Sarah Ruhl’s ‘In the Next Room (or The Vibrator Play)’ uses an unusual subject to create a memorable theatre experience
Sarah Ruhl’s delightful play, In the Next Room (or The Vibrator Play), is proof that with the talent of a gifted playwright, an excellent cast and great direction, there is almost no topic that cannot be turned into a winning production. Currently playing at Theater Company of Lafayette, the audience is treated to an introductory lesson on the invention of the electric vibrator used initially to treat a general condition in women simply known as “hysteria.”
The time is the 1880s and the place is outside of New York City. With little left to the imagination, we follow the esteemed Dr. Givings (Ronan Viard) and his wife, Catherine Givings (Hannah Embree) through the trials of a seemingly loveless marriage while others are experiencing the ultimate in paroxysms, or orgasms, in the next room aided by the doctor’s new electric device.
First to avail themselves of this new medical instrument are Sabrina Daldry (Aynsely Upton) and her somewhat ambivalent husband Mr. Daldry (M. Shane Grant). We are treated to Mrs. Daldry’s lightning-fast recovery from hysteria as she registers extreme pleasure from the treatment. Meanwhile, Catherine becomes more and more interested in the goings-on in the next room. Ultimately, she does not stop until she attempts to experience the joy of electric stimulation herself.
Act Two introduces us to Leo Irving (Jack Wardell) who may in fact be the first man being treated for a case of hysteria. As Dr. Givings explains, “Hysteria is very rare in a man, but then again, he is an artist.” Although the instrument is used in a different manner on Leo than on female counterparts, the treatment is equally successful. He is rendered a new man and able to return to his passion for painting.
There are a multitude of subplots brewing throughout the play. Among them is the need for a wet nurse to feed the Givings’ baby with Elizabeth (Kayce Walczyk) brought in to handle the chore. Dr. Givings’ trusty aid Annie (Jaccie Kitts), is mostly stoic throughout the play, however, increasingly shows another side of herself as time goes on.
Ronan Viard plays Dr. Givings with overwhelming enthusiasm. Perfectly cast as the man of science, Viard is at times quirky, but never over the top. Dr. Givings handles most situations in a somewhat passionless way, both professionally and personally. Again, Viard captures this essence of his character without being too obvious. He is a solid foundation for the play. As Catherine, Hannah Embree is called upon to play a myriad of emotions from start to finish, successfully moving from one to another at a breakneck speed in a top-notch performance.
Aynsely Upton and M. Shane Grant as Mr. and Mrs. Daldry are perfectly cast. They are interested in the newest electric technology while showing cautious apprehension. Upton makes a stark transition from beginning to end, having arrived at Dr. Givings’ office in a somewhat compromised state and finally leaving possessing a respectable amount of knowledge of her sexual interests and human desires. As Daldry, Grant gives a solid performance especially when he misinterprets Catherine’s anxious energy as her being interested in him sexually.
As Leo Irving, Jack Wardell descends upon the second act like a tsunami. Wardell’s high-intensity energy breathes new life into the lives of the other characters. He is charming and slightly mysterious while injecting real issues into the stability of the Givings’ marriage. As Elizabeth, Kaycee Walczyk is warm and caring while dealing with all the emotions surrounding the sudden death of her son. As Annie, Jaccie Kitts is both a loyal assistant to Dr. Givings and one who ultimately doesn’t turn her back on the sisterhood. Kudos go to both Walczyk and Kitts for their solid performances.
As directed by Heather Frost, the audience is treated to a rousing production filled with a complex storyline emerging on multiple emotional levels. With a split set, Frost is gifted at moving the action seamlessly from one side of the stage to the other. Reaching the audience with both humor and drama, she never misses a beat and masterfully moves the action from page to stage.
Scenic designer Chris Pash has used the limited space of the stage to great advantage. Built in 1887, the original structure of the building was that of a church. It is now fashioned as a theatre and real magic has gone into fulfilling the set requirements of the play. The audience clearly understands the demarcation between the Givings’ parlor and the doctor’s operating room and everything in between. The costumer, Mary Jo Farr has created a successful period feel with fine attire for both the women and men. Chris Newby, the lighting designer and operator must be given a special shout-out for lighting the irregular space with a commanding touch. Sound designer and operator Chris Newby also deserves special attention.
In the Next Room (or The Vibrator Play) is one of Sarah Ruhl’s finest plays and it is being given a tremendously successful production at Theater Company of Layfette. It is well worth the trip to Lafayette no matter where you are in the metropolitan area. See it!
Eric Fitzgerald started producing plays when he was 5 years old. He spent eight years in New York City as a talent agent representing well-known actors and actresses. Fitzgerald also worked for the ABC Television Network for 12 years both with ABC News and ABC Daytime. He lives in Aurora with his cat Max.
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