Brad Rousse, introduction to "Feminist Theatre: A Stage Call for Equality" (May 4, 2006)

Since the late 1960s, feminist theatre has tried to find its direction. Two major questions are usually asked: Is it about art, or politics? Is it only for women, or for both genders? While trying to find these answers, feminist theatre has produced several impressive works. One of the greatest in recent years was The Vagina Monologues, whose exploration of women was roundly praised. I participated in a production of the show, and it introduced me to feminist theatre. Although this young genre has made great leaps, it is one still trying to find its footing. At the center of the debate over art and politics, feminist theatre struggles over the place of men in the genre, a gender role debate that was highlighted with my participation in The Vagina Monologues.

My experience in feminist theatre took place in March 2006 as a one-man stage crew for the Monologues. I had already seen Eve Ensler's play a year earlier, so I had familiarity with the show I participated in. I also had an idea about putting on controversial theatre, having directed a play lampooning religion in my senior year of high school. My job consisted of running the lightboard and sound system for the production. The director asked for a CD of songs (which the actresses felt best described the songs their vaginas would sing) to be played before the show. This preceded dimming the hall lights and putting stage lights at fifty percent for the first act. I repeated the sequence for the second act. When the show concluded, a track of Whitney Houston's “I'm Every Woman” played as the cast took their bows. I needed to be available for two rehearsals and three performances during the week of March 13.

The rehearsals were the smoothest in which I have been a participant. The cast was on task and efficient, and the rehearsals consisted of timing, entering and exiting the stage, and choreography. During rehearsals, the director periodically asked for more or less lighting on the stage. She did this in order to get an idea of which levels worked best for the performances. My primary task during those days was one of refining, fine tuning, and getting a feel for the equipment I used. She settled on what she wanted by the end of the second rehearsal, making minute requests before opening the show to the public.

The performances were similar to the rehearsals in that all three went extremely well. Before each one, the director or an assistant would meet with me in the booth for comments and any changes in light levels. The most taxing was the final performance. At the request of the cast, this performance was to be filmed. Unfortunately, the cameraman arrived ten minutes late. In addition to this, a professor asked to take my picture for the history Web site as I received a call from backstage informing me that the show would start at my discretion. In essence, I had become the stage manager. Considering the subject matter of the show, I found placing this authority in a sole male quite a role reversal.