In the Next Room or the vibrator play

Sarah Ruhl was already an established playwright when she penned In The Next Room, 15 years ago, since when it has travelled the world.  Its subject matter makes it a daring choice for amateur societies that have to decide on how to perform the play/drama/comedy, knowing that its subtitle will attract a large audience many of whom will arrive with their own ideas of what to expect!  Its requirements for a compound set may provide difficulties for some with limited space, and its stated need for an African-American has to be dealt with in many English communities.  Gweek Players are unphased by such minor challenges and readily supplied a workable set and an Irish wet-nurse. The set used the stage for the 'operating theatre' furnished with the all-important treatment couch and screened by a gauze, and a low thrust on the floor of the hall, which faithfully represented a typical over-dressed Victorian drawing room. The whole was a most imaginative way of creating the two rooms necessary, with ample space for movement, and was a visually pleasing backdrop for the action that served the cast well. In addition to the plethora of set-dressing items, a few hand-props had to be provided - the vibrator itself in the starring role.  It was very cleverly fashioned, presumably hand-made for the part, housed in a cage-like holder, operated from a large consul, and completely credible.

The lighting design with its many cues directed us to the various acting areas: the operating theatre in subdued lighting that, nevertheless, allowed the actors to be seen clearly and a practical table lamp in the drawing room that required frequent switches on and off. The lighting was good with consistently smooth transitions between the acting areas and no hitches. Sound and Media were in more-than-capable hands with sound effects relayed at a realistic level and delightfully coming from the correct area, setting them naturally into the context of the play.  Too often we hear them from FOH speakers, so loud they jar as being completely artificial.  The gentle hum of the vibrator emanated from the operating theatre, the baby’s cry from the nursery and the piano from its source; the tinkle of the front doorbell was, surely, a real bell being rung off-stage.  The final scene of the play was imaginatively produced by a video film, à la silent movie with subtitles, successfully circumventing Sarah Ruhl’s written scenario of a snow scene on stage.  Against a backing of foliage, we saw the Givingses undressing each other and his making of a snow angel. The impact of the decision was positive and the scene, touchingly filmed, rounded off the play in a satisfying way. 

Taking the colour mauve as their inspiration the wardrobe department had fashioned individual dresses with bustles and polonaise swags in a range of tones and styles using elaborate beaded bodices and frogged jackets, suiting the station of each. Credit is due for giving both the ladies outfits that could be removed without too much delay and carefully researching underwear for their undressing. The two husbands' outfits were appropriately dark and professional, contrasting with the flamboyant Leo,  the exotic Bohemian artiste personified, all vibrant colour and velvet!  

The director managed to find the balance between out-and-out sex comedy and a social commentary so that the audience appreciated the humour (lots of laughter), and recognised the anguish suffered by the characters. The idea for a split level set was genius, so much better than trying to cram both settings into a single space.  The blocking allowed good sight lines for all around the thrust and the positioning of the delicate moments of dressing and undressing was sensitive.    The cast were secure in their words, maintained a good pace, and must have had great fun rehearsing the paroxysms that came across without embarrassment or crudeness, and as the comic moments the playwright must have intended. The characters were well-developed in contrast to one another and showed credible tenderness in the relationships between them. The simultaneous action in the two rooms was craftily managed to ensure that both scenes were fully appreciated, and all entrances and exits were prompt to maintain the flow. 

Greek Players can be rightly proud of staging this play - challenging because of its subject matter, handled with delicacy, and its cast of non-professionals, albeit experienced, who rose to the challenge of portraying that material so compassionately.  Its success is due to the commitment of everyone involved.  Thank you all for a thoroughly entertaining, and educational, evening in your company.

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