Power

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One of the central themes in Spike Heels is the concept of power. Each character possesses a unique form of power and attempts to use it, often with unintended consequences. Andrew, as a college professor, naturally assumes the role of a teacher in his interactions, using this authority to try and "transform" Georgie. Although he believes he is assisting her, his true intentions are revealed when he asserts, "I made you better than that," to Georgie. Edward wields his power as a lawyer and employer in a more overt manner, crudely attempting to coerce Georgie into a sexual relationship. Georgie, feeling she lacks power, leverages her sexual allure—embodied by her spike heels—and her sharp tongue to assert herself. Lydia, the seemingly least powerful character, would, in the outside world, command significant influence due to her old-money family background and presumed wealth.

The play’s irony lies in how each character's attempt to exert power ultimately fails. Andrew hopes to forge a lasting bond with Georgie through mentorship, eventually desiring a romantic connection, but by exposing the dynamics of his control, he alienates her. Edward's misuse of power through sexual harassment backfires, forcing him to resort to another tactic—offering a raise—to try to win Georgie back. When Georgie attempts to use her sexuality to influence Andrew and Edward, both reject her advances. Lydia’s sole act of power, showing up at Georgie’s apartment, proves futile and may contribute to her losing her fiancé.

Male and Female Roles

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The central theme of the play revolves around the contrasting roles of men and women in society. Much like in the real world, the men in this play wield power, while the women are influenced by it. Andrew assumes the role of a paternal or mentor figure, dictating Georgie's life by advising her on what to read, how to speak, and even where to work. Edward, on the other hand, embodies the role of a boss and a sexual predator, characterized by his aggressive, insulting, and demanding nature. In stark contrast, the women are subjected to these influences. Midway through the play, Georgie comes to the realization that Andrew and Edward perceive her as a commodity to be exchanged—Andrew grants Edward permission to pursue Georgie, as if his consent outweighs Georgie's own interest or agreement. Similarly, Lydia is treated as an object in this exchange, her life dictated by the approval of her (presumably male-dominated) family.

The contrasting relationship each gender has with sexuality is another key theme in Spike Heels, vividly illustrated through the symbolic use of spike-heel shoes by Rebeck. At the play's outset, Georgie bursts into Andrew's apartment, complaining about the discomfort of these shoes. She argues to Andrew that women wear such impractical footwear solely because it enhances the appearance of their legs. Despite her feminist awareness, she continues to wear them, believing that being sexually alluring is her only source of power. She must adopt the role of a seductress, which the shoes symbolize, to gain any influence. Although Andrew seeks to reshape her and suppress her sexuality by advising her to stop wearing the shoes, he later confesses to finding them appealing himself. Lydia also examines the shoes with curiosity. She does not rely on her sexuality for power, and she both disdains and envies women who do. "I guess you don’t wear them for comfort," she tells Georgie. "You wear them for other reasons. You wear them because they make your legs look amazing."

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