The Vagina Monologues

The Athenaeum Masqueraders

THE VAGINA MONOLOGUES by Eve Ensler

As seen by Matthew Heaton (NODA South West Regional Editor) on Friday 21st February 2020, covering for Delia Lee, NODA SW District 10 Representative 

Director:  Lyn Taylor

The Athenaeum Centre, Warminster

For those unaware, The Vagina Monologues is comprised of a series of personal monologues read by a diverse group of women. Eve Ensler wrote the first draft of the monologues in 1996 (there have been several revisions since) following interviews she conducted with 200 women about their views on sex, relationships, and violence against women. The interviews began as casual conversations with her friends, who then brought up anecdotes they themselves had been told by other friends. Each of the monologues deals with an aspect of the feminine experience, touching on matters such as sex, sex work, body image, love, rape, menstruation, female genital mutilation, masturbation, birth, orgasm, the various common names for the vagina or simply as a physical aspect of the body.  A recurring theme throughout the piece is the vagina as a tool of female empowerment, and the ultimate embodiment of individuality. It is a ground-breaking, hard-hitting and enlightening piece even two decades after it was originally released.

By 1998, the purpose of the piece changed from a celebration of vaginas and femininity to a movement to stop violence against women – a subject of particular fascination to Ensler. This was the start of the V-Day movement, which has continued strongly every year since, turning into a worldwide phenomenon itself.

In the original production, Eve Ensler performed every monologue herself, with subsequent performances featuring three actresses. More recent versions have featured a different actress for every role, which is the approach taken by the Athenaeum Masqueraders for this production.

This is no easy production for any group, professional or amateur, to put on and both the Society and the Director are first to be congratulated for gaining permission to perform it in the first place as I believe this had to be obtained and approved by Eve Ensler herself. I am so pleased to report that the Masqueraders overcame all of the challenges involved to put on a most excellent and enlightening performance.

The plain black set, with chairs, sofa and stools was very effective, with the spotlight onto the pink cushion ‘flower’ at the start and end of each Act particularly well done. Lighting in general was excellent. Silhouettes and spotlights were really well used, particularly in the ‘Coochi Snorcher’ scene around the sofa. Costumes were ideal in black with pink accessories allowing a collective theme, but with touches of personal individuality. Sound, whether amplified or not could all be heard, with generally very clear diction. The performing space was very well-used too. I really liked the cast exit through the auditorium and into the foyer to meet the audience at the end.

The performing ensemble (of one performer for each monologue with others to support with the narration) worked really well. The mixture of individual monologues used, as well as the group narrations, statements and facts all worked expertly – keeping both pace and interest in all aspects of the production as a result.

The real strength of the piece was in these performances. They were all confident, strong, thoughtful and passionate, delivered with real conviction and belief. This was essential to overcome any embarrassment from both cast or audience and also to ensure any apprehension or shock could be quickly addressed. This was achieved expertly, particularly through the ensemble introduction, which I felt settled everyone into proceedings really well.

Sarah Callaby took on the difficult task of the first Monologue - ‘Hair’ and expertly set the tone and the mood. Audrey Pearce’s ‘The Flood’ skilfully presented the attitude faced by the older generation and her interactions with the imaginary interviewer were a particular highlight. Tina Duffin used all of her considerable acting talent to put across ‘The Vagina Workshop’ really effectively. ‘Because He Liked To Look At It’ is no easy piece to present, but Georgina Pepper delivered it well. Act 1 closed with what I thought was probably the most difficult piece to put across in terms of the subject of rape and the character, but Georgina Palmer’s preparation and acting ability were able to deliver both the message and effect.

I loved Esther Allberry’s strong and direct approach to opening Act 2 with ‘My Angry Vagina’. This helped the contrast to Wendy Dopheide’s ‘Little Coochi Snorcher’ which was told with real charm, sympathy and skill. Rebecca Bidwell’s ‘Reclaiming C**t’ was one of the most extraordinary 5 minutes of Theatre I’ve seen for some time, which would not have happened without her conviction and drive. Claire Warren’s ‘The Woman Who Loved to Make Vaginas Happy’ was also delivered with real conviction. The moaning types were brilliantly done as the scene’s end Lisa Shuckford closed proceedings with a strong rendition of birth with ‘I Was There In The Room’. Well done too to Elaine Orchard and Kaytee Symes for their supporting work. I completely believed you were all those characters you were portraying.

I’m sure much of what was performed was very difficult to rehearse and then even more challenging to perform in-front of a live audience in rural Wiltshire containing family and friends. However, any difficulties here were not evident in the performance -  the reactions generated in the audience as a result was palpable and at times quite extraordinary. I don’t know if they were quite what you were expecting. All the way through you could see how much the work meant to all of the cast - in their performances, their programme write-ups and also afterwards in the Foyer. Well done to Director Lyn Taylor and the whole team for creating and maintaining such an experience.

I left entertained and moved by all the performances and what they’d been able to teach me about each aspect covered in this production of the feminine experience. I’m sure they’ve widened my own awareness and perceptions. From listening to many other people as they left the Theatre, of all genders, the performance seemed to have had a similar effect upon them too. Many congratulations to you all – this kind of response is really what good theatre should all be about.

Thank you for allowing me to report of this production for you. When the opportunity arose to cover for Delia, I was very keen to see this production – though I did ask Lyn first if she was happy for me to complete the report. Lyn was very keen for me to do so to gain a different view, though she felt it would have looked strange if I’d have visited on my own! My wife, Helen enjoyed your performance very much too.

I wish you all the very best with your other productions to celebrate your 20th year. Thank you for all your hospitality,

Best Regards

Matt Heaton

NODA South West Regional Editor

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