Once upon a time... the fairy tales lied.
'WOman' at Backbone Festival offered an intense exploration of feminine fury. Told through a tapestry of slam poetry and Greek chorus-inspired movement, it left the audience both shaken and moved. Directed and written by Georgia Hollis, Edwina Saunders, Lottie Banford, and Belle Ahern, this powerful piece pulled audiences deep into a visceral experience of oppression, objectification, and pure rage that every woman could relate to on some level.
The opening scene was striking in its simplicity yet undeniable in its impact: when the cast was asked “What’s it like to be a woman?”, the response was a primal scream from all four women on stage. This wordless moment spoke volumes, embodying a frustration too intense for words.
Each of the four actors shared the spotlight, delivering standout moments in both storytelling and movement. Particularly memorable was the “water off a duck’s back” monologue, where the speaker explored resilience and dismissal. In another scene, they juxtaposed the experience of being a woman with that of being a dog, forced to obey, “bark, bite, be a good girl.” The comparison powerfully illustrated the societal constraints that condition women to silence their own voices, leading to moments of seething rage and quiet compliance.
The script itself was a standout, concise and effective, allowing each scene to feel well-paced and well-placed. The dialogue was peppered with moments of dark humour and fury, carefully choreographed into physical expression. One scene found the women reciting lists of things they’ve been told or taught over time, building to a crescendo that left the audience feeling the same frustration and weariness. Another scene had the cast naming real-life victims of violence, lending an additional gravity to the heavy performance.
Four simple chairs became a conduit for the characters’ desires and constraints. The scene where the women were knocked down off these chairs while shouting their ambitions—to be safe, to be a mother, to become a CEO—felt reminiscent of the impassioned speech on womanhood from 'Barbie'. It was delivered with a weight that hung in the air, starkly reminding the audience of the paradoxes and contradictions that society forces upon women.
Moments of interaction - covering mouths, imitating the actions and speech of men causing discomfort to women in public, were authentic. For a piece that contained many confronting themes, the production was tastefully balanced. Although there were content warnings, nothing felt gratuitous or unnecessary; every moment served the larger message of WOman. The whole production was rehearsed to perfection, with each actor’s delivery, gesture, and movement contributing to a well-rounded ensemble piece. The raw talent and synergy of the cast, along with the script’s insight and honesty, make WOman a critical work of contemporary theatre that would benefit from an extended run to reach a wider audience.
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