Filled With Good Vibrations

In the Next Room (or The Vibrator Play) – Idle Muse Theatre Company

Utilizing Edison’s 1880 discovery of electricity, Dr. Givings has created a machine to treat women’s “hysteria.” Relegated to the sitting room, to care for their new baby and answer the door, his young, lonely, inquisitive wife Catherine is understandably restless. She’s especially curious about what goes on in the next room, her husband’s operating theatre. The distracted doctor thinks that since he’s given his wife a comfortable home and a child, she has plenty to keep her busy and from meddling in his “dry, boring science.” But Dr. Givings is mistaken.

The moans and shrieks of ecstasy emanating from behind the closed door continually pique Catherine’s interest. Mrs. Daldry, Dr. Givings’ newest patient, emerges from the other room with rosy cheeks, a bounce in her step and a new, sunnier disposition. She’s even able to play the piano once again, a talent she’s denied for years. As Mrs. Daldry returns each day to continue her treatments, even her wardrobe reflects the change in her personality, evolving from dark colors and heavy fabrics to more colorful, lighter flowing gowns.

Every so often Givings is asked to treat a male patient. “Hysteria is rare in a man; but then again, he IS an artist,” says the good doctor. Leo Irving has returned from Europe finding he’s no longer able to paint. But once Dr. Givings begins working his electrical vibrating magic on him, the artist regains his old joie de vivre and begins painting once more. His first subject is Elizabeth, Mrs. Daldry’s African-American housekeeper and Catherine’s new wet nurse. As Mrs. Givings sees more joy and happiness in her husband’s satisfied patients, she longs for that same release from her own lonely, tedious life.

Playwright Sarah Ruhl, one of America’s finest contemporary playwrights, is known for penning plays with a sound, realistic message that ultimately soar into the realm of fantasy. Some of her works that’ve been recently produced in Chicago include “The Clean House,” “Dead Man’s Cell Phone” and “For Peter Pan on Her 70th Birthday.” Idle Muse’s new production of this comedy is presented with a degree of dignity and period accuracy. It also allows for a great deal of humor, the kind that flows from characters reacting honestly to their own personal discoveries and unexpected situations.

Nominated for the 2010 Tony Award for Best Play, as well as being a finalist for the Pulitzer Prize in Drama, Sarah Ruhl’s play was inspired by Rachel P. Maines’ nonfiction examination of womanhood in her book, The Technology of Orgasm: Hysteria, the Vibrator, and Women’s Sexual Satisfaction. The playwright was also influenced by Jane Golden’s A Social History of Wet Nursing in America. Information from both books are represented in this unflinching look at women’s sexuality during the late 19th century.

Although some of her characters are played a bit broadly in Morgan Manasa’s humorous production, her cast is generally excellent. Joel Thompson, seen in many productions around Chicago, portrays the strong, no-nonsense scientist, Dr. Givings. The character ironically displays far more empathy and concern for his patients than his own wife. His transformation in the play’s final moments, however, thanks to a brilliant performance by lovely Kristen Alesia, as his wife Catherine, makes for a beautiful and moving climax to this story. This is Ms. Ruhl’s single flight of fantasy in this play. Ms. Alesia’s character is the focus of this story and she plays her role like a energetic young colt: flighty, inquisitive and simply tired of being alone and ignored.

Portraying Mrs. Sabrina Daldry is an absolute jewel of an actress. Christina Renee Jones is delightful in this demanding role. She journeys from being sullen and closed-off from the rest of the world, sensitive to light, sound and the color green, to being a contented, free spirit who finally loves her life. She even discovers that, given the proper stimulation from Dr. Givings’ midwife nursing assistant, Annie (played with honesty, pathos and a touch of humor by the wonderful Erin Gallagher), she may even be attracted to other women, a side of her psyche that she’d never before acknowledged.

Michelle R. Bester, who was a standout in Shattered Globe’s “How to Use a Knife,” Windy City’s “Booty Candy” and Steep Theatre’s “The Few,” is magnificent as Elizabeth. It’s through this gentle, empathetic character that we hear the playwright’s thoughts, spoken from her heart. With Victorian modesty, Elizabeth advises both Catherine and Mrs. Daldry that the excitement experienced in Dr. Givings’ new electric invention is actually the same sensation a wife receives when having intimate relations with her husband. She also provides the somewhat jealous Catherine with some sound advice about motherhood and children. This is yet another standout performance by one of Chicago’s finest, most honest and natural actresses.

Chad Bay, as exuberant artist Leo Irving, makes his Idle Muse debut, while Brendan Hutt, as the conservative Mr. Daldry, is a three-peat performer with this company. Both actors portray slightly broad, yet humorous gentlemen, each from very different walks of life. Irving is a wild, free-spirited artist who, after receiving his first treatment from Dr. Givings, enthusiastically regains his inspiration to create again. With his renewed attitude, Leo believes that everyone around him shares his passion. Daldry thinks that by having Dr. Givings cure his wife that his marriage will once again be content and life will return to the way it was before his wife’s “hysteria.” However, after Mrs. Daldry has received her treatments, her eyes open up to the life she’s been missing.          

Directed with sensationalized style by Morgan Manasa, Sarah Ruhl’s entertaining play sometimes turns a little too boisterous; but it always remains playful and, at times, poignant. Milo Bue’s modestly detailed Victorian setting, provides a subtle contrast between Catherine’s feminine parlor with Dr. Giving’s more masculine operating theatre, “the other room.” Stephanie Johnsen’s lovely and authentic-looking period costumes add another layer to these unique characters. Removing and re-dressing in all their bustles, petticoats and corsets comprises a major portion of the actress’ stage business. Laura Wiley’s combination of candles and electric lighting offers design challenges and inventive opportunities, particularly in the play’s final winter garden scene. Samantha Kaufman has skillfully  guided the production’s intimate moments with sensitivity and artistry. And L.J. Luthringer has created a pre-show and intermission sound design with contemporary tunes that reference a woman’s need to make her own choices.

Sarah Ruhl’s humorous, yet sassy look at turn of the century manners and morals is not that far removed from today’s never-ending discussion regarding women’s rights. Despite its historical significance, this production, under Morgan Manasa’s tight direction, is filled with fun, good vibrations, and is both insightful and fresh. The playwright shows how society and, in particular, men still need to recognize the needs and potential of the women around them, even in the 21st century. Idle Muse presents an adult comedy that’s fun, unabashedly sexy, historically accurate and very relevant today.

Highly Recommended

Reviewed by Colin Douglas

Presented March 9-April 5 by Idle Muse Theatre Company at the Edge Theatre Off Broadway, 1133 W. Catalpa, Chicago.

Tickets are available in person at the box office, by calling 773-340-9438 or by going to www.idlemuse.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.