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Theatre Communications Group
The Mammary Plays: Two Plays / Edition 1

The Mammary Plays: Two Plays / Edition 1

by Paula Vogel
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The Mammary Plays are mirror-image investigations of coming of age in the ’60s: How I Learned To Drive, a deceptively delicate tale of sexual awakening in desperate if not criminal circumstances, and The Mineola Twins, an outrageous political satire. Both plays are receiving multiple productions throughout the U.S., and How I Learned To Drive, one of the most acclaimed plays of 1997, has won 13 major awards, including the Pulitzer Prize, Obies, Lucille Lortel, Drama Desk, NY Drama Critics Circle and Outer Critics Circle awards and the coveted Susan Smith Blackburn Prize.

Product Details

ISBN-13: 9781559361446
Publisher: Theatre Communications Group
Publication date: 02/01/1997
Edition description: 1 ED
Pages: 176
Sales rank: 721,214
Product dimensions: 5.40(w) x 8.50(h) x 0.50(d)

About the Author

Paula Vogel is the author of How I Learned to Drive (Pulitzer Prize 1998), The Baltimore Waltz and The Mineola Twins, among other plays.

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The Mammary Plays: Two Plays 4 out of 5 based on 0 ratings. 2 reviews.
Anonymous More than 1 year ago
Guest More than 1 year ago
How I Learned to Drive by Paula Vogel is an extremely well written and meaningful work of drama, but I did have a few quibbles with it. In the play, the main character, Li¿l Bit, recounts her teenage years, showing the abuse wrought by her uncle, and how they affected her life. Vogel uses the metaphor of driving a car to symbolize life throughout the piece, and Li¿l Bit, in the end, becomes a survivor in spite of, or maybe because of, her molestation. I enjoyed Vogel¿s use of the metaphor. She frequently uses an impassive voice, such as those from Driver¿s Education videos, to denote breaks in plot or changes of pace. This continuous motif allows readers, or the audience to easily make the connection to universality. Also, the way Vogel only uses two main characters and Greek choruses to play the multitude of other characters assists readers, or the audience, in concentrating on and seeing the poignancy of the main characters. What I didn¿t enjoy about the play was the stereotyping of males throughout. The Male Greek Chorus, which plays the parts of Grandpa, the waiter, and the high school boys, is only focused on one of two things, sex or money. It seems as if Vogel is trying to convey the ultra-feminist viewpoint that all men are the same. As a male reader, I believe that this stereotype is unfair. Besides this, I highly recommend the play and fervently desire to see it live.