Abstract
Eve Ensler's play, The Vagina Monologues (2001), has been criticised by several feminists for its uncomplicated glorification of the vagina and subsequent assumption of sameness amongst woman of all ages, races, cultures and sexualities, despite the fact that Ensler's own white middle-class American voice is clearly privileged. This article investigates the possibilities of subverting Ensler's brand of feminism through a new kabarett which is loosely based on The Vagina Monologues (2001). It explores how the use of irony, satire and alienation aid a feminist theatre practitioner in addressing issues which are of dire importance in the South African context in a way which allows her to make multi-layered commentary and inspire critical thinking while reconciling feminist theory with theatrical practice.
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