The Vagina Monologues by Eve Ensler walks a delicate balance between political activism and entertaining theatre. When it was first performed the content was shocking politically, socially, theatrically. But as a feminist text, I’m not sure The Vagina Monologues hasn’t lost some of its impact as the changes it sought have come of age.

I just don’t think vaginas are embarrassing or secret anymore, and I don’t think my vagina is the basis for my empowerment.  But then The Vagina Monologues is more than a political vehicle, it is also a play.

Megan Peacock and Sally Richards, of Theatre Comrades, have approached this production from a perspective that elevates the pleasures of theatre rather than as a piece of political activism, although there is politics here aplenty, and even a challenge to our current accepted mores. This is in the form of the inclusion of a recorded interview with a six year old girl, answering questions about her vagina. Are we shocked? And is this a political or theatrical decision?

The pre show entertainment is lively and colourful, although I feel a drag queen may have a few hardened feminists wondering why someone who hasn’t a vagina is a good opening act for a play about the empowerment of people who have vaginas. This certainly indicates that Richards and Peacock are firmly on the “theatre” side of the argument.

The opening of the play is all politics. A digital presentation describes Ensler’s goals, achievements and ‘V-Day’: a day designated to raise awareness about the levels of violence against women in our communities and around the world. 

Then on with the show. As a piece of theatre, it is very entertaining, taking us on a rapid ride from bathos to pathos and back again in a series of pithy, earthy monologues from a range of women talking about their vaginas. Ensler interviewed thousands of women, and wrote her monologues from those interviews. Additional monologues have been added, and the play has been updated with a recent inclusion about the Haiti earthquake. 

The Vagina Monologues could, theoretically, be performed as a solo show (given a very energetic actress), or host a cast of dozens. Most productions cast four actresses and this production stars eight, performing multiple monologues.

The lovely, ethereal Alix Bushnell – of Go Girls fame – demonstrates the full range of climactic ‘moans’ with enthusiasm and comedic, well, balls. Bushnell’s performance is confident and professional and yet collegial; a show-stealing performance of the highest pure entertainment value.

Another standout comedic monologue that pleases the audience is ‘The Angry Vagina’, performed by Lynda Corner. Angry? Yes. Hilarious? Absolutely. She works the audience like a stand-up comedy pro.

Tansy Hayden performs two monologues: the sassy, confident sex worker and the immensely poignant monologue of the broken Bosnian rape victim. Hayden has no difficulty conveying the complexities of both characters and I will be watching whatever she is performing in next.

The cast as a whole pack punch into their punch-lines, and leave the pauses in their sorrows. Although there are a few wobbly moments it pays to remember some of the actresses are not professionals and, while this could be considered unwise casting, it fits well with the ethos of Ensler’s vision and the collectivity of Theatre Comrades. 

The simplicity of the set supports the weight of the performance being the monologues themselves, and kudos to the actresses for carrying the show. The few props, however, prove an occasional impediment. One of Hayden’s monologues, delivered as she moves upstage, is obscured by a white chair downstage. This is distracting and annoying and, in addition, the move to back stage causes a degree of mic volume to be lost. There are odd blocking fumbles, which suggest the cast, who are individually well rehearsed, have not worked together enough.

Small grumbles aside, the production has heart, and that’s what theatre is – and politics should be – about. So, is this a political production or a theatrical one? Ultimately the audience, not the critic, decides, and what the audience responded to was the humanity of the play rather than its political messages. I’d say it was good theatre. 
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