Speaking truth to power in raw, real, fierce & funny Sound of the Beast

Tamyka Bullen (onscreen) & Donna-Michelle St. Bernard in Sound of the Beast—photo by Michael Cooper

 

Hear ye, hear ye

let it be known,

No one on my block walks alone.

 

Theatre Passe Muraille (TPM) closes its 2016-17 season with Donna-Michelle St. Bernard’s (aka Belladonna the Blest) Sound of the Beast, co-directed by Andy McKim and Jivesh Parasram, with ASL components by Tamyka Bullen, and featuring composition and sound design by David Mesiha. Sound of the Beast opened in the TPM Backspace last night.

Inspired by the story of Tunisian rapper Weld El 15, whose artistic freedom of speech was muzzled by police and government, and part of St. Bernard’s 54ology (her commitment to create a performance piece from each country in Africa), Sound of the Beast combines rap and spoken word with lived experiences for an up-close, profoundly personal and resonant performance. Complementing St. Bernard’s storytelling is a projected performance of Tamyka Bullen’s poetry, performed in ASL with English surtitles (projection design by Cameron Davis). And a series of radio voice-overs (Glyn Bowerman), updating us on news of an “incident” in a “priority neighbourhood,” provide a bleak commentary on the clueless, one-sided and white-washed view of mainstream media.

Autobiographical, observational and replete with first-hand lives lived in an environment of racism, mistrust and injustice, words and stories that we may only have read or seen on the news come to life. Urgent. Shocking. In front of us. What is the most shocking is that stories of oppression and injustice are not shocking, but part of our everyday lives.

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Donna-Michelle St. Bernard in Sound of the Beast—photo by Michael Cooper

A compelling and engaging storyteller, St. Bernard shifts easily from pointed remarks and calling out prejudice, to casual and conversational moments. She puts forth hypothetical scenarios and asks us how we would respond; making us active participants as we silently think about the choices in front of us. And during two poignant and charged scenes, she speaks to her imaginary young son; guiding him on how to behave, speak and even set his facial expressions in order to stay safe out there when confronted by the authorities. At times speaking to us as friends, she takes us in and along on her journey—her research on Weld El, her personal experiences—genuine, infuriating, heartbreaking, hilarious. Shifting from a stand-up storytelling vibe, to in our faces or in emcee performance mode, St. Bernard moves through the space with ease and fluidity, with professionalism and personality. Singing and speaking with strength, emotion and moving beats, her job is to tell it—and she brings it big time.

Speaking as a Deaf woman born into a “hearing Indian-Guyanese Hindu-Christian family”—and living in a “hearing, straight Eurocentric Christian patriarchal country,” Bullen’s poetry is beautiful, moving and revealing. Highlighting the intersectionality of experiences of oppression and prejudice among the Black and Deaf communities, she points to how heavy unemployment and underemployment leave marginalized people struggling to get by in a system that “operates for so long based on ignorance and hate.” Writing of poverty, PTSD, the immigrant experience and her relationship with the earth, Bullen reminds us of the ever present need for mindfulness, awareness and compassion—and how we are all we are all born of the same Mother Earth.

Coiled on the floor and ready, the microphone is St. Bernard’s weapon and bridge; and the black hoodie she dons at the opening of her performance and sheds at the close is her storytelling cloak. If you are not black or marginalized, you can only glean so much from what you see and hear in the news about these lived experiences. Of being constantly under surveillance because of the colour of your skin and the neighbourhood you live in. Of being questioned by law enforcement for no reason. Of being misunderstood and not knowing what you’re supposed to say. Of unarmed youth being shot by police. Sound of the Beast brings it in closer. Come and hear for yourself.

Speaking truth to power in raw, real, fierce and funny Sound of the Beast.

Sound of the Beast continues in the TPM Backspace until May 7; book tickets online or call 416-504-7529. Advance booking strongly recommended—it’s a powerful show and an intimate space.

Fathers & sons on a journey of growth & forgiveness in the entertaining, deeply moving Métis Mutt

Native Earth Performing Arts continues its 2016-17 season of compelling Indigenous theatre with Sheldon Elter’s Métis Mutt, directed by Ron Jenkins, at Native Earth’s home in the Aki Studio.

