It’s an ordinary Tuesday night in the Walgreen Drama Center. There’s a squeaking sound from vocal exercises, pounding on the ground from a dance practice and some shouting from an impassioned soliloquy.

But in the Arthur Miller Theatre, where rehearsals for “Trafford Tanzi” are taking place, the thud of body slams and the resultant grunts and howls overpower the other noises of the building.

“What was that, the giant swan on crack?” exclaims Malcolm Tulip, director of “Tanzi” and professor in the School of Music, Theatre & Dance, as he jokes about the ungraceful movements of one of his actors.

The cast of this unconventional and adventurous wrestling musical is warming up for the battle that's about to ensue between its fiery protagonist and the rest of the characters. As Tanzi laces up her knee-high leather boots, she prepares to confront her family and friends and take a stand against their constant oppression.

A Story of Social Struggle

“Trafford Tanzi” is the story of a girl growing up in 1950s England who struggles mightily with the relationships in her life. She has been a forgettable disappointment to those around her — Tanzi’s mother always wanted a boy, and her father can’t even remember the color of her eyes. As a result, those around her serve as obstacles that shape her miserable existence.

In reaction to this unfair treatment, Tanzi literally and metaphorically begins to wrestle with her school counselor, best friend, husband, mother and father, all while a referee tries to keep a fair fight.

The man in stripes is played by Music, Theatre & Dance senior Torrey Wigfield, who acts as a mediator in each of the 10 matches, interjecting snarky comments while preventing the competitors from killing each other.

“The lead character kind of (grows) up in this unjust world, and we can see her kind of being violated and ramshackled and thrown about the ring a bit, (which) really lends itself to her growing up in an unjust environment,” he said.

During these scuffles, Tanzi finds a better sense of herself and eventually pursues a career as a professional wrestler. Compounding her existing obstacles, Tanzi faces a strict social construct that says women should never leave the kitchen, let alone take part in an ultra-masculine sport. In this sense, feminist commentary is prevalent throughout the work, but the message of achieving a goal against all odds is applicable regardless of gender.

Story and social struggles aside, how did this crazy concept come about?

“There was a theater company — well, it still exists — in Liverpool, England, called the Everyman Theatre, and in the late ’70s, they were closed down for refurbishment,” Tulip explained. “And they had to find plays that they could do in other venues and at the same time they were also looking to do plays that had a more prominent role for women.”

The need for filling a non-traditional space and the desire for less male-dominated material led British playwright Claire Luckham to craft the script for “Trafford Tanzi” in 1980. It made its debut and continued for some time in bars in Liverpool before migrating to London.

One of the most remarkable parts regarding the conception of “Tanzi” is the audience’s placement on all sides of a genuine wrestling ring. Constructing the ring from scratch out of a canvas mat and stretchy ropes gave it an authentic look without having to break the bank on an expensive object for temporary use.

A theater-in-the-round style of seating is employed with the ring at the center. This decision to break the fourth wall allows for a blurring of the line between onstage action and the seated audience.

The position of the stage in the middle of the room provides an interesting challenge for the actors.

“You can never stay facing one side," said Music, Theatre & Dance junior and understudy Charlotte Raines.