“Freshly, this is a woman’s story with a completely female perspective. Would not hurt for a few males to be exposed to what really goes on in the minds of the many, varied women as they contemplate and reflect on pregnancy, childbirth and motherhood.”
Kate Stratford
3.5 /5 mockingbirds
Hallmark, with it cards and movies, has a lot to answer for in its portrayal of motherhood. Swathes of pink and white flowers symbolically impose an artificial sweetness whilst verses proclaim the near saintliness of mothers. It is a lot to live up to. And if a woman does not feel the compunction to completely self-sacrifice on the altar of parenting, she is that worst of all creatures – a bad mother.
Ciella William’s HUSH, currently at the Flight Path Theatre, attempts to explore the fecund ground that is impending motherhood. Nina’s waters have broken early – too early – and trapped in a hospital bed, her ambivalence and fears about being a mother are amplified not only by the ghosts in her imagination, but her encounters with other women. It is an ensemble of females – Clementine Anderson, Rachael Chisholm, Sasha Dyer, Zoe Jensen and Stella Ye, supported by an all-female identifying production crew led by director Lucy Clements – who set out to expose this intimate place occupied by women.
The theme of womb centeredness is reflected in the design. A fluid, draping, red and white scheme works in a multi-functional capacity – even the neo-natal unit is womb like. Lighting and sound shift pulse as Nina flickers between dream and waking states.
Born out of William’s own experience of birth and new motherhood, the script reflects all her doubts and apprehensions. Fears abound. The near-death experience that is childbirth, the safety of women in the world outside the womb, the problematic nature of mother-daughter relationships, the responsibility of women to watch out for each other, the expectation that maternal feelings are natural to all women, barrenness, the pressure to love unconditionally even when a baby cries all night. All of this feeds Nina’s equivocation.
But hush women, don’t say a word.
Fears are chaotic energies and the script struggles to portray this mayhem which assaults the mind and body. There are moments when it feels as though this play of 75 minutes attempts too much or needs to reapportion the weight of certain events in its structure. The exposition is laboured and the turning points are rushed.
HUSH is part of the initiative by New Ghosts Theatre Company whose mission includes “exceptional and provocative theatrical storytelling”. Like other productions, it was profoundly affected by Covid lockdowns and was forced to deal with delays and uncertainties.
Freshly, this is a woman’s story with a completely female perspective. Would not hurt for a few males to be exposed to what really goes on in the minds of the many, varied women as they contemplate and reflect on pregnancy, childbirth and motherhood.
Kate Stratford, Theatre Now
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