Métis Mutt began as an eight-minute piece at NextFest 2001, inspired by teacher Ken Brown and the vocal masque style of solo show. Since then, it’s grown into a 90-minute feature, was a hit at Edmonton Fringe, subsequently adapted for high school audiences, and has toured Canada and New Zealand. The Native Earth production marks the show’s Toronto premiere.

A semi-autobiographical piece of storytelling that combines stand-up, music, monologue and multiple character vignettes, Métis Mutt is part memoir, part spirit journey. Searching for his authentic voice, a young Métis (have Indigenous, half white) man struggles with centuries-old cultural stereotypes and internalized racism as he finds his way out of a cycle of violence and self-destruction to healing and forgiveness.

Heartbreaking flashbacks to the young man’s childhood reveal a sweet boy torn between protecting his mother and younger brother, and running and hiding from his father’s drunken outbursts. A favourite of his father and thus escaping the beatings, he beats himself up for his failure to act and for being a coward. Later on, having moved away with his mother and brother, his conflicting feelings emerge in letters to his dad—love and fear, longing and confusion.

As a young man, he discovers a talent for stand-up and music, and finds chosen family on the road with his hypnotist performer friend Mark, and is later drawn to theatre school. And when years-old buried emotions erupt to the surface, he self-medicates with drugs and alcohol, and cuts himself, to numb the pain.

His thoughts turn often to his father, a troubled man who struggled with demons of his own only to find them emerging from the bottom of a bottle to turn on his family. And the death of his father becomes a turning point. Not wanting to go down that same road, the young man finds his way back to himself, finding self-awareness in his struggle for identity and self-acceptance, and forgiveness for his father.

An engaging and versatile performer, Elter deftly shifts from comedy to tragedy throughout—a hilarious and stark reminder that pain comes from laughter and laughter comes from pain. Setting the tone off the top of the show with a set of stand-up, what starts off as a good-natured, self-deprecating series of stereotypical riffs on “Indians” becomes a biting commentary on hundreds of years of oppression and racism as joking around turns to rage, and entertainment becomes condemnation. The pain is turned inside out so others can see and understand. The title Métis Mutt is both a source of laughter and pain, poking fun at identity even as it grieves the damage of racist name-calling.

From cheeky stand-up and bawdy music bits, to poignant characterizations and startling scenes of violence, Elter’s storytelling is genuine, thought-provoking and frank—finding the light and the dark spots, and ultimately unearthing hope and redemption.

With shouts to the design team: Tessa Stamp (set and lights; she’s also the production’s stage manager), T. Erin Gruber (projection) and Aaron Macri (sound). Design elements are particularly effective during the young man’s mystic healing experience, when he’s taken to a native healer after traditional medicine doesn’t help him. The semi-circle of stones that delineates the playing space, and the semi-circular dream catcher backdrop that serves as a projection screen, create a sacred space that both honours and evokes the young man’s Indigenous heritage.

Fathers and sons on a journey of growth and forgiveness in the entertaining, deeply moving Métis Mutt.

Get yourself out to the Aki Studio to see Métis Mutt, running to February 5; get your ticket info and online tix here.

Photos by Ryan Parker: Sheldon Elter

Shattering the silence with candor, rage & humour in the powerful, political, personal SILENCED

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HERstory Counts introduced itself with a production of brave, poignant monologues written and performed by a diverse group of womyn* back in April at Red Sandcastle Theatre, promising that it was just the beginning. Now, HERstory Counts is back with its official inaugural production of SILENCED, opening last night to a packed house at Red Sandcastle Theatre.

Created in a collaborative village of diverse womyn, SILENCED is directed by HERstory Counts Founder, Co-Artistic producer and Co-Artistic Director Jennifer Neales, with dramaturgy by Evangelia Kambites and coaching/mentorship by Ordena Stephens-Thompson.

In SILENCED, seven womyn share deeply personal, formative moments in their lives. Each short autobiographical story shifts seamlessly into the next as the staging weaves the individual stories with participation from the entire cast, acting as family, friends, lovers—and even on occasion a chorus of internal and external voices of support and derision.

