Written by Josh Doyle

More students here at the U of G have one than not, and I am part of the minority. It’s an odd thing to consider yourself a minority when you aren’t used to doing so. Odder still is when you consider the majority is treated with hostility; their pleas often silenced by shame because of something they have. The unnamed article here is a vagina, and the majority I speak of is women. While certainly there are exceptions, most women here at our university may never have experienced some of the more disquieting crimes against femininity that go on in this world. Still is it likely we’ve all heard stories of the things we’re glad do not affect us directly.

When Eve Ensler wrote the Vagina Monologues, or rather, compiled them in 1996, she was 43. She did so after conducting interviews with 200 women, chronicling everything from their views on sex and their sexual encounters, to their thoughts and experiences with violence against women. She wrote the monologues originally to “celebrate the vagina,” insisting that the empowerment of women was directly related with their sexuality. Since then the monologues have been performed in countries around the world, from campus theatres like our own to Broadway performances, even making their way to a televised version on HBO.

In 1998, just two years after their initial performance, the monologues took a historical turn that would launch a global movement. Ensler and friend/producer Willa Shalit turned the popularity of the monologues into “V-Day,” a global non-profit movement that aimed to end violence against women and girls. Annually the efforts of the V-Day movement climax between Feb. 1 and April 1, when places like the U of G hold their own performances of the Vagina Monologues, spreading the message of anti-violence and sexual liberation for women.

“The reason why it’s so straight forward is that there’s a huge silence around [violence against women.] The less people talk about it, the less people come forward because they think they’re alone. There’s this huge stigma attached to them. They’re far less likely to take action, to help themselves or to take legal action if they feel like they’re alone or nobody cares about what’s happened to them,” said Kaila Newby, SHAC Education & Promotions Coordinator and producer for this year’s monologues.

Since they debuted in 1996 The Vagina Monologues have been criticized for their openness, offering a blunt approach to discussing the issue of violence against women as well as the enjoyable, comedic aspects of female sexuality. Some find the frank nature of the monologues a turn off, an understandable reaction when you’ve seen them performed. Several of the monologues, like My Vagina Was My Village, a monologue centered on Bosnian rape camps are particularly moving, as they work their way through normally unspeakable atrocities without taking any detours for the sake of pleasantness. Director’s of this year’s production Natasha Lantz and Kayla Alexandropoulos have taken note of this factor (they couldn’t possibly avoid it), respecting both the necessity of the monologues intensity and the sensitivity of their prospective audience.

“It’s quite difficult to think of all the ways something might be affecting someone. As a director I would want a specific action, but it’s almost impossible for some people to do because of the subject matter,” said Lantz of a rather trying directorial debut. “[But] you have to take into account that maybe there’s a reason that the monologue is coming across the way it is and that it’s difficult to act it a certain way.”

Even the thought of changing the tone in a piece of theatre is a telling sign, shedding light on how controversial some might see the subject matter. But the question arises of how we can see honest accounts, true stories from women around the world as ‘controversial.’ They are both real and undeniable, and that we are forced to cringe at some the tales told only proves that it is necessary they exist in this way. The more we learn about the goings on of the world, the better.

“We don’t want to upset people or the actresses, but I truly believe that the subject matter is what it is for a reason. We’re doing this whole production as a means to raise awareness, and an attempt to find a solution,” added Lantz.

Lantz comment about the actresses is also revealing, and there is a need to choose carefully what actresses participate. The material runs deeper than any risqué piece of theatre could hope to. As producer for this year’s performances, Newby recognized the monologues are less about entertainment and more about sincerity, which became an integral part of the philosophy behind casting.

“Women from the theatre program come out, but it’s also women who have been effected by violence, and women who know somebody who’s been effected by violence. Its way more people who care about the issue, and its more storytelling than just a big theatre production,” said Newby.

Actresses too realize the commitment involved in signing their names on the audition sheet for The Vagina Monologues. While a background in theatre can only help your ability to connect with the material, it takes something more than just good acting to get the true grit of some monologues across. Fourth year theatre student Lindsay Finnie knew it would be a challenging process last year when she signed up, and again this year when she joined the cast of the sister production A Memory, a Rant and a Prayer.

“In any piece, when you act you have to put a bit of yourself into the character, and you have to find what you can relate to. Particularly with this, you know that these are people’s stories; you know this isn’t fictional so you feel so much more like you want to do it justice. I’m feeling a tremendous amount of pressure to do the monologue that I’m doing appropriately. It’s definitely more than just taking the words that are written and then reiterating them,” said Finnie.

Despite what you’ve read so far, The Vagina Monologues are not all gloom. Certainly there is a somber tone around some of the presentation, as the necessarily serious material is worked through and the message behind V-Day is delivered. However, the monologues have a way of turning around without warning, lightening the mood with the more celebratory side of conversation around vaginas.

“The monologues one second will be making the audience roar with laughter and the next second be making everybody pull out tissues,” said Newby. Lantz reinforced her comment.

“Some are definitely quite amusing. I think most of it is lighthearted. The reason Ensler started this way back was to talk about something that nobody really talks about. Not everything is directed at really negative experiences. You definitely laugh a lot during the show,” said Lantz.

With a subject as complicated and central to feminine identity as vaginas (or more notably, female sexuality in general) this is a necessary balance. The issues at large are difficult to hear of; wounding to our collective image as humans and there is a need to share the raw experiences of women without veil. At the same time there is joy in sexuality, and women have the potential to feel both of these things, perhaps in equal proportions.

The Vagina Monologues are about women. There is little place for men, but in the mention of the affect they can have on women through their actions, a point about which much criticism has been made. This was altered several years ago when the monologues were extended to include another performance segment.

“A memory, a Monologue, a Rant and a Prayer (MMRP) was Ensler making a call out to artists in New York, asking them to submit monologues specifically about violence against women and girls,” said Newby of the added performance the U of G will be taking part in for it’s third year. The theme sounds strikingly similar to some of the subject matter from the monologues, and it is. The difference however is that men are able to contribute to these performances through both acting and writing.

Samantha Layton took on the challenging role of directing this year’s MMRP performances, a segment that enriches the message of the monologues, but not in a comedic way.

“For one thing MMRP involves men. With that we really hope to get the message out there to end the violence against women by having men on our side. The next thing that’s different is that The Vagina Monologues has a comedic aspect to it in certain monologues, whereas MMRP is more of a serious show. We have to be very careful with how we stage things, and the tone in certain peoples voices because it is a lot more serious,” said Layton.

While you may find yourself listening to stories that struggle through the darkness of our potential, you’ll have plenty of help walking through it to find the venue. Held in the Arboretum Theatre, chaperones will be meeting those attending MMRP performances at the UC and AC prior to the event, guiding them by candle light through the evening woods. Once the walk is completed guests will have the opportunity to dedicate candles to whomever they choose.

A memory, a Monologue, a Rant and a Prayer performances will be going on this Friday and Saturday, Feb. 4 and 5. The Vagina Monologues will take place the following Friday and Saturday in War Memorial Hall.

“All of the funding we bring in goes to Guelph/Wellington women in crisis, the Wellness Center, and community organizations that offer support to those women,” said Newby.

She added that part of the proceeds for this year’s production will go to feminine activists in Haiti, where poor conditions since the earthquake there have led to an increase in sexual violence.

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