Last weekend I had the privilege of participating, for the second consecutive year, in the UNCG Womens and Gender Studies Department sponsored performance of The Vagina Monologues.
This play, by Eve Ensler, is based on a series of interviews with women about - you guessed it - vaginas. The play is designed to confront the audience with various difficult issues surrounding women's bodies and sexuality. By turns hilarious, shocking, tragic, and titillating, the play has become part of an annual "V-Day" event for many colleges and communities, serving as the focus for fund-raising and consciousness-raising to fight sexual violence against women. To help keep these performances both fresh and relevant, Ensler writes a new "spotlight" segment each year to highlight current issues. Last year, for instance, she focused on the plight of New Orleans after Katrina.
This year's edition, directed by Kaleigh Malloy with the assistance of Noelle Avina, was performed last Friday at 7:30 and Saturday at 2:00 and 7:30 by a talented and beautiful cast of UNCG students, staff, and faculty. Kaleigh chose to include two spotlight monologues: "Hey Miss Pat," a different one about New Orleans, and "Baptism," which confronts child rape in the Congo war. The shows went well -- except for the fire alarm going off in the middle of the Saturday afternoon run. Very disruptive. One of the most emotional pieces was interrupted, and the girl doing it was so stressed by being jerked out of character to leave the building, mill around aimlessly for ten minutes, and then resume where she had left off, that she dissolved into tears on completing her scene.
I did the monologue about birth, "I was there in the room," as a dialogue with Noelle. It actually worked quite well as a dialogue. We imagined ourselves as mother and sister of the woman giving birth; we were in the hospital waiting room discussing the incredible event we had just witnessed. When our director saw me knitting at rehearsals she decided my character should knit. This was rather cool; however I was not very productive while in character because I was concentrating on my lines. For some reason actors in this play do not have to memorize their lines but read them from the script instead. I did memorize - for my own comfort level - but followed along in the script as backup.
Turning a monologue into a dialogue was one of Kaleigh's several directorial innovations. She also added a free-form movement piece as an introduction and used music to highlight transitions between monologues. Finally, instead of following the traditional red, pink, and black color scheme, performers were asked to choose costumes based on purple, brown, and dark blue and green. That's about as far away as you can get from red, pink, and black! I found it refreshing once I got over the shock.
Yes, the Vagina Monologues have come and gone. (Here I have to confess that all last week, I really wanted to go around saying "the vaginas are coming, the vaginas are coming." But that would have been unprofessional.)
