In the Next Room can easily claim more onstage orgasms than any other play this theatrical season. Honestly, probably any season. That said it’s more likely to be a hit with your mother than with anyone looking for something salacious. While there is no denying that the acts take place in full view of the audience they are still done with a sense of decorum that comes off as sweet rather than titillating. For anyone mature enough to attend the show, it’s billed as a comedy and there are plenty of laughs, but there are also real issues being discussed. Some of the biggest laughs come from some really sad truths about women’s sexuality at this time in history. Set in the latter part of the 19th century the play takes a look at the role of women as wives, mothers, and sexual beings through the lens of the early 21st century and the perspective is eye opening. From my opening line and the subject matter you might assume the humor comes from risque situations and mountains of double entendres, but it doesn’t. It comes when we recognize the truths laid bare under voluminous undergarments.
The play is written by Sarah Ruhl whose play Orlando I likewise reviewed favorably this past winter. Ruhl is a writer of considerable skill and uses it in the plays I’ve seen to question and examine gender roles while also entertaining her audience. The story is set in the house of Dr. Givings and his wife Catherine who have a newborn daughter but is unable to produce enough breast milk for. The set is divided into two rooms, the families parlor and the room next door which is the Dr.’s laboratory. The Dr. uses his invention to treat patients with electrical therapy who are suffering from hysteria, his invention is of course the vibrator. We are introduced to his new patient Sabrina Daldry who has been brought to the Dr. by her husband Dick Daldry, there’s a double meaning in that. Mrs. Daldry undergoes treatment from Dr. Givings assisted by his nurse Annie. After the treatment, in conversation the Daldry’s mention that their housekeeper Elizabeth has recently lost a child and it has been arranged that she will come and work as a wet nurse for the Givings. Dr. Givings is a man of science and has no issue with this arrangement but Catherine has reservations due to the fact that Elizabeth is black. Though it comes to light later on that Catherine’s issues seem to be more about not being able to provide for her child and in seeing her daughters emotional attachment transfer from her to Elizabeth. As Sabrina’s treatments continue, one thing becomes obvious that It’s much more effective in achieving the goal when Annie is in the room. Catherine becomes curious about this treatment her husband practices and wishes him to try it on her. One of the central themes of the play is the seemingly universal ignorance that the “Paroxysms” they are inducing are in any way related to female sexual gratification. Which is something, it’s revealed through conversation between the women in the play, they are unaware even exists. In the second act we are introduced to a new patient, this time a rare male patient, Leo Irving an artist. For this, Dr. Givings must use his “Chattanooga Vibrator” which stimulates the prostate gland. On meeting Mr. Irving, Catherine is attracted to his ability to express himself, something her husband has trouble doing unless he is discussing his fascination with electricity.
There are a lot of interesting characters and situations going on and Ruhl’s play contains enough ideas for two or three well rounded plays. It allows for a complexity to the characters that could easily be lost on a less talented cast. Emily Gunyou Halaas as Catherine has the most challenging role, she has to gain our sympathies while also displaying some characteristics that are unlikeable. She does an excellent job of showing us the frustrations she is feeling the sense of unfulfillment that every aspect of her home life entails. Paul de Cordova as Dr. Givings captures the enthusiasm of his characters profession while believably playing his cluelessness about his wives needs or the connection between his work and the intimacy she is longing for. As I alluded to before, the humor doesn’t come from one liners but from our understanding of our modern perspective of what the characters do not understand. All of the performers in the play excell at finding the perfect way to deliver that obliviousness without making their characters seem clueless all of the time. The supporting cast is each given moments to shine. Erin Nicole Farste as Elizabeth gets an actors dream scene where she describes how she has felt about her son’s death and nursing the Givings’ daughter. Laura Espingas as Annie has a beautiful and subtle moment with Adelin Phelps’s Sabrina that is heartbreakingly tender and seems like a moment that could have been the climax of a play all it’s own. Phelps pulls of what must be a very vulnerable task for an actor, having to perform the moment of orgasm multiple times during the run of the show. Do you play it for laughs, do you draw on your personal experience, how much are you going to share of yourself in those moments. However she achieved it, she found the perfect balance between finding the laugh, but also feeling somewhat realistic. Joel Liestman is cast as Mr. Daldry and it’s the sort of character role that he excels at. He’s given a wonderful comic moment when he tries to pose and make himself attractive to one of the other characters, which knowing these characters was never going to be successful. Finally James Rodriguez who doesn’t enter the play until the second half, perfectly portrays the sensitive and passionate artist as well as a gentleman, who has to go to a very vulnerable place onstage as well.
The production is directed with her usual sure hand Austene Van who seems to be everywhere at once these days. I feel like half the productions I see she is involved with in some way, and the other half should be so lucky. Sarah Brandner’s Set Design works really well in Yellow Tree Theatre Thrust stage configuration. We have a half door to show the wall between the the parlor and the Dr.’s laboratory, so we know clearly where the divide is but if you are seated to the sides of the stage the divide does not interfere with your view. I also really enjoyed the surprise set location that figures in the final scene which I won’t spoil but is well executed. Yellow Tree’s performance area is small and when the majority of the characters are on stage at once it does feel a little cramped, but I’d say Brandner and Van have done a good job with the design and blocking of keeping it from feeling unnaturally close. I also want to acknowledge the exquisite work of Costume Designer Samantha Haddow and Prop Master Julia Emery Cervera. The women’s dresses and underclothes seem authentic and the Dr.’s inventions are quite interesting and seem like plausible instruments for… well… you know.
In the Next Room, or the Vibrator Play runs through June 26th at Yellow Tree Theatre in Osseo MN. While I thoroughly enjoyed this play and find it funny and thought provoking it is not for all ages as you should assume. The theatre recommends it for high school aged and above, I’d error on the above side. It’s not that there is anything that is to inappropriate for high schoolers, I just think they may lack an understanding of the historical context and the life experience to fully appreciate the play. For more information and to purchase tickets go to https://yellowtreetheatre.com/next-room.
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