor and his patients find what they are really seeking in life?
Director, Pamela Rabe and her assistant director, Naomi Edwards have done a wonderful job with a very delicate topic, yet at times quite blatant and controversial script. They have filled it with humour and, with an absolutely wonderfully strong cast, produced an informative yet palatable play for even the most sensitive audience member. A balanced script which threw out the right amounts of light and shade. The conversations around motherhood, faith, and divinity.
Under the eye of artistic director Simon Phillips, the set was truly amazing, the quality of the props, the clever design – proved in the final scene - and when combined with a most accomplished lighting design (Hartley T A Kemp) the atmosphere was at times electric. The costume designer (Tracy Grant Lord) had a large variety of styles, from the dowdy wet nurse, the drab nursing assistant through to the most stylish and elegant ladies outfits – which changed regularly throughout the play.
Composer and sound designer, Iain Grandage, was on the ball with some marvellous mood music.
The whole show was more satisfying than even the Chattanooga machine. Not many nights left, but worth trying to see. Long live Thomas Alva Edison, and we now have a totally new meaning to the famous 1989 film quote, ‘I’ll have what she is having’.