How I learned to Drive

How I Learned to Drive illustrates a unique ability to demonstrate the effects of something profoundly personal, such as sexual abuse, in an overwhelmingly impersonal way, Li’l bit’s monotonic narration.  This uncanny tone, adopted by Paula Vogel is extremely powerful as it demonstrates the main character’s desensitization to traumatic abuse in a very real way.  This Perks of Being a Wallflower-esc depiction of sexual abuse is profoundly real, and no doubt makes the audience uncomfortable at several moments during the play.  Admittedly, I was sufficiently wierded-out when Li’l bit gave her uncle a “small reward” for not drinking and lets him undo her bra, however as the play continued I began to understand how this poor girl had been entangled in such a terrible situation.  I was disappointed in the ending, as I wanted the main character to be successful, overcome obstacles, and prevail, however by choosing to have Li’l bit kicked out of college and become an alcoholic, Vogel projects a much more real, or perhaps accurate view.  A take on classical Greek tragedy, How I Learned to Drive, illustrates that unfortunately happy endings aren’t always the case.

What Ever Happened to Girl Power?

Carolyn Churchill’s production of “Top Girls” offers an ambiguous view of feminism.  Technically one could interpret the play's stance on feminism, as either: (a) self-sacrificing and determined or (b) egocentric and cold.  For instance, one could argue that Marlene was forced to give up her baby if she ever wanted to have the financial security to have a child of her own.  Nonetheless, I believe the play shares a greater affinity with second interpretation, demonstrating the hardships suffered by a woman’s family with her assent into the workforce.  Clearly demonstrated by Angie’s troubled existence, the piece implies that Marlene is disrupting the social fabric by not filling her role as a mother.

I was also bothered Marlene’s abortion—not because of the acts themselves, but because of the way they too reflect on her character in the play.  Impersonal, effeminate and powerful, Marlene’s character already demonstrates qualities misogynists are threaten by.  The addition of Marlene’s sexual exploits to her already intimidating persona seems to truly drive home its critical perspective of feminism.

Although I can’t remember the book discussion how exactly these unwanted pregnancies came about, they could potentially imply the misogynistic view of the successful woman as (sorry for being crude) a scandalous...  While I could be misinterpreting some of the elusions to working women in “Top Girls”, the play gives the topic so much attention, that it demands analysis, as Churchill’s representation of a working woman could have be extremely influential in the reception of second-wave feminism in the 1980s.