The Ecstasy of Victoria Woodhull

Reviewed by Iris Mann
Hollywood Fringe
Through June 23

Ashley Ford’s solo performance as the fascinating historical figure, Victoria Woodhull, engages rapt attention on an intellectual level. Learning about the life of this woman, who was so much ahead of her time, is an educational experience, and it is hard to understand why she is relatively unknown to the general public. However, the presentation could have more visceral impact.

Ford begins the play as a medium that channels the spirit of Woodhull so that we may learn about the unusual paths Woodhull took. Born into poverty in Ohio in 1838, she was exploited by her father, a drunkard who beat his children and who pushed her into bookings as a child clairvoyant. She retained that connection with spirituality into adulthood.

Many of her ideas were radical, especially for a woman in the nineteenth century. For example, she believed in free love, was married three times and divorced twice, even took a lover during one of her marriages.

Woodhull grew extremely close to her sister, whom she called Tennie (short for Tennessee). After moving to New York, the two became protégées of millionaire Cornelius Vanderbilt, who helped them start a Wall Street brokerage firm. They soon began publishing a newspaper, which Woodhull used to promote her views as an ardent suffragette, feminist, supporter of workers’ rights and sex education, among other taboo issues. She became the second woman to address Congress, using the Fourteenth and Fifteenth Amendments to support her argument for giving women the right to vote. In 1872 Woodhull became the first woman to run for president of the United States on the new Equal Rights Party ticket. She did not get a single electoral vote.

Ford conceived this project with husband Theo Salter, who wrote the script. It is a noble undertaking, particularly suited to the Fringe, with information that keeps the audience engaged throughout. Ford is obviously very much involved with this fascinating character; however, audience members might be more emotionally engaged if director Sean Harris had helped Ford develop more color and shading. As it is, there is a kind of sameness throughout the presentation. It is obvious that Ford’s talents could easily incorporate more nuance to enhance what is an important theatrical contribution.

https://www.hollywoodfringe.org/projects/7523. Fifty minutes with no intermission