We are in an interesting cultural moment in the United States as I write this, a time where discussions around sexual abuse and power dynamics are amplified through social media and public discourse. Against this backdrop, TCG Books is set to release the first stand-alone edition of Paula Vogel’s groundbreaking 1997 play, How I Learned to Drive (pre-order available), a poignant exploration of a young woman’s experience of sexual assault by her uncle. This publication includes a new author’s note by Vogel, reflecting on the play’s continued relevance and impact, which we share below.
Paula Vogel
Vogel opens her note by acknowledging the current societal reckoning with sexual misconduct, referencing prominent figures and the pervasive #MeToo movement. She contemplates the courage it takes to speak out about past traumas, questioning whether these revelations, even decades later, can truly impact the present and future experiences of young people facing abuse. This reflection sets the stage for understanding the enduring resonance of How I Learned to Drive play.
Reflecting on the Play’s Profound Impact
Vogel expresses a sense of awe and gratitude for the profound connection How I Learned to Drive play has forged with audiences across diverse demographics. She notes that she may never again create a work that resonates so widely, placing it within a lineage of impactful art like Spotlight and The Keepers that confront issues of power and abuse.
Anecdotes shared by Vogel illustrate the deeply personal and often challenging responses to How I Learned to Drive play. She recounts instances of friends who found the play too confronting to witness in a theater setting, and a woman who traveled from afar to offer a heartfelt thank you. A particularly moving encounter with a young LGBT student revealed anxieties about acceptance, highlighting the play’s ability to touch vulnerable nerves. Furthermore, a conversation with a director considering a film adaptation exposed the inherent difficulty in making a story about abuse “safe,” ultimately leading to the project’s abandonment. These stories underscore the play’s raw emotional power and its capacity to provoke discomfort and profound empathy.
Universality Beyond Broadway
Despite its powerful impact, Vogel touches upon the frustrating reality that How I Learned to Drive play, penned by a female playwright, has been deemed “not universal enough” for a Broadway production in America. However, she finds solace and validation in the play’s global reach, having witnessed productions in diverse locales such as Iceland, China, Chile, Australia, Johannesburg, Croatia, and Taiwan. This international embrace suggests a universality that transcends geographical and cultural boundaries, a testament to the play’s exploration of deeply human experiences. The play’s journey from a small Off-Broadway theatre to stages worldwide highlights the disconnect between perceived commercial viability and genuine artistic and emotional resonance.
Personal Transformation Through Theatre
Vogel delves into the deeply personal significance of How I Learned to Drive play, describing it as a transformative experience. She reveals that writing the play felt like “rewriting” her own identity, bringing a sense of “lightness” amidst the challenging subject matter. This sensation speaks to the cathartic power of theatre and writing, its ability to transmute pain and secrecy into understanding, community, and even forgiveness.
She emphasizes that How I Learned to Drive play was a “gift,” offering her control over her narrative and identity in a professional landscape where she often felt a lack of control regarding visibility and commercial success. This underscores the empowering nature of artistic creation, particularly when confronting personal and societal wounds.
Gratitude for Collaboration
Vogel concludes her note with heartfelt gratitude for the collaborators who brought How I Learned to Drive play to life. She acknowledges Doug Aibel, the artistic director of the Vineyard Theatre, for his early faith in the play; Mark Brokaw, the director, for his sensitivity and vision; and the original cast members, Mary Louise Parker and David Morse, for their fearless and nuanced portrayals of the complex characters. She also extends her appreciation to Johanna Day, Kerry O’Malley, and Michael Showalter, the “Greek chorus,” and all the actors, directors, artists, crew, and audiences who have contributed to the play’s ongoing journey. This extensive acknowledgment underscores the collaborative nature of theatre and the collective effort required to bring such a powerful and sensitive work to the stage and to audiences worldwide, ensuring its continued impact for generations to come.
