The Mammary Plays: Two Plays

Paula Vogel is a talented playwright with an amazing voice and freshness. These plays are two of the most interesting I've read; very original, substantive, and entertaining. Not for the faint at heart. Highly Recommended.

I love these two plays. I can't wait untill I can see them performed

The two plays in this volume have been performed recently in New England, and were among the best new plays I've seen recently. Particularly, How I Learned to Drive, as performed by the American Repertory Theater, was funny, touching, disquieting, and completely absorbing. There's more in both of these plays than I could absorb seeing them only once, however. Without question, How I Learned to Drive, which presents two complex major characters and asks us to question who has the power in their relationship and who is the victim, is the richer play. But Vogel's satire on extremism in the poltics and life-styles of Baby-boomers, The Mineola Twins, is a fitting complement to How I Learned to Drive. In both plays Vogel succeeds in disquieting us, urging us to see past black and white judgements and to understand that life in the human family (both plays contain the refrain "family is family") is complicated by many cross-currents. Consider reading these plays, even if you've seen them. (In both plays I discovered essential details I'd misunderstood when I saw the plays on the stage.) If you missed the chance to see these plays, do read them, particularly How I Learned to Drive. This is more than a story about sexual abuse; it's an extreme example of what can be true in any family, though we may be slow to admit it--that those who hurt us may also give us much love. Perhaps one sign of Vogel's sense of perspective is that this play--about the grimmest of subjects, child abuse--is as funny, at times, as it is touching.

This play does a wonderful job of bringing to life a situation often avoided in literature: sexual abuse. The author, Paula Vogel, creates the character of Li'l Bit so clearly that the reader has no trouble identifying with her. Vogel also uses Peck, the infatuated uncle, as a foil character for Li'l Bit by creating him in such a manner that forces the reader to find fault easily in him. This leads the reader to the conclusion that Li'l Bit is innocent in the horrendous acts her uncle continuously performs with and on her, which is very true. Since the acts of sexual abuse began when she was only a small child, she has grown up with this most of her life. To her it seems normal what is going on between her and her uncle, but when she finally leaves and goes on to college, she realizes how wrong it really is and finally gains enough courage to tell her uncle to stop. It is courage like this that most people, females especially, can relate to, whether they have found it for themselves or are hoping to find it in the future. This play brings that courage to life for them and makes it seem that much more attainable.

I've seen both of these plays and I look very much forward to reading them. Paula Vogel manages to be incredibly funny and make us feel things deeply at the same time. Also, great monologues for actresses to use.