Growing up Irish Catholic, Shannon Murphy as she finds herself attracted to women, starting with a primary school teacher. Muzzled by playground teasing and her father’s repulsion of all things LGBTQ, she struggles with her emotions and desires. Playful, honest and tender, Murphy shares how she broke out of the shame and silence, choosing to be true to herself and come out as a lesbian.

A Nigerian immigrant to Canada growing up black and in poverty, Ruby Ajilore lives in a loving home with her devout, watchful mother and hard-working, jovial father. Quickly learning that she is judged by the colour of her skin, as well as class and even her hair cut, she gradually turns her search for identity inward. Fierce, funny and thoughtful, Ruby reminds us all that it’s what’s inside that truly counts.

Part Ojibwe, part South Asian, Yolanda Bonnell and her family experienced verbal and physical abuse at the hands of her mother’s boyfriend. As the years pass, she finds she must choose between her family and her own peace of mind. This lived experience has far-reaching impact—even long after being out of that environment, she is haunted by ongoing nightmares of the abuse. Told with frankness and an adorably contagious sense of humour (the juice!), this is the story of a survivor with a strong will and a gentle soul.

No matter how hard or long she studied and prepared for tests at school, Laura Meadows was failing miserably. Stigmatized by labels of “retarded” and “slow,” she finally learns what’s amiss when her mother connects with a teacher who knows better. Laura has dyslexia, and a magic pair of glasses gives her the power of reading. Her elation is deflated when she learns that it’s a genetic condition. Meadows gives a determined, plucky performance; glimpsing a possible future in which she will share the magic of her special coloured glasses with her child.

Excited to explore sexuality in a respectful, consensual way as a young adult, Risha Nanda finds the experience impossibly painful. Diagnosed with vaginismus, she hearkens back to her teenage years, when her good girl reputation came under fire after a washroom encounter with a boy from another school turned her into a target for slut shaming. Told with frankness and a deep awareness of high school social dynamics, Nanda reveals her journey of self-discovery and acceptance; good girls can have good sex too.

When Eilleen Posadas finds her family life resembling that of a beloved Filipino telenovela, the real-life impact of an abusive father with shady basement dealings and the questionable actions of a neighbourhood playmate is far from entertaining. What is her father doing down there? And what was that boy doing on top of her while they were hiding during a game of hide and seek? Cheeky, engaging and poignant, Posadas’s story is one of eye-opening revelations and a strong will to carry on through disillusionment and adversity.

As a middle-aged, educated white woman, Denise Norman recognizes her privilege. As a child, community racism forced her apart from her black kindergarten BFF; realizing the reason as she witnessed with horror the events that unfolded following the assassination of Martin Luther King Jr. Acknowledging the injustice that remains today, she is a fighter, advocate and ally calling out issues that must still be addressed. Personal and political, she shares her story with a tender fierceness that brings tears of laughter and pathos.

Each is a brave piece of storytelling, combining a sense of rage and fragility. And each womyn endures and struggles to find her voice—and each shouts out her experience loud and proud.

Shattering the silence with first-person storytelling candor, rage and humour in the powerful, political, personal SILENCED.

With shouts to the production’s behind-the-scenes support from SM Caitlin Cooke and Assistant SM Maya Findlay for keeping it all running smoothly, and Social Media Coordinator Shayna Virginillo for shouting it out.

SILENCED has four more performances at Red Sandcastle: Dec 9 and 10 at 7:30pm, and Dec 11 at 2:30pm and 7:30pm; advance tickets available online. It’s an intimate venue and a popular production, so advance booking is strongly recommended. Please note the early start time for evening performances.

Keep an eye out for future productions. This is the beginning of some powerful womyn-fueled storytelling. You can follow HERstory Counts on Twitter, Facebook and Instagram.

Check out the Cast page for complete cast bios and a SILENCED trailer video.

*This is the company’s preferred spelling.

