As much as I would love to analyze the performance and meaning of Eve Ensler’s production, let me limit my discussion to matters of copyright and artistic license. From what I saw last night, I can tell that the radical feminist has no qualms about letting her play be performed or changed. The original script calls for only 3 women, but there were easily more than ten Lafayette students and faculty on stage. When I spoke to our fair director, Gene, he said that he had to increase the number of parts because of the high demand of women who wanted to perform. (Joy of my heart!) Though I did not get to speak with him concerning copyrights for the show, it was clear from the performance last night that such changes were permitted. Just like the script for Arabian Nights, you can buy a script for The Good Body straight off of Amazon or from the publishing house itself. An extra fee must be paid in order to actually perform the piece, along with a standard application form. In terms of the art of the play, the effect it gives to the audience, I think this kind of freedom is just. The play is structured as a series of vignettes, personal stories related by a great diversity of women. The choice to increase the cast size could be a way to recreate the intimacy of these stories. The freedom Ensler gives to those who wish to perform the play is in the hopes that it will be presented with appropriate intimacy relative to the audience. And let me tell you, this performance was one which struck a chord with every person in that chapel.