This book of more than 30 essays and interviews shines a welcome spotlight on half a century of women’s theatre, edited by Cheryl Robson and introduced by Elaine Aston.
It brings back into the fold names like Monstrous Regiment, Spare Tyre, Sphinx, Black Theatre Alliance, Open Clasp, Clean Break, Scylla’s Bite, Stellar Quines, and points out both the seriousness and the fun to be found in feminist and female-led theatre.
You can dip in and out of this collection, reading in any order while still finding echoes of the same philosophy, while each and every interviewee points out how and why women in theatre still need to amplify and share their own voices and opinions.
From commissioning women writers, to bringing shows to the stage and developing actors and directors, the path is never smooth, even for those who have achieved great success, like Suzie Miller, the playwright who wrote Prima Facie.
Inclusive of Black, lesbian and trans voices, this book celebrates what women in theatre can and have achieved, and allows both pioneers and current voices in the feminist theatre movement to have their say.
It isn’t just about looking back, but it about learning from those sisters who walked before us and building on their legacy.
I found myself jotting down names and ideas as I progressed through a reading of this book, heading first to read interviews by names I knew best and then following up in a vaguely chronological order.
There are many photographs here that are as evocative as the text, making this a valuable historical reference point.
Producers Maeve O’Neill and Rosemary Squire have much to say about putting together teams and shows at whatever scale fits the material, while writers like Roberta Livingston, Hannah Khalil, and Julia Pascal reflect on their own experiences in developing their work.
There is a sense of fight and fortitude throughout this collection, whether in older and visible names like Ann Mitchell or younger women like Amy Ng.
My own interest in female-led work is about showcasing a view of the world which isn’t informed by the male gaze.
It doesn’t have to be about being wife or mother, #MeToo or mental disintegration (although I have seen powerful pieces about all these topics).
It also can be playful, anarchic (Gash Theatre and Sh1t Theatre) or challenging what a woman should be (When We Died by Carbon Theatre, Home Sweer Hell by Maedb Joy of Sexquisite Events).
Feminist Theatre Then and Now scratches the surface while making the reader want to explore more.
By spotlighting personal histories and strives for equality within a partriachical society, the book highlights the work still to do to bring female voices to the fore.
Reading Kelly Burke’s essay on the Equity Women’s Committee and its work supporting actors in their professional life and practice, and Clair Chapwell’s work with Spare Tyre over nearly 3 decades, it becomes clear how much there is still to do.
Feminist Theatre Then and Now is published by Aurora Metro and is available now: details here.