GLORIA: A Life
GLORIA: A Life presented as part of the Playground Theatre’s Women’s Voices Festival, marked a spectacular finale to the event. The evening was introduced by Hall of Famer, writer, and director Emily Mann, setting the tone for what was a rehearsed reading, not a full performance. She asked the audience to engage their imaginations for various staging aspects, reminiscent of the famous line by Shakespeare.
The play focuses on Gloria Steinem, portrayed by Stockard Channing, who brought an authentic American fervour to the role. Despite it being a reading, Channing’s performance perfectly balanced frustration and exasperation with entertainment, showcasing her significant acting prowess.
My own introduction to Gloria Steinem came amusingly from a line in ‘Legally Blonde’ about the Playboy bunny. Curious, I learned about Steinem’s undercover work in ‘A Bunny’s Tale’. The play delved into the circumstances surrounding that job and its broader repercussions on career and personal life, providing a profound look into Steinem’s impact on second-wave feminism and beyond.
The production used sharp satirical humour to critique past attitudes towards women, such as commercials of women caressing washing machines or Steinem fending off sexual harassment from her boss. It connected historical struggles with modern issues like abortion rights, Black Lives Matter, and the Time’s Up movements, emphasising the ongoing relevance of Steinem’s work.
One of the most poignant elements of the play was the portrayal of Steinem’s interaction with Wilma Mankiller, the first female Principal Chief of the Cherokee Nation. Their discussions around the concept of talking circles, where individuals gather to share and support each other, highlighted a critical method through which women have historically empowered each other. This theme was beautifully woven into the show’s narrative, culminating in the audience participation talking circle at end of the play, although this segment became slightly confusing as some attendees addressed Channing as if she were Steinem, though others did make confessions and show appreciation of the path that Steinem paved to the modern world many of us live in.
The 90-minute runtime of the play offered a detailed and vast exploration of Steinem’s life, the pivotal events of her era, and the significant influence she had on feminism and the world. As a political drama, the play naturally drew parallels between past and present, though at times it was unclear whether it referenced events from when it was written or more recent developments, especially with Trump being President in both these eras.
While I’m not deeply versed in American politics, ‘GLORIA: A Life’ was both enlightening and inspiring, illustrating the waves of change initiated by Steinem and her contemporaries. It’s a play that deserves a fully-staged production, ideally accompanied by an insightful programme to help audiences grasp the extensive historical context.
This show was reviewed on the 23rd March 2025 at The Playground Theatre, London.
Review written by Valentine Gale-Sides
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