Sacred, profane & magical – blood variations & intimate, powerful storytelling in BloodClaat

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d’bi.young anitafrika as Mudgu in BloodClaat – photos by Dee Kofri

In celebration of the 10th anniversary of BloodClaat: The Sankofa Trilogy Part 1, The Watah Theatre is remounting d’bi.young anitafrika’s award-winning Sankofa Trilogy, starting with a run of BloodClaat to open its 2016-17 Blk Bx Season [calendar link] at its home in Toronto’s Distillery District at 9 Trinity Street, Studio 317.

The Sankofa Trilogy takes us on the journey of three generations of remarkable Jamaican womxn,* starting with Mudgu Sankofa in BloodClaat, collectively directed, with the guidance and support of spiritual mentor Raven Dauda. A solo show inspired by anitafrika’s lived experience as an incest survivor, BloodClaat is part autobiography, part mythology as we follow 15-year-old Mudgu’s coming of age.

Mudgu lives with her grandmother while her mother prepares a new life for them in Canada. An active, precocious young woman who talks a mile a minute, she excels at net ball and adores her boyfriend Johnny. Navigating her grandmother’s strict house rules, her school and personal life, and a rough neighbourhood known for violence, she is also coming to terms with being a woman – and that means dealing with her monthly menstrual cycle and the power to create life (which her grandmother forbids her to do). Her world changes forever when she goes to live with her aunt and uncle for a while, and an act of violence in her grandmother’s neighbourhood ends in death.

Woven into Mudgu’s story are mythological tales and parables of strength and ritual; in particular, one of a warrior princess who gives a rallying cry to her people to rise up for freedom from their white plantation masters.

The theme of blood is the common thread: a womxn’s monthly blood, with the power of giving life and even healing; blood that’s shed in violence and in sacrifice; and the blood of goddess and ritual. And we see different perspectives and points of view on menstrual blood: shame, derision, celebration, creation and powerful magical properties.

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d’bi.young anitafrika in BloodClaat

Anitafrika is a profoundly compelling and engaging storyteller; and the staging in The Watah Theatre’s studio space makes for an extremely intimate, immersive experience. Throughout the story, the audience becomes Mudgu’s neighbours, her fellow bus passengers and the warrior princess’s people.

Told with humour, candor and emotional punch – incorporating voice, movement and posture, with very little in the way of costume changes – BloodClaat features sharply defined characters, exquisitely drawn by anitafrika. From the delightfully energetic and innocent Mudgu, to her sharp-tonged, strict grandmother and kind, gentle mother; her smooth talking boyfriend with swagger Johnny; her distracted, pious church lady aunt and deep-voiced, possessive uncle; the stuttering bus driver; and the fierce and inspiring warrior princess. We are rapt as we find ourselves alternating between being a fly on the wall and part of Mudgu’s story.

As is anitafrika’s custom, each performance is followed by a moment to catch your breath, and an opportunity to share comments and ask questions. When asked about BloodClaat and The Sankofa Trilogy, anitafrika described the generational through line and how she wanted to remount the work in a more intimate setting. As The Watah’s 2016-17 season experiments with a black box theatre experience, what happens when there is minimal production in a room filled with energy? Is it possible to move through a (r)evolution without resources? Confronted with limited funding and support, the stories still need to be told. Story moves us to change regardless. The houses have been small, but the impact has been huge; up close and personal, something magical happens in that space. And perhaps it is only in such an intimate space that storytelling medicine and healing – and profound, surprising growth – can happen.

An interesting divergence from the original production, noted by one audience member in her comment, was that there’s now a scene of Mudgu washing herself, her bed sheets and nightie. Bypassed for 10 years, anitafrika realized she’d been avoiding this reality of the story. Mudgu wakes up with menstrual leakage and needs to clean up. Of course she does! And in these moments, Mudgu must hold herself – and it’s become one of anitafrika’s favourite scenes.

Asked a more general question about what she says “No” to, anitafrika is mindful of corporate sponsorship. It’s important to know where your funding is coming from and who you’re potentially partnering with. Despite its seeming naiveté, anitafrika believes there must be a way to live your ethics and values – and that may mean revising your definition of success. It’s not about becoming rich and famous; it’s about living with purpose in service of your community. And while it’s not a new idea, “meaning leads to joy.”

