Narc. Magazine Online
Reliably informed
Phoenix Atkinson enjoys a masterclass in people-focused storytelling courtesy of the Middlesbrough actor and writer
Image by Wycombe 89
Rachel Stockdale is a Middlesbrough-born actor and writer, who has become a favoured name in the local theatre scene for her unique and creative pieces about modern issues. Her new work, Mother? is a clever, funny, and incredibly articulate analysis of the experiences that are involved in motherhood.
Starting with a stunning intro, and a gorgeous set filled to the brim with stuffed animals, little toys and a ball pit that my partner seemed nervous that I might jump into, we then got our first sight of Stockdale, who thrashed out of the ball pit before introducing us to several different mother characters that were going to be taking centre stage in the production. These were all expertly performed by Stockdale as a form of verbatim theatre, allowing us to really empathise with these people’s struggles, from experiences of horrific morning sickness to the struggles of the foster system. This script was created from many interviews conducted by Stockdale, and you can really tell the amount of care and compassion for the people that she met in the creation of this project. It becomes clear once Stockdale says the key line of the show: “Should I be a mother?”
Impressively, her compassion for all the individuals involved never feels either muddled or condescending. Stories about kids misbehaving in school are told with the same level of respect and heart as stories about children having to go into residential homes due to behavioural issues. Mother? is neither purely optimistic or crushingly nihilistic, but instead a very realistic mix, never allowing one to completely take over the story.
The themes of medical sexism, women’s pain not being taken seriously, and the issues with how the healthcare system treats pregnancy, are all viewed with a level of understanding that shows Stockdale’s strength in people-focused storytelling. They are told through the eyes of the people that have experienced these struggles, making the audience really feel the devastating impact of being ignored. There is a wonderful section about a midwife called Pat, who was part of the Windrush generation, discussing her experience of trying to talk to social services and not being listened to until situations have come to a head.
This is a remarkable piece that really uses the form of verbatim theatre in the best way; to have an audience relate strongly to real people, and help stick in the audience’s mind long after they have left their seats.
