Special to the Ebbtide
The Vagina Monologues, an Obieaward winning play that has attracted both praise and criticism, is coming to Shoreline Community College.
The Vagina Monologues will run February 9-11, with nightly showings at 7:30 p.m. at the Shoreline Community College Campus Theater. Tickets are available at the Student Program's Office, or by calling (206)546-4606. Prices are $10 general admission and $8 students admission with identification.
Originally written in 1996, The Vagina Monologues was a culmination of interviews that playwright Eve Ensler conducted with 200 women. The interviews focused on women's views on relationships, sex, and violence against females. Ensler wrote 22 monologues to begin with and now each year a new monologue is added to highlight current women's issues.
Katy Higgins, a student at SCC will direct the upcoming production at SCC. She recently stopped by the Journalistic Writing CMU 221 class for an interview.
Q: Have you ever directed a play before?
A: No, this is my first time directing, it's a new experience. I'm loving it so far. I've been doing theater for a few years now. We wanted a drama teacher to direct the play and we'd act in it, (but) Tony Doupe, an acting teacher on campus, asked me, “Why don't you do it?”
Q: Why did you choose this play?
A: Because the subject matter is so real and wonderful. I got the book a few years ago, and (it's a wonderful piece), I found myself reading over and over. I fell in love with it. It's so much stuff we think and feel as women. It's a brilliant piece. The hope is this is the first time the play is done here, not the last.
Q: What's different about your production of the play?
A: I think ours is unique. We have students, staff, faculty, and alumni in the cast. All in a united front to make this production happen. The FMLA (Feminist Majority Leadership Alliance) Club on campus is sponsoring us, and we're donating 100 percent of the proceeds. Ten percent is going to the V-Day organization (see story on this page) started by Ensler, 45 percent to the New Beginnings women's shelter, and 45 percent to Jubilee Women's Center. We've also added two new monologues to the play, My Short Skirt and Crooked Braid.
Q: What are some of the challenges you faced directing the play?
A: There were a lot of challenges finding lights, sound people, making schedules, getting people to show up on time and making sure the show will go smoothly. Because we're students, not faculty putting on the play we had to get funding for posters, scripts for a 22-person cast, and funding for sound people. We weren't able to get state funds since we're donating the proceeds. So we had an auction on December 6-8, with business donations as prizes, to raise the money. Also, Diana Knauf, who is a faculty member here, had trouble with saying the word cunt. She couldn't say it. And she's in a part about reclaiming the word cunt and how each letter is beautiful and makes a beautiful sound. Well, eventually she conquered her (distaste) for the word and now she gets up on stage and just nails (the part).
Q: Is there a particular monologue that you relate to?
A: I relate to all of them. I particularly like The Flood, about a 72 year old woman who has never seen her vagina or had an orgasm because of a bad experience she had when she was younger. At 72 she lights some candles, turns on some soft music and gets down with herself. I also like I Was There In The Room. It's about childbirth and gives me the chills. It's so visual. It's like being there when this baby is born.
Q: What would you say to criticisms of the play?
A: It's not about male-bashing. I hope everybody gets a whole bunch of feelings or emotions from it. I think men will get a better understanding of what we go through as women. The message is a woman's perspective on her body. In all the pieces in the play, the outcome is: the woman is stronger. From the play, I've learned to be more in tune with what I want and what I desire, to make my life better.
|
Theater Review: Sondheim’s ‘Merrily We Roll Along’ in Encores! Staging The first production of this season’s Encores! series, Stephen Sondheim and Gorge Furth’s “Merrily We Roll Along,” comes across as oddly quaint and self-conscious. Couples’ therapy is usually intended for two, but in “Psycho Therapy” the relationship in question is a moving target. Andres Chulisi Rodriguez portrays two brothers in the one-man show “Growing Up Gonzales” at the Jan Hus Playhouse. My nostrils received a vigorous work-out during my recent theater-going binge in London, especially in more intimate theaters. The director Alan Brown redirects the “Romeo and Juliet” narrative from interfamily rivalry to intrainstitutional homophobia. In London the stages are filled with rulers who are mad, bad and dangerous to know, from Richard II to King Ubu. The actor Morgan Spector is in another high-profile immigrant role, in Erika Sheffer’s “Russian Transport.” The latest play from Kate Fodor, “Rx,” a winning combination of light satire and romance, pokes gentle fun at our overprescribed culture. Jim Walton, a member of the original cast of the 1981 Broadway musical “Merrily We Roll Along,” meets the cast of the Encores! revival and talks about the contents of his “Merrily” scrapbook. A selected guide to theater performances in New York, on and off Broadway. The zippy new National Theater production of Shakespeare's "Comedy of Errors" is a clear reconception, while the Young Vic's hot-and-sticky new interpretation of "The Changeling," a Jacobean revenge tragedy, is mired in pudding. “Stick Fly,” the Broadway play about an emotionally stormy weekend at the vacation home of an African-American family, will close on Feb. 26. John W. Long, a Vermont artist who works with wood, talks about helping to create the poster for the Broadway production of "Peter and the Starcatcher." "The Gershwins' Porgy and Bess" has informed group-sales agents that the show will play until Sept. 30, as concerns over the production's artistic experimentation have not hurt the box office. “Chekhovek” offers short stories from Chekhov, including “The Lady With the Dog” and “The Chemist’s Wife.” In “The Ugly One,” at Soho Rep, a man loses his sense of self when a miracle of plastic surgery turns him into a nouveau Apollo. In Elizabeth Lucas’s spare but effective dramatization of “Myths and Hymns,” Adam Guettel’s songs remain the focus. Danai Gurira’s ambitious new play, “The Convert,” about the arrival of colonialism in 1895 southern Africa, is having its premiere at the McCarter Theater Center in Princeton, N.J. “Smash,” NBC’s series about backstage Broadway, comes with New York and Hollywood names off screen (Steven Spielberg, Therese Rebeck) and on (Debra Messing and Brian d’Arcy James). Paula Vogel staged one of her imaginative theater “boot camps” for donors to Second Stage. In "Outward Bound" and "The House of Bernarda Alba," emotions play big at some smaller theaters. The nightspot named 54 Below, a 160-seat space, is scheduled to open in early June with a two-week engagement by Patti LuPone. “Macbeth” is fast-forwarded to 1969, but without much success. |

