Jack Niemczyk

11/7/21

American Drama

Shaking up “In the Next Room, or the vibrator play”

After our class discussion of the surface level and tone deaf quality of Sarah Ruhl's “In

the Next Room, or the vibrator play,” I decided there would be no better challenge than to try to

set this play for a modern audience. Upon my first read through, it seemed innocent enough: a

comical romp on women's sexuality set during a period when such topics were pretty much

uncharted territory. However, after delving into the script we uncovered horrible stereotypes, a

lack of character development, and an off-putting overlap of farce and realism. It was apparent

that major work must be done to help this play live up to its name and its acclaimed author’s

legacy of the absurd. If I were to direct this show myself, my portrayal could be summed up in a

very simple way. For example, Ruhl described how the orgasms are to be portrayed by the

performers by writing, “But whatever it is, it should not be a cliché, a camp version of how we

expect all women sound when they orgasm.” What would I do with this? Ignore it. In my

opinion, this play should not be small in any sense of the word (that's what she said) and the

staging should enhance the ridiculousness that is already laced throughout the story being told.

Much like a weekend with the Boy Scouts, this play needs CAMP. Along with dialing up the

farcical elements of the show, I would opt to blur the lines of race and gender in the casting, add

more Brechtian elements of removal, and sprinkle in a robust dose of absurdity throughout.

To first address my most significant changes to the original writings of Sarah Ruhl, I

want this show to be fast-paced and campy. The historical context of the play is already farcical,

so why not make the whole show like that? For example, the idea that women had to pay a
doctor to cure hysteria through an orgasm – absolute insanity. I want to give the actors the ability

to generate and embellish the absurdity that is needed for this show to become palatable, which

will mainly come from the Brechtian theatre technique and its methods of removal. We must

begin by addressing the audience. For example, Catherine is almost always in her own solitude

while something is happening in the next room. This is an opportunity for the actress playing

Catheine to address the audience, perhaps with a look of confusion or disapproval, or to play

around on the stage, expressing her amazement of the lightbulb to the audience – truly anything

to combat her boredom and showcase her yearning for attention. While Ruhl implements a half-

placed Brechtian removal once or twice throughout the play, these moments could be

transformed to make the laugh even greater. For example, Ruhl writes, “My God. You are acting

the part of a mad-woman in a play!” In response to this line, Catherine could glance toward the

audience, not only breaking the wall but also creating a moment of hilarity.

Another Brechtian element I would introduce is music. The music played by Mrs. Daldry

is often described as dark classical, however, I want Mrs. Daldry to play dark classical renditions

of sexual pop princess songs. For example, consider a dark classical version of “Gimme More”

by Britney Spears. This provides a laugh for the audience and additional farcical elements while

maintaining the original dark tone of the music. The songs should be inherently sexual and

recognizable to showcase the absurd dichotomy that emerges throughout this play. Between

scenes and during scene changes, I would also play terrible 80’s porn music to reinforce the tone.

After all, the play attempts to portray women's sexuality while not embodying it whatsoever. The

production should be satirical in nature and so over-the-top that it becomes nearly overwhelming,

revealing to the audience how female sexuality is still perceived and shining a light on how

obnoxious these old-fashioned ideas truly are.

to be tossed around during the show. This begins with Annie and Mrs. Daldry, who very rarely

exchange words, but are often sharing a sexual embrace. Therefore, every interaction they have

should be intensified like a telenovela: heads turning slowly as they pass, mysterious eyebrows,

and quivering lips. Classic telenovela music accompanies this sexually-charged stalemate until

someone, usually Dr. Givings, interrupts and they return to normal life. I envision the acting in

this show to approach the tipping point of realistic, but I want these particular moments to be

notably overdramatic. Similarly, when Annie and Mrs. Daldry finally embrace at the end of the

play, it is not merely a peck on the lips, but rather a lust-filled lesbian makeout scene set to a

classical version of Khia’s “My Neck, My Back.” In the ending I would also include, in the

distance of the garden, have Annie and Mrs. Daldry walking as they talked, they can even share

an embrace. I also think Catherine should become more primitive, barbaric, and animalistic as

she yearns for her next orgasm. Allowing Catherine’s behavior to mirror how men are typically

portrayed would enhance the absurdity and blur the gender and power roles in the show. With

the addition of a more Brecht and farce tone, I believe the purpose of the play will become more

apparent. The realism in Ruhl’s original script downplays the absurdity of the situation at hand,

whereas making the performance an unleashed satire would heighten the farce and showcase the

unmatched idiocy of the human race.

The timing is another issue that I noticed within the script. Upon first glance, I assumed it

would be a nice short read, but the play actually took longer to read than some of the lengthier

plays from earlier in the semester. Firstly, I would remove the intermission. In alignment with

the farcical comedic style, everything should be quick (that's what she said). As a general rule of

theatre, each page of dialogue, when performed, usually averages to about one minute. This
helps estimate an idea of the running time before the play is fully staged. The play currently sits

at 77 pages and the unnecessary intermission elongates the already thin storyline, but eliminating

the intermission and ramping up the timing could add more comedic moments and help the story

run smoothly. For example, the characters should come in and out of doors at pristine timing –

almost cutting each other off physically and auditorily. However, the expedited pace does not

apply to the final scene, which should instead feel honest and real. This dichotomy represents the

transformative power of wholesome love and authentic sex.

As far as the casting, I believe the characters should be much more open to interpretation.

In the original play, Elizabeth is the only woman of color, but I think the performance would be

elevated if it were the other way around. That is, the only casting that should stick to a certain

type is Elizabeth, who I foresee being the only cis white character. All other characters can be

played by any performer. Perhaps Catherine or Mr. Daldry is portrayed by a trans or non-binary

performer, for example. This could deepen the significance behind what it means to be a mother

who has never nursed her child and simultaneously explain the lack of intimacy between the two

characters. In a similar way, maybe Mrs. Daldry is played by a performer in drag. This rule can

easily apply to every character, with the exception of Elizabeth. Casting Elizabeth as the only

cisgendered white character would heighten the absurdity by flipping history on its head and

negate the stereotype of black women as written by Ruhl.

Unfortunately, Sarah Ruhl's “In the Next Room, or the vibrator play” heavily relies on

the stereotypes that she attempts to shatter. While writing about women's sexual experiences, her

realism transforms the play into unfinished mush that leaves the audience, much like her

characters, craving a climax. Adding a farcical tone would help portray the absurdity for which

Ruhl is often known, and enhance the lunacy inherent in the play. Meanwhile, blurring the
genders and races of the character roles would challenge the status quo and reinforce the

intended message of the play. This piece informs the audience of the historical and ongoing

issues associated with the taboo nature of women's sexuality that persevere in modern society. In

alignment with that ambition, let this play be an orgasm of fun. Let the characters create a realm

of sexuality that was unjustly stifled during that period of history. Let the play be absurd and

sexy and stupid. If those goals are accomplished, there is no doubt in my mind that people will

come and enjoy – at least we know Daldry and Catherine will.