Writing Virgin-ia: Part Two (The Story)

For logistical reasons of covid and not having a financial budget to hire actors, I decided the piece should be a one-woman show. A story about a woman going through the turmoil of being a sexual person, but also being suppressed by the church. I wanted it solely told from her perspective and how she saw the world around her. So, the characters that she comes into contact with are very much her perception of them and how they relate to her struggles.

I then had to decide what event the story should revolve around. What could be going on to justify a sexual assault encounter with someone she knows, and it occurred to me that another big milestone for women to “overcome” is turning 30. Women have been told in the church that if they aren’t married by 30 they won’t ever be because they’re reaching the years of geriatric pregnancy. No man will want a woman who can’t give him babies!

Then, from something as simple as that concept, the character of the mother appeared. With her came the sister-in-law that was everything the mother wished Virginia would be. The play was writing itself. Until writer’s block hit. I loved all the components of what I had come up with, but how to make them all connect in a way that isn’t solely negative?

So, I did what I always do when I hit a wall. I made collages of everything I felt the piece wanted to say. I saw the struggles Virginia faces within with wanting sex, but not being able to let go of her past teachings.

I saw the moment she finally does have sex and how it affects her.

Then I saw the missing piece.

The person who walks alongside her through it all. A person to connect with her in a way that the other characters can’t. Someone to lift her and bring her to the other side of the struggles. Mildred was what was missing and now I had filled in the final puzzle piece.