In the Next Room (or The Vibrator Play)

In the Next Room (or The Vibrator Play) is a play by Sarah Ruhl. It concerns the early history of the vibrator, when doctors used it as a clinical device to bring women to orgasm as treatment for "hysteria." Other themes include Victorian ignorance of female sexual desire, motherhood, breastfeeding, and jealousy.^[1] The play was nominated for three 2010 Tony Awards.

Plot summary

In late 19th-century America, Sabrina Daldry and Catherine Givings are sexually frustrated with their husbands, who creep quietly into their beds at night and only use the missionary position, which they endure but do not enjoy. Both are excited to have their first orgasms with the machine. Mrs. Daldry is content to continue having clinical treatments with the machine and suffer lifeless, boring sex with her own husband. "I am afraid there is very little sympathy between us."^[2] Catherine Givings wants more. First Mrs. Givings learns from a visiting artist that orgasms detached from love ultimately are unfulfilling and empty, simply surface, without soul, and similar to sex with prostitutes. Then a lower-class wet nurse, Elizabeth, reveals to Catherine that she may be able to enjoy the same sensations from the machine with her husband, with whom she is frustrated because of his clinical detachment, but still ultimately loves. Catherine first inspires jealousy and passion in her husband, then convinces Dr. Givings - who had earlier observed that "what men do not perceive because their intellect prevents them from seeing would fill a book"^[1] - to make naked snow angels with her and discovers the woman on top sex position, allowing her at last sexual satisfaction while the curtain lowers.

Staging

The set is divided between two rooms, a parlor and a doctor's office. At the play's climax, the actors step through the imaginary wall dividing the rooms to create the third and final scene, outdoors in the falling snow.

Background

In the Director Presentation Les Waters states the play was inspired by The Technology of Orgasm: Hysteria, the Vibrator, and Women’s Sexual Satisfaction by Rachel P. Maines.^[3] Ruhl cites Maines's book, AC/DC: The Savage Tale of the First Standards War (Tom McNichol) and A Social History of Wet Nursing in America (Janet Golden) as books she was reading or which influenced her when she wrote the play.^[4]

The play was commissioned by the Berkeley Repertory Theatre, which received an Edgerton Foundation New American Play Award towards the production of the play. Les Waters, associate artistic director said, in part: "This award provides us with the rare luxury of an extended rehearsal period for a new play. Sarah has become one of the country's most important writers, and I'm honored that Berkeley Rep has played a vital role in her career."^[5]

Productions

The play premiered at the Berkeley Repertory Theatre on February 5, 2009, running to March 15, 2009, under the direction of Les Waters.^[6] The Broadway production, presented by the Lincoln Center Theater, began previews at the Lyceum Theatre on October 22, 2009,^[7] officially opened on November 19 and closed on January 10, 2010 after 60 total performances.^[8] The cast included Laura Benanti, Michael Cerveris, Quincy Tyler Bernstine, Maria Dizzia, Thomas Jay Ryan, Wendy Rich Stetson, and Chandler Williams.^[9] This production was nominated for three Tony Awards.

Professional productions

Subsequent professional productions include:

• In October and November 2010, the play was produced by The Actors Theatre, directed by Matthew Wiener at Herberger Theatre's Stage West in Phoenix, Arizona. The cast starred Francis Jue as Dr. Givings and Angelica Howland as Mrs. Givings.^[10][11]
• In March–April 2011, the play had its Australian premiere by the Sydney Theatre Company, directed by Pamela Rabe in the Drama Theatre, Sydney Opera House. The production, starring Jacqueline McKenzie, subsequently transferred to Melbourne Theatre Company, and was nominated for several Green Room Awards, including Best Director (Rabe), Best Female Actor (McKenzie), and Best Production.^[12]
• In July–August 2011, the play was produced by A Contemporary Theater (ACT) in Seattle, Washington, directed by Kurt Beattie.^[13]

• In September–October 2011, the play was produced by the Theatre Workshop of Nantucket (TWN), directed by Anne Breeding, and by the Playmaker's Repertory Company in Chapel Hill, North Carolina,^[14] directed by Vivienne Benesch.

• In late 2011, the play was produced by Plan 9 in Larco Theatre in Lima, Peru, directed by David Carrillo.
• In March–April 2012, the play was produced by Auckland Theatre Company^[15] Auckland, New Zealand, directed by Colin McColl.
• In June–July 2012, the play was produced by Fortune Theatre,^[16] Dunedin, New Zealand, directed by Lara Macgregor.
• In April–May 2013, the play was produced by the Santa Paula Theater Center, directed by James Castle Stevens.^[17]

• In May 2013, the play was produced by the Colonial Players of Annapolis, Maryland, directed by Carol Youmans
• From November 2013 to January 2014, a production directed by Laurence Boswell ran in the St. James Theatre, London.^[18]
• In October 2014, the play was produced by the Hobart Repertory Theatre Society, directed by Steven Jones, in Tasmania, Australia.^[19]

Amateur productions

The play has been produced by many university and college theatre departments, including:

• In December 2011, the play was produced by the Pasadena City College Theater Department in Pasadena, California.
• In February 2012, the play was produced by the University of Iowa Theater Department in Iowa City, Iowa.
• In December 2012, the play was produced by the Fullerton College Theater Arts Department in Fullerton, California, directed by Chuck Ketter.^[20]
• In February 2013, the play was produced at The Festival Playhouse by the Kalamazoo College Theater Department, directed by Karen Berthel.^[21]
• In March 2013, the play was produced by the Princeton University Theatre Department, directed by Sarah Hedgecock.^[22]
• In April 2013, the play was produced by the University of South Florida Theatre Department, directed by Fanni Green.^[23]
• In October 2013, the play was produced by the University of the Ozarks Theatre in Clarksville, Arkansas, directed by Bruce Brown.^[24] The play was later selected to perform at the Region VI Kennedy Center American College Theater Festival held at the Strand Theatre (Shreveport, Louisiana) on February 27, 2014.
• In October–November 2013, the play was produced by the Bates College Theatre Department in Lewiston, Maine, directed by Kati Vecsey.^[25]
• In November 2013, the play was produced by University of Southern Indiana Theatre in Evansville, Indiana, directed by Elliot Wasserman.^[26]
• In December 2015, the play was produced by the University of Wisconsin - Eau Claire theatre department, directed by Dr. Jennifer Chapman, in Eau Claire, Wisconsin.^[27]

Awards and nominations

The play garnered three 2010 Tony Award nominations:^[28][29][30]

• Best Play
• Best Featured Actress in a Play - Maria Dizzia
• Best Costume Design of a Play - David Zinn

The play was nominated for the 2010 Drama Desk Award for Outstanding Costume Design.^[29]

References

External links

• In the Next Room at the Internet Broadway Database
• Various. "In the Next Room Play Handbill". Berkeley Rep. Retrieved 16 February 2009. 
• Swan, Rachel. "Dr. Givings' Good Vibrations: Ancient orgasm-inducing technology is the centerpiece of Sarah Ruhl's new play". East Bay Express. Retrieved 16 February 2009. 
• "In the Next Room: World Premiere of Victorian-Era Sex Comedy". Gold Star. Retrieved 16 February 2009. 
• Lunden, Jeff (21 November 2009). "The Vibrator Play: Why Yes, It Is About Exactly That". Weekend Edition Saturday. National Public Radio. Retrieved 24 November 2009.