On Feb. 20, in the Drama Workshop, in partnership with Students For Reproductive Freedom (SFRF), The Pierrettes brought back a longstanding Salem theatrical tradition, “The Vagina Monologues.”
In typical historically all-women’s liberal arts college fashion, divas and darlings from across campus came together in community to see classmates, girlfriends, peers, partners, and friends make very public proclamations about all things vagina. No vagina was too wide to cross, and no topic was too taboo for Salem College’s Vagina Monologues.
The show began with the director and Pierrettes Social Media Manager, Samara C. George, welcoming the audience, reiterating the significance of the one-night only showing of Vagina Monologues, for Salem College hasn’t put on the show since 2019. George noted the importance of bringing back traditions that have since gone dormant in the post-COVID world: “The discussions that even the word “vagina” being uttered in a public space bring…is especially important to think about at a historically women’s college like Salem.”
Director Samara C. George welcoming the audience to the show. Photo Credit: Clare Buchanan
The set of The Vagina Monologues resembled the vibe of a 90s, neurotic, it-girl’s NYC apartment. Sheepskin rugs, satin curtains, and shaggy carpets were cozily layered on the stage, accompanied by the lip couch from the chair library. There was also a makeshift clothesline housing bras, bloodied boxers, and underwear center stage. Fairy lights warmed the stage as the curtain drew back and the audience entered the first monologue.
Lera Foust delivered a memorable rendition of “Hair”, sauntering on stage with a paper cigarette to deliver her monologue with full confidence at the edge of the stage, legs crossed precariously and anxiously.
Carrie Reagler provided the audience with a gripping and self-effacing performance of “The Flood,” a monologue detailing an octogenarian woman’s experiences as a young woman with ejaculation in her old boyfriend’s brand new Chevy Bel Air.
Louise Digh’s monologue was notable. Digh lounged center stage with a yoga mat and fuzzy socks up to the knee, hand mirror in one hand, script in the other, coquettish as she described the experience of really seeing her vagina for the first time: “My vagina is a shell.”
Louise Digh. Photo Credit: Avery Bissette
Samantha Gill, Lee Carpenter, and Maryem Hamdouni’s interpretation of “They Beat The Girl Out Of My Boy…Or So They Tried” was emotionally moving and intense. The costumes throughout the show felt intentionally placed together, especially during this monologue, when I noticed Carpenter’s hand-painted jeans, “Protect The Dolls” plastered on one leg.
Lee Carpenter. Photo Credit: Avery Bissette
Perhaps my favorite performance of the evening was Maryem Hamdouni’s performance: “Because He Liked To Look At It.” Hamdouni bashfully relayed the experience of finding “Bob,” a rather plain and boring looking man, who “absolutely loved vaginas.” Hamdouni’s dumbfounded and amused delivery of the line “I’m right here” when Bob kept asking to “see her” was a favorite of the evening.
Vag Mon took a somber turn with Foust’s “Not-So-Happy-Fact,” followed by MJ Togni’s rendition of “My Vagina Was My Village.” Dressed in black garments and a veil, Togni tapped into the grief and severe pain of a sexual assault survivor from a Bosnian village. The audience was captivated by Togni as she stood her ground on stage, tears running down her face.
Togni continued to captivate audiences throughout the night, for right after “My Vagina Was My Village” and intermission was wrapped, she burst on stage wearing ripped maroon tights, combat boots, and a leather jacket screaming: “My Vagina is ANGRY!” Togni, a sophomore who has delivered several memorable performances throughout her time with the Pierrettes, delivered a career-defining performance with Vagina Monologues, hooking the audience with her delivery that at times was hilarious, and at other times, quite sobering.
Venus Radoslovich wrapped up the last few monologues of the night with an exuberant performance of “The Woman Who Loved To Make Vaginas Happy.” Let’s just say Radoslovich commanded the stage in more ways than one.
Perhaps the most unforgettable moment of the show was when the entire cast rallied around Radoslovich, laying out on stage like sirens, to deliver a series of communal moans and groans at the audience. Leaving the show, proud of my peers, I realized once again…there’s no place quite like Salem College!