With shouts to the creative team for their beautiful work on this production: Rachel Forbes (set and costumes), Andrenne Finnikin (ass’t set design) and Brett Haynes (lighting/producer).

Sacred, profane and magical. Blood variations and intimate, powerful storytelling in BloodClaat: The Sankofa Trilogy Part 1.

BloodClaat continues at The Watah Theatre’s space (9 Trinity Street, Studio 317) till Nov 20; it’s an intimate space and a truly compelling show, and you can get your tix in advance. Please note the 7:00 p.m. start time for evening performances.

The Sankofa Trilogy continues with Parts 2 and 3, with stories of Mudgu’s daughter Sekesu and granddaughter Benu in Benu (Feb 15-Mar 5, 2017) and Word! Sound! Powah! (April 5-28, 2017); this in addition to other productions scheduled for the 2016-17 season. All shows will be performed at The Watah Theatre’s home.

You can keep up with The Watah Theatre on Twitter and Facebook.

Please consider supporting this unique and important theatre company by donating to The Watah Theatre’s Go Fund Me campaign.

* This spelling of “woman” is the preference of the playwright.

SOULO Theatre Fest: Hilarious & touching stand-up origin story in Finding Funny

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After seeing the Soulo Salon at SoulOTheatre’s 2016 edition of the SOULO Theatre Festival, I stuck around at Red Sandcastle Theatre to see Daniel Stolfi’s Finding Funny.

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Daniel Stolfi in Finding Funny

Set within the framework of an evening at a comedy club, Stolfi becomes a one-man line-up, playing the whole cast of characters, including himself. The awkward, uncomfortable host Mark Tipps tells bad jokes (all written by Manuel, who he keeps hidden in the back) and it’s a relief when he finally gets the guest performers onstage: an Italian comic with an intimidating wise guy edge; a fumbling razzle dazzle gesturing magician; a delightful classical clown music act; and a gay spoken word storyteller of few words and big, loaded facial expressions. In between acts, Stolfi (as himself) paces in the green room, trying to keep his overwhelming anxiety and the threat of explosive diarrhea in check as he tries to get his comic mojo back. He’s up last and hates his material – and is desperately grasping for the now elusive funny.

It is in these moments where the true magic happens. In the midst of all the self-doubt and self-torture, Stolfi finds himself back at the place where it all began: as a six-year-old in the schoolyard playground. This is when someone told him he was good at something. And this is where the first joke happened. And it wasn’t about himself or the glory of performing – it was for his audience. This is when he got the comic calling.

Stolfi shifts adeptly between sharply drawn characters, each one representing a facet of the entertainment industry in all its light, dark and seedy glory. The result is a funny, moving and extremely engaging and entertaining performance.

A hilarious and touching stand-up origin story in Finding Funny.

Finding Funny was a one night only performance, but no worries – there’s more SOULO Theatre Festival happening at Red Sandcastle Theatre this weekend (May 28-29). The fest includes solo show performances and workshops, see the full schedule here; and get your advance tickets/passes online here. Advance tickets strongly recommended; it’s an intimate venue and a very popular festival.

You can keep up with SoulOTheatre on Twitter and Facebook.

 

SOULO Theatre Fest: Four personal, poignant journeys told with courage & humour in Soulo Salon

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SoulOTheatre kicked off its fourth annual SOULO Theatre Festival on Thursday night at Red Sandcastle Theatre, hosted by the super positive, energetic and welcoming A.D. Tracey Erin Smith.

Last night’s early evening performance Soulo Salon included four solo shows by performers who’ve done Smith’s 10-week soulo show class – short, personal stories of adversity, growth and hope, told with candor, trust and humour.

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Morgan Joy

The Life Boat. Morgan Joy brings a playful, kid playing dress-up vibe complete with alter ego puppets: the child-like, positive Dot and the abrasive, negative grown-up Gloria as she plays captain, cruise director and entertainer in her life boat. Filled with artifacts of her family history, the life boat is a metaphor for her life – and as the water gets higher, the positivity becomes increasingly desperate just as hard truths are avoided. Until. Let go. Float. A beautiful, poignant journey of self-discovery and self-acceptance.

