Therapeutic theatre
THERE may have been one or two men in the audience, but if there were I didn’t spot them. Dear
Boobs is a very female affair, about a very female topic: breasts, and women’s relationships with them.
Inspired by the book Dear Boobs, One Hundred Letters to Breasts from Women Affected by Breast Cancer, a collection of real, intimate letters by New Zealand women to their missing boobs, director Laura Wells has developed a stage show, originally intended for this year’s Fringe Festival but cancelled because of Covid19.
Mostly, in Suitcase Theatre’s competent production, the six performers — Lesley Eaton (one of the book’s contributors), Kimberley Buchan, Marama
Grant, Denise Casey, Helen Fearnley and Harriet Moir — direct their words to the auditorium.
The range of emotions expressed is vast, from accusation, resentment and rage to to affection and acceptance, with a sprinkling of wry humour.
Musical accompaniment is provided by the Dragonfly Rustlers, Jess Dobson and Rohana Weaver, before, during and after the show.
There are some minor awkwardnesses. Lines not originally intended for stage performance can sound odd, and some of the action seems selfconscious or artificial.
Overall, Dear Boobs is therapeutic rather than theatrical, earnest rather than dramatic. Throughout there are strong overtones of courage, optimism and gratitude to family, friends and the medical profession.
On Thursday night the 80odd audience sat close to the stage but not too close to each other, the theatre’s size allowing for social distancing.
The 50minute production will run until Sunday, September 13, and Saturday afternoon’s performance will be deaffriendly. Suitcase Theatre has pledged a 50% donation of all profits to the provision of Dear Boobs books in Dunedin waiting rooms and clinics — a great example of community theatre in action, and a worthy undertaking.