Delicate Symbols in a Theatrical Broadway Play: good and bad vibrations

The stage reflects how society imposes controls and cannot deal with human nature easy: while there are feelings, curiosity, love, new relationships, female behavior there is rigor, coldness, distance, male behavior in the other room. "The Other Room or The Vibrator Play" is a theatrical play full of symbols that come to a confluence in the center of social structure. Nature and cold behavior are confronted through the wild connection of mind and body on a stage clearly organized to delineate a border: just a wall with a door that closes and opens under desires only but most of the times stays closed.

Each character brings to life personality of a sensitivity. While the wife seems to feature solitude and frustration, Dr. Givings provides with a feeling of fear for his own problems believing he's able to solve those of others. The troubled couple reflects confusion and miscommunication and the first patient portrays exogenous depression and craving for empathy. This same character (the second wife) connects everyone on stage and she also relates to each of them through an individual well established association.

The presence of the nurse (as well as the actress who plays the character) sets the control when she oversees and even deals directly with the troubled patients, relatives. She might have shaken the audience when reveals herself reacting to language of music as well as her very own feelings.

The male patient seems to create confusion when looking like a powerful representation of impulses and emotions ends showing his susceptibility to external insights. His artistic thoughts combined with his intentions to try whatever he hasn't previously, end in a path to a travel for exploring with other energies and new impulses.

There's no doubt that not being able to feed the baby (the life that is waiting, the life that is in a third room, the life that needs to grow, the same that suffers when no attention is paid to it) disrupt the environment when a loyal servant ends taking care of it with her best respect and knowing that she lost her baby (her own portion of life) and has something inside her chest still waiting to be released. What a delicate dagger is pushed into the situation.

When the end comes and a full clarity is then found, the whole ambient space transforms and pull out everything is a "carry-on luggage" to display a complete sad and happy (orgasmic?) moment in the human relation. Snow falls down in a subtle manner like slowing the time of this (more than complex) experience that goes beyond "The other room" and not relying on a pure electrical device.