Choice at The Owl and Cat Theatre

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Mon 14 Nov 2016 - Fri 25 Nov 2016

Choice, written by Carolyn Dawes and Fiona Scarlett, looks at abortion through the eyes of both men and women of different ages and who come from diverse cultures and backgrounds. Interviews were conducted with those who had in some way been touched by abortion or who have had to face the choice, with or without support. Choice skilfully examines what 'a choice' actually is, for as one character summarised from a retrospective position, neither life-changing decision- to either terminate a pregnancy or to raise children solo, is an easy road to take. Choice was conceived out of a need to talk about abortion and to accept it as an issue that touches us all.

Choice is delivered as a series of lightly interwoven monologues, all of which are interviews from real people, retold and characterised by the actors. This interview-monologue style gives the play 1st person authenticity and immediacy. The real-person storytelling concept resonates perfectly with the emotive topic that is so laden with social judgement and denial. Monologues are 'lightly interwoven' for they are separate stories and depict a selection of stand-alone perspectives: it is the set itself and the universality of the subject matter that binds the narratives together.

The set is a simple, stark waiting room at an abortion clinic. The audience too, take their seats within the clinic and listen as stories are told and character-focus shifts and is hand-passed. This very real set design works to connect the audience to real stories: we have all been in a doctor's waiting room at some time. Despite a neutral or even clinical mask, behind each façade there are real people faced with tough decisions and real trauma. Being part of the set is a powerful statement of 'how the dice falls': it could be any one of us for as Choice research uncovered, most people do know someone who has been through the experience and has therefore been touched by it. That commonality alone means that audiences will relate to at least one story, character and perspective.



I believe that the set design itself both challenges and removes judgement which remains a driving force behind abortion, 40 years after legalisation. Campaigners still keep vigilant presence outside clinics which is noted in the script. Choice director Carolyn Dawes, writers, actors as well as theatre directors Gabrielle Savrone and Thomas Ian Doyle need to be congratulated for expanding perspective and moving stigma that is still associated with abortion: the treatment is honest, simple and sensitive.



One of the most challenging performances for me is that which is told from the perspective of 'a friend'. Personal perspectives do challenge us and even when we think we are not judging, we probably are. It is the task of artists with a social-conscious agenda to challenge and redirect our judgements so that difficult and taboo topics can begin to be processed. Plays such as Choice help us to process these issues as a society: how far has the women's movement really progressed? Have our attitudes really changed- and how do societal attitudes influence policy, that ultimately directs our choices? The big picture was subtly told through personal insight: as one character questioned, 'Who in fact, has choice? 'Do women without support, such as education, family and language even know that they have choices? Without financial support- can they even afford to make them?'

Religion, family, partnership status and economics are strong issues that cornerstone decisions and these cultural contexts are both clear and yet lyrical within each personal story. Guilt, blame and shame are also consistent themes which continue to impact on the characters' lives. As one character summarised: 'How do you process the 'unprocessable'?'



This insight of 'the unprocessable' is all the more powerful because it comes from one of the male characters. There are two male characters in this production: one, a 'friend' who did not know what to say or do when his friend went through the experience essentially unassisted; and the other, is equally as distressed yet for different reasons - he is the long-term partner of a woman who had a termination after a miscarriage seven years earlier. His story highlights the trauma faced by couples and partners and raises the very real issue of whether the relationship itself can support a new child. The male characters puts the spotlight on men's position within abortion debate: more often than not, they have been excluded from the process and many still live with burning questions that may never be answered. Choice doesn't just present two choices that are synonymous with abortion history (whether you are 'pro-life' or an advocate of 'women's right to choose'): instead, it paints stories of circumstances that determine decisions at particular moments in time and how those decisions shape lives. Choice is multi-dimensional: it does not tell the audience what to think or present argumentative dogma. It broadens the mind through sensitive storytelling and allows social evaluation of just what choice is and what that means for different people.
Again, through poignant storytelling, the audience gets a glimpse the history of abortion since legalisation (Australia, 1974) and how it has shaped families and generations. Where women sit within that timeframe has designed their 'choice', which has had direct life consequences. This is made clear with the testimonial delivered by Victoria Haslam, an American-born actress who is simply sublime. Her character, daughter of Salvationists, had a termination not long after legalisation and even though it was presented as choice and an option, she received no guidance or counselling about how to make that choice and whether or not it would be right for her. In those earlier days, there were also safety questions, as many women of her generation (Baby Boomers- Generation X) cite problems and many have not gone onto conceive. Even though these generations have clearly benefitted from choice, doubts remain and consequences have taken a heavy toll.



I emphasise that Choice is skilfully acted, directed and staged. It presents real stories and has combined 1st person storytelling within a relevant and subtle historical framework, that challenges personal reactions in a way that hopefully inspires compassion and social understanding of a universal issue that history has tried to mask. I highly recommend Choice not only as an innovative theatre production but as a path that may encourage personal and collective healing.

The venue and artistic mission of The Owl and Cat Theatre deserves special mention. This is an independent theatre that is self-funded ad supported by volunteers, kept alive by 'pure passion for theatre'. This is a company committed to raising social comment, moving stigma and breaking silence. In addition to 80c coffees, The Owl and The Cat have a growing collective of actors, directors and writers and also offer school classes for adults, kids and specific skill training (e.g., voice). Every month, The Owl and The Cat run ' Orgasm Short Play Festival ' in which they accept 6 short 10-minute plays written around a theme. Check it out for a great night of theatre and fun. The Owl and Cat Theatre offer membership packages and have a 'donation' entry fee for shows on Wednesday nights.

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!date 14/11/2016 -- 25/11/2016
%wnmelbourne