REVIEW: “THE VAGINA MONOLOGUES” IS EDUCATIONAL, ENGAGING and EMPOWERING THEATRE AT ITS VERY BEST
The Vagina Monologues by Eve Ensler is a series of monologues concerning a range of topics relating to women and sex. Originally written in 1996, The Vagina Monologues is based on interviews with over 200 women of various ages, ethnicities and lived experiences. It’s also a permanent work in progress with Ensler frequently adding new pieces that address contemporary debates. This means that whenever you see a staging of the play, it’ll be a surprise in terms of which monologues are included and in what order they’re performed.
The Vagina Monologues by Eve Ensler is easy to get wrong. To begin with, it’s a great mass of monologues which are often a director’s bane. They’re challenging to pace and make interesting. Monologues turn actors into talking heads so it is important to stage each segment effectively so it doesn’t feel like simply watching one monologue after another. Thankfully, director Lindsay Jones handles both her vision and the captivating ensemble with the utmost care and respect, breathing new life into a collection of stories and experiences from almost 30 years past to present day.
The set design is simple by Theatre Ancaster’s standards but is a carefully selected mix of wingback, rocking, chaise and office chairs in various hues of creams and pinks, awash in vibrant hot pink lighting for much of the show. The chairs are on various levels which helps balance out the enormity of the stage and, surprisingly, makes it feel much more intimate. Each of the 17 ensemble members brings with them a range of theatrical experience, passion and comradery; all necessary to make this version of The Vagina Monologues succeed.
It would be impossible to praise every single monologue performed here as there were 18 insightful and impactful pieces throughout the show. The entire ensemble understands the fact that although these aren’t the actual words of the cast, as performed, they feel as though they could be. Regardless of the topic, each monologue aims to cover the good, the bad, and the ugly — and does so to great success. Here are some highlights from the opening night performance:
What Would your Vagina Wear/Say/Smell Like: The pace was near-perfect in each segment. The voices worked beautifully together, aided by projections that did not overpower the performance on stage. The energy, sometimes playful, sometimes odd, sometimes poignant, showcases what it looks like when a company of actors really comes together.
Reclaiming Cunt utilized some great voice work from Becki England, Diana Moser, Ely Baigent and Melanie Kivell. I could have happily heard it couple more times as it is one of my favourite monologues. It’s an impressive feat when a choral piece leaves you wanting more. The opening night audience was encouraged to shout the infamous word and, once they freed themselves from the stigma attached to it, there was a feeling of empowerment and release.
My Vagina Was My Village was harrowing but what an impact. This monologue (delivered by several members of the ensemble) needs to be a lot of things to work. It needs to be sorrowful, grief-stricken, chilling, and violent, but it can never be self-indulgent or over-heated. The acting here was thoughtful and sensitive through every bit of the horror and the audience sat in an eerie silence, faced with the reality that these acts of sexual violence still occur daily all over the world.
Fortunately, there are more light-hearted segments overall and there were plenty of moments when the entire audience was laughing out loud. The Vagina Workshop showcases some very insightful aspects of understanding anatomy and the uncertainty many women feel in relation to their bodies. In Because He Liked to Look at It, a woman who is ashamed of her vagina relates how she learned to love it after having sex with "Bob," a man who absolutely adores looking at vaginas (thank you to the Bobs of the world). Delivered as a quintet (featuring Becki England, Bethany Charters, Ely Baigent, Grace Centritto and Robyn Russell) allows the original monologue to feel like several people sharing a similar experience and enriches its message about not being ashamed about one’s most intimate parts.
Finally, in what I consider to be this production’s standout piece, a lawyer-turned-professional dominatrix (with a skilled, unapologetic delivery from Stevie Pike) describes all the types of moans she extracts from her female clients. Pike commands the stage, the monologue and everyone listening to it. Her performance is enthralling, hilarious and deeply authentic. Bravo.
It is a bold choice to include a show like The Vagina Monologues in a mainstage season when you know the subject matter may not appeal to everyone. As someone who owes a great deal to Eve Ensler and her work (particularly The Good Body and I Am An Emotional Creature), I cannot stress enough that this production is a must-see for all audiences, no matter how you identify. It is educational, engaging and empowering theatre at its very best. This one will stay on your lips long after you leave the theatre. Don’t miss it.
TAVM1 - From left: Becki England, Ely Baigent, Diana Moser, and Melanie Kivell
TAVM2 - Part of the powerhouse ensemble. From left: Melanie Kivell, Becki England, Jen Frankel, Aimee Kessler-Evans, Stevie Pike, Zoë Nì Chaellaigh, Mia Laister Peck, Laurel Candler, and Amy Ryan.
TAVM3 - Front: Diana Moser. Back, from left: Olivia Stankovich, Krista Cranston, and Mia Laister Peck.
TAVM4 - From right: Grace Centritto, Mia Laister Peck, Krista Cranston, Melanie Kivell, and Olivia Stankovich.
TAVM5 - Charmaine Shaw (left) and Amy Ryan (right) perform in Theatre Ancaster's production of The Vagina Monologues by Eve Ensler.
Photography by: Laura Bottrell
