BWW Reviews: SCR's IN THE NEXT ROOM Is a Stimulating Jolt of Laughter

First off, it may behoove one to point out that the sudden sounds of pleasurable moans echoing out from the walls of the South Coast Repertory Theatre in Costa Mesa aren't coming from some new, salaciously x-rated experimental play. It's all quite innocent, actually. But, yes, the moans do indeed stem from pleasure.

Hands down one of the funniest new plays I've seen this year, IN THE NEXT ROOM, or THE VIBRATOR PLAY—with performances continuing through October 17 at the Julianne Argyros Stage—is a giddy, poignant, and often witty modern comedy that was a finalist for this year's Pulitzer Prize. Fresh off its recent Tony Award-nominated production at the Lincoln Center Theatre, this new production of Sarah Ruhl's charming play commissioned by South Coast Repertory is an intellectually satisfying comedy that's surprisingly classy and sophisticated, yet wholly sweet and approachable. It's also a heartfelt drama about (inadvertent) sexual stimulation, expressive freedom, and the clarity that such startling pleasures can cause among the mannered, yet wonderfully quirky denizens of this affluent spa town just outside New York.

It is the late 1880's, where households having electricity is in its infancy, and where women were much more timid in both behavior and politics. In one Victorian household, we meet Dr. Givings (the perfectly proper Andrew Borba), a mild-mannered physician, whose speciality is the treatment of "female hysteria," a general category of illnesses that includes a multitude of random female-centric ailments such as fatigue, sadness, restlessness, sensitivity to lights and sounds, etc. Working out of his own home medical office, he is one of the few doctors that is offering up a new, unique treatment that has produced some generally great results thus far: electric stimulation. Perhaps because the doctor believes that these hysterical illnesses are rooted in a woman's womb, he is assisted in the room by a midwife, Annie (Libby West), a kind, lived-in woman who incidentally knows Greek.

The popularity of Dr. Givings' treatments leaves his chatterbox wife Catherine (the glorious Kathleen Early) feeling lonely, detached and unloved... and a bit curious about the sounds she overhears coming from the her husband's "patient theater" in the next room. Unbeknownst to the patients (as well as the doctor himself), these hysteria treatments actually stimulate sexual pleasure (it is primarily this Victorian ignorance of achieving org*sms that induces much of the play's infectiously giddy laughter).

A new mother, Catherine feels rejected not only by his busy, automaton husband but also by her newborn child—who won't take to her breast milk for feeding. She wonders aloud, then, whether these treatments could benefit her as well, but her husband refuses, dismissing his wife's complaints as merely normal. Their non-communication, of course, simply energizes Catherine's incurable curiosity. A bundle of nervously-constructed words that tend to leave her mouth before her brain can filter them, talkative Catherine is left in the parlor room to chat up every new visitor with a cup of tea and an avalanche of friendly, beguiling banter. She's been so disappointed about not having any personal connections, it's no wonder Catherine needed an outlet for stimulating conversation that her busy husband simply fails to provide.

While snooping to find out more details about her husband's medical practice, she soon strikes up a fast friendship with one of her husband's new patients, the anxious Mrs. Sabrina Daldry (Rebecca Mozo), who we first meet dressed in a dark funereal veil, escorted by her condescending husband (Tom Shelton), whose selfish desperation for a cure for his wife is obvious. Fortuitously enchanted by the charm of Mrs. Givings, Mr. Daldry later offers up one of his employees, Elizabeth (the riveting Tracey A. Leigh) to be hired as her newborn's wet nurse. Thrown into the mix later in the play is another new patient: Leo Irving (Ron Menzel), a rare sufferer of male hysteria—a condition apparently much more common in male artists.

Eventually, Sabrina—who is quickly enamored by the inexplicable joy of the doctor's treatments—becomes a frequent visitor, gradually becoming more open, expressive, and even a bit daring... quite the contrast from her first visit to the doctor. Sabrina's transformation further ignites Catherine's inquisitiveness. As with Sabrina before him, Catherine also grows fond of Leo and their friendship is strengthened by the success of his treatments... so much so that he is inspired to paint a portrait of Catherine's wet nurse Elizabeth.