Bedazzled. Silvi Santoso arrives in Canada as an excited newcomer with her husband and two children, with another on the way, taking on the challenges of learning a new language, searching for a place to live as doors close in her face and eventually getting a dream job as a federal food inspector as she works a can-do attitude. And when a double personal tragedy becomes too much to bear, despite all her positive personal milestones, she tackles that as well. The storytelling is part autobiography, part stand-up comedy – and Santoso brightens up her darkest moments, using comic songs and narrative, bedazzling her life and her outlook. Taking depression and blinging up its ass so it doesn’t hide her inner light.

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Silvi Santoso

Fat Shamed by My Mom. Amish Patel makes lemonade in his story of struggling with body image. A funny, engaging and warm storyteller, his personal history tour includes conflicting and confusing cultural takes on eating and body fat: in India, it’s a good thing, a sign of health and prosperity – but in Canada, it’s a source of disdain and disrespect. A chubby tween with boy boobs, his dream of being an actor is snuffed out in a moment of body shaming from his mother, and as he grows into adulthood, he adopts some unhealthy means of coping. Part confessional, part stand-up storytelling, Patel is frank and courageous as he trusts the audience with his revelations and personal evolution.

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Amish Patel

#grateful. Nicola Elbro’s story of love, loss and gratitude as she makes her way from heartbreaking break-up to post-break-up sexy times with an “amenity” in her new apartment, aka hot Brit dude in her building, and getting back out on the dating scene (in a hilarious dance club scene) while she works with young superhero cancer patients at Sick Kids Hospital as she pursues an acting career. And even harder than the conflicting emotions of meeting her ex to clear out their shared storage unit are the moments when the kids are not okay – and some of them don’t get to go home. As you’re struggling with trying to keep it together, falling apart may be just the thing to help you mend. A lovely, tender and sharply funny performance.

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Nicola Elbro

Four storytellers. Four personal, poignant and funny journeys. Four brave, engaging and committed performances.

The Soulo Salon was a one night only performance, but no worries – there’s more SOULO Theatre Festival happening at Red Sandcastle Theatre this weekend (May 28-29). The fest includes solo show performances and workshops, see the full schedule here; and get your advance tickets/passes online here. Advance tickets strongly recommended; it’s an intimate venue and a very popular festival.

You can keep up with SoulOTheatre on Twitter and Facebook.

Come back to the cowbell blog this afternoon – I also saw Daniel Stolfi’s hilarious Finding Funny at the SOULO Theatre Festival last night.

Strength, struggle & identity in funny, brave & poignant HERStory Counts

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Top (l to r): Kelly Wilk, Tennille Read, Sundance Nagrial & Evangelia Kambites. Bottom (l to r): Janet Romero-Leiva, Ordena Stephens-Thompson, Susan A. Lock & Jennifer Neales (photo by Jenna Borsato)

Seven performers. Three nights. One theatre project just getting started.

 

Artistic producer/project founder Jennifer Neales had been frustrated about the lack of diverse voices in theatre – particularly womyn of colour – for 10 years; that is, until she decided to do something about it. And that something is the HERStory Counts theatre project, which opened its inaugural performance at Red Sandcastle Theatre for a three-performance run last night.

Neales joined forces with some kick-ass creators and actors to put together a show featuring seven autobiographical monologues, where the actors were also the playwrights. Along with Neales, the creative team includes Jenna Borsato, Melanie Hyrmak, Franny McCabe-Bennett and Melissa Major.

Each monologue transitioning seamlessly into the next, this HERStory Counts program moves like a game of theatrical tag – playful, challenging and inclusive. The actors remain seated onstage throughout, participating with active listening and engagement – and an occasional declaration of sisterhood. Here’s a taste of the program, in order of appearance, including the unofficial (and very fitting) monologue titles, provided by Neales.

