The moment I wrote the play BIRTH I understood that not
every community was going to relate to every single birth story I
included.
Janet Chawal, who produced the play in India during BOLD’s first
year, got this immediately. I remember that email.
Sure, the specific stories of childbirth in India may be different than the play – healthcare systems vary and economics always play a role in how birth unfolds – but to her the play embodied the flat-out truth about how women in India who give birth are often coerced when they’re in labor and delivering.
Sure, the specific stories of childbirth in India may be different than the play – healthcare systems vary and economics always play a role in how birth unfolds – but to her the play embodied the flat-out truth about how women in India who give birth are often coerced when they’re in labor and delivering.
But more literal thinkers didn’t always get my invitation to see the birth stories in the play as metaphors.
They would email me saying that they could not find the exact birth story of the woman in their community.
This play won't work in our community.
They would email me saying that they could not find the exact birth story of the woman in their community.
This play won't work in our community.
Okay. I don't believe in forcing any “baby” out before its time.
But some communities were ready to push.
And push-like-a-lioness they did.
And push-like-a-lioness they did.
Case and point: BOLD Quebec.
About 18 months ago I was approached by the producers of BIRTH in Quebec (called NAISSANCE, a French version of the play). They had already pushed NAISSANCE out in 2010 to great reviews in Montreal and Quebec.
About 18 months ago I was approached by the producers of BIRTH in Quebec (called NAISSANCE, a French version of the play). They had already pushed NAISSANCE out in 2010 to great reviews in Montreal and Quebec.
Didn’t matter. There was another baby to push.
A bigger baby.
A bigger baby.
So we Skyped.
With nervous gestures in their voices they asked me:
“Would it be possible to add the true birth story of a
mother in Quebec? We want to add some local flavor.”
My body tingled.
I love FLAVOR.
Cue: Salsa dancer.
Cue: Salsa dancer.
I love BOLDness.
Cue: Woman kick boxing on the steps of the Supreme Court.
Cue: Woman kick boxing on the steps of the Supreme Court.
Without a doubt, I was IN on this baby.
Last month, along with the premiere of my new VBAC story in
the play, the BOLD Quebec cast premiered the local story of a Quebec woman’s
birth journey.
Even better, I didn’t write this new story. It was written by two
local thespians, Annie Arsenault and Marjolaine Lemieux.
Cue: confetti.
Cue: confetti.
It was birthed by a cast and production crew of many, led by
Maude Poulin.
Cue: big mama hugs.
Cue: big mama hugs.
Own it, BOLD Sistahs.
Own IT.
Own IT.
Thank you BOLD Quebec... for TRICKLING UP the empowerment of
pregnant mothers...one more step.
All it takes is one step to own changing anything you crave.
Are you BOLD enough to take that step?
--
Photo: BOLD Quebec cast
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