Before long, Sabrina helps Catherine sneak her way into the doctor's room to try out this miracle contraption herself. The discovery is literally an electrically-charged, eye-opening moment, yet somehow, in this age of innocence, Catherine is still dumbfounded by these newly-discovered feelings... that there may be more to this than what buzzes underneath.

On the surface—and especially with that title—one assumes that Ruhl's comic masterpiece is merely just a series of org*smic facial expressions and badly-formed puns, all acted out for easy laughs. While, yes, these situations (especially inside the doctor's office) do indeed offer most of the seemingly-juvenile snickering, the hearty laughs truly come from Ruhl's wordplay and the sweet, sometimes thought-provoking conversations his richly-formed characters utter. The laughs are even plentiful just with a look, a raised eyebrow, or a smile. IN THE NEXT ROOM is just so delightfully funny in its portrait of innocence; it is funny simply because their blissful ignorance truly shows their pure joy.

There are also moments of real pathos and tenderness: when finally finding the courage to talk about a recent tragedy in her life (one that plays a part in her hiring as Catherine's wet nurse), Elizabeth's monologue—delivered with such resonating emotion by Leigh—is truly heartbreaking. Yes, tears trickled. And the surprisingly sweet romantic ending is both lovely and even, dare I say, sexy.

Under the direction of Casey Stangl, IN THE NEXT ROOM doesn't even attempt to disguise the comedic authenticity of the scenes involving these doctor's visits. You can't stifle the laughs because, frankly, it's just that funny. The play feels wonderfully fluid and alive despite a two-room set—a gorgeous era-appropriate set, by the way, designed by John Arnone. David Kay Mickelsen's richly textured costumes are just as beautiful as the ones worn by the Tony-nominated Broadway company.

And, my, what a cast! As Catherine Givings, Early leads the cast with such a playfully droll, rapid-fire delivery, and a perfect mastery of comedic timing. Borba's Dr. Givings provides a nice contrast to the more outgoing Mrs. Givings, and he certainly deserves kudos for his brave and surprisingly touching ending scene. Mozo is simply outstanding as is West and Shelton in their brief appearances. Menzel is thoroughly mesmerizing as Leo, and as Elizabeth, Leigh—as I described earlier—packs an emotional wallop in all her scenes.

With unfulfilled lives come the excitement of stimuli. For Sabrina, it releases a surprising awakening. For Leo, it provides creative stimulation and a brave new passion. And for Catherine, it's a realization of the exact kind of intimacy she lacks but deserves...and eventually gets. Relationships all around become interestingly defined. And the terrific thing about the play's exploration of such themes? It's presented as a sincerely intelligent, creatively fresh comedy!

Not since seeing Sex and the City's Samantha Jones get her hands on a modern equivalent of this "household appliance" has there been so much giddy excitement over something you plug in.

All Photos by Henry DiRocco/SCR.
Top: Kathleen Early. Second (L to R): Andrew Borba, Tom Shelton, Rebecca Mozo.
Third (L to R): Kathleen Early & Rebecca Mozo. Bottom (L to R): Tracey A. Leigh & Ron Menzel.

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Performances of IN THE NEXT ROOM, or THE VIBRATOR PLAY at South Coast Repertory continue through October 17, with evening performances at 7:45 p.m. and with Saturday and Sunday matinees at 2:00 p.m. Discounts are available for full-time students, patrons 25 years of age and under, educators, seniors and groups of 10 or more. There will be an ASL-interpreted performance on Saturday, October 16, at 2:00 p.m.

POST-SHOW DISCUSSIONS:  Tuesday, Oct. 5, & Wednesday, Oct. 6
Discuss the play with members of the cast during FREE post-show discussions led by South Coast Repertory's literary team.

Tickets, priced from $28 to $66, can be purchased online at www.scr.org, by phone at (714) 708-5555 or by visiting the box office at 655 Town Center Drive in Costa Mesa.

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