Tennille Read – Oranges are Green in Trinidad. Part memoir, part journey of discovery, Read takes us on a series of childhood and young adult visits to Trinidad, where she has a close bond with her grandfather. When she’s a child, he teaches her the alphabet, and instills in her an appreciation of education and curiosity; as an adult, she finds they have very different, culturally-informed views of education as she struggles with his response to her decision to study theatre at university instead of science. Her challenges continue as an actor, with casting choosing to only see the “exotic” possibilities of her appearance, while ignoring what makes her a unique individual. Oranges in Trinidad are green on the outside, but still orange on the inside – and it’s what’s on the inside that counts.

Kelly Wilk – Captain Grief. Finding herself a widow in her mid-30s with young son to raise, Wilk takes us on a heartbreaking and hilarious journey of loss, grief and acceptance as she finds a unique way of coping – one that includes a cape. Bold, irreverent and outspoken, Captain Grief says what Kelly cannot say, faces what she’s reluctant to face and goes boldly forward into life without a beloved wife. Learning to be her own hero, Kelly finds she is Captain Grief.

Ordena Stephens-Thompson – Focus, Balance, Priorities, Selflessness. An actor, wife and mother of two daughters, Stephens-Thompson ignores the naysayers and doesn’t doubt that she could be an actor and a good mom as she breast-pumps during rehearsal breaks and takes calls from her kids during auditions. The constant rejection and racial stereotyping in casting (she’s Black) are discouraging, though – enough to make her quit acting for a while. Then, a breakthrough moment of encouragement and clarity changes her perspective and brings her back to a career she loves.

Evangelia Kambites – Strong Black Womyn. The title says it all. Kambites was brought up to be a strong Black womyn, and finds that identity challenged when she’s faced with a fight or flight choice in a confrontation with an aggressive and racist attacker, where verbal assault becomes physical. Living with PTSD and depression, she finds compassion and empathy for her assailant, who she learns is mentally ill himself, and discovers that she can still be a strong Black womyn in spite of it all.

Janet Romero-Leiva – Perfect Baby-making Body. Romero-Leiva and her female partner wanted to have a baby and decided to do it the old-fashioned way – with sperm in a cup. What follows is a frank, funny and moving journey through the IVF process of sperm donor selection, hormone supplements and pregnancy. The doctors told her that she embodied perfect baby-making conditions – but, then, nothing is ever really perfect, and she and her partner have a hard decision to make.

Susan A. Lock – Good Hakka Daughter. Lock is a smart, hard-working, good Hakka daughter with smart, hard-working, good Hakka parents. As a teen, she finds herself anxiously, but bravely, coming to terms with her high school course nemesis, chemistry, which despite her best efforts, she is unable to get. Intrepid and self-aware, she realizes her limitations and breaks it to her dad so she can get permission to quit the class. Academic pressures become more serious in university, where she must choose between her health and the possibility of disappointing her parents.

Sundance Nagrial – The Birthday Club. In elementary school, Nagrial is a bright, happy ray of sunshine and the chief party planner for her classmates’ birthdays. At home, there is no birthday party for her, but an ongoing battleground where she fights to protect her brother and mother from her abusive father, as her mother bears the brunt of the family violence. A startling and heart-wrenching reminder that you can’t always judge a book by its cover – you never know what’s going on beneath the larger-than-life personality that someone reveals to the world.

The storytelling is engaging, entertaining, deeply honest and moving. In facing personal obstacles and tragedies, each of these womyn finds reserves of strength she didn’t know she had. On the road to self-discovery, each finds what’s really important and what she’s capable of.HERstoryCounts

With shouts to multitasking stage manager Jenna Borsato and Neales’ wife Helen Tweddle, who worked front of house.

Strength, struggle and identity in the funny, brave and poignant HERStory Counts.

HERStory Counts has two more performances at Red Sandcastle: tonight and tomorrow at 7:30 p.m. Tonight is sold out, but there may be some seats left for Sunday’s show. Please note the early curtain time.

Keep an eye out for future productions. Like I said at the top of this post, this is just the beginning.

You can keep up with HERStory Counts on Twitter, Facebook and Instagram. And check out my interview with Neales.

Here’s the promo video from this production’s Indiegogo campaign: