Vogel's "Mammary Plays" as an Effective Tool for Social Commentary

Paula Vogel’s acclaimed plays, "How I Learned to Drive" and "The Mineola Twins" explore two socially sensitive topics – pedophilia and women’s roles throughout the last 50 years. Though these topics both contain the possibility to become didactic, severe riffs on the social state of our nation, Vogel conquers the issues with an easy grace and a sharp wit.

In her Pulitzer Prize-winning play “How I Learned to Drive,” Vogel carefully presents the relationship between Li’l Bit and her Uncle Peck as one full of emotional depth and gray areas rather than one with a clear line between predator and victim. In addition to presenting her characters in a surprisingly sympathetic light, Vogel interjects her plays with occasional moments of humor and lightheartedness. She utilizes a number of popular songs of the day in order to liven her settings and presents a number of moments that easily relatable (what adolescent girl has not felt uncomfortable at having her grandparents remark on every aspect of her changing body?).

“The Mineola Twins” also succeeds as a sharp social commentary full of lighthearted moments. Though Vogel examines the role of women on the political spectrum throughout the Eisenhower, Nixon, and Bush administrations, she makes her point through comically obtuse characterization. True, one might never meet a woman as staunchly conservative as Myrna or one with the same affinity towards family counseling as Myra, these extremes offer an amusing look at the social structure of the United States during recent history.

Vogel’s voice is a distinct one – her tendency towards using humor and colorful dialogue in her plays makes for an effective manner for her to explore a number of pressing social issues.