In Gina Moxley’s play “The Patient Gloria,” at St. Ann’s Warehouse, a gender critique brushes up against lewd, droll, compelling spectacle.
The Irish playwright Gina Moxley, a spritely, spirited presence onstage, performs to raucous, cutting effect in “The Patient Gloria,” at St. Ann’s Warehouse . With a sharp nose, smartly trimmed blond hair, and bright-blue eyes, she has a way of smirking that implicates the audience in her mischievous thought patterns. She speaks in tones of sardonic wonder.
Over the course of “The Patient Gloria,” the seriousness of Moxley’s critique of gender and the cramped and incoherent space into which it forces women—making them sometimes hypervisible and sometimes totally unseen, objects of scrutiny and clinical study instead of whole human beings, glorious in their inconsistency—keeps brushing up against her unerring instinct for lewd, droll, compelling spectacle. That’s the pattern which makes this tightly compressed, manically active play work.
In Moxley’s play—crafted with excruciatingly minute attention to the film, which is still widely available—Liv O’Donoghue takes the role of Gloria. O’Donoghue is very funny, in an easygoing, mostly physical way that contrasts quite well with Moxley’s more energetic approach. In O’Donoghue’s hands, Gloria is intensely intelligent and guilelessly sexual. She talks, with frankness and charm, about her daddy issues and her pinings for smart, authoritative men.
The second strand of the play is Moxley speaking as herself, delivering an impressionistic personal essay about how, as a young girl in Ireland, she ingested chauvinistic messages like the ones that give Gloria the blues. Just as in her opening salvo, about being ignored on the bus, Moxley directly addresses the audience, drifting back in time to her childhood. One of the most interesting fixations of these passages of memory is Moxley’s attitude toward God.
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