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Backstreet Theatre

Backstreet Theatre is an alternative theatre group with a difference. Its members are all women, and their show is more than just a theatrical alternative. The theatre is part of a women's movement whose aims are to sow the seeds of political awareness amongst women, and to initiate political action for women's rights.

The idea of an all-women touring theatre group was initiated in June during the Radical Feminist Caucus held in Auckland. Drama was seen as a means of communicating ideas, and at the same time, building tangible personal relationships between the performers and their audience. People were tired of listening to speeches and wading through literature. A new approach was needed to disseminate information and to offset emotive SPUC propaganda.

The original eight members of the collective part-wrote, part-improvised a script based on the information and figures available; and on personal encounters with women who had suffered at the hands of our man made society. With rehearsal, travel and publicity arrangements complete, they set out on a tour of New Zealand cities and suburban centres in their bus. Last Saturday they were in Wellington, having spent three weeks on the road and performing in Auckland, Hamilton, Cambridge, Taurange, New Plymouth, Wanganui and Masterton. Local supporters held a jumble sale in the Matauranga School hall prior to the performance to help raise travel funds. Maggie Eyre (ex Theatre Action) and Sandy Hall explained that everywhere they go, they are supported by local women's groups who billet them in their homes and help with funds to keep the bus on the road.

After the Wellington performance, the group spent four days rewriting the script in the face of an altered political situation, before embarking on the South Island stage of the tour.

'Its a do-it-yourself theatre. There are no producers, publicity people or stage managers. We each do what we're best at. At the same time we use the show to develop our own talents. We have meetings to discuss mutual problems. And we take time out to sit down and discuss our politics.'

The show is typical agit-prop. A series of sketches linked by a common theme using group dance movements, original songs and street theatre props. The result is a powerful piece of feminist theatre that destroys common myths about pregnancy, contraception and abortion. Its function is primarily educative. Some scenes describe the side effects of all contraceptive methods, contraception is not to be taken for granted. Women should demand full explanations of the effects contraception has on their bodies from their doctors.

Other scenes attack the arguments put forward by the anti-abortion lobby, disproving here, ridiculing there - effectively containing every argument. Gill is lampooned by his own statements. An 'interview' scene includes the original idiocy: 'Public opininion is irrelevant.'

The show is political without taking a socialist standpoint. 'Women must become aware of their potential; of their own individual energies and capabilities before they can start channelling them into socialist activities. Any can do what we're doing now. It just needs dedication and impetus.' The audience is warned informally not to expect entertainment.

All of them have given up their jobs to make this important personal and political statement. Many of the scenes are based on the real experiences of people they know. One scene presents the plight of a 44 year old woman with three children raped by a friend of her son's. There is the girl, pregnant, alone and desperate, who goes to 22 doctors, none of whom will help, except prescribe quack remedies for self-induced abortions. She finally resorts to the kntting needle. And then her real torment begins. These scenes are shown with restraint and are starkly stylised. The purpose is to show, not to horrify. There is no resort to emotive indulgence.

The show is secondary to our main purpose. We use it as a focus for communication with isolated and lonely women. The discussions that take place afterwards are far more important. They are the most valuable part of the operation, and they play a vital role in establishing contact with these women. From these contacts we are building a list of addresses and friends, and establishing a grass-roots women's movement.'

After the show we are invited to argue, debate, discuss. No one comes forward. Preaching to the converted? 'Uusually we experience a cross section of the community We get hecklers, SPUC supporters and chauvinists. But they don't give us all that much trouble. Some hang themselves with their own rehtoric; "If you people want to be overrun by natives....." '

'Everywhere we go we have a definite effect. Some people will approach us and tell us things they haven't dared tell anyone else. Others, even though they don't fully agree with us, say they'll stop supporting SPUC. We have been amazed at the response from older women in the 30 to 40 age group. Often, for the first time, they are getting support for their ideas, and they see that there are others who think like them; that they're not alone, but part of a nation-wide movement.'

Their newly revised script will include an Abortion Clinic scene and will have a more positive political solution to women's problems built into it. Backstreet Theatre will be passing through Wellington again in early October, and hope to do a late-nite show at either Unity or Downstage.

This group is not relying purely on their theatre for impact. The theatre is a means to an end. Their emphasis is on personal contact. The group is helping polarise, educate unify and support women all over the country. They are offering a positive alternative to suffering, loneliness and desparation. There's no better way any theatre can justify its existence than by seeing its most important function happening offstage.

Backstreet Theatre

C/- 61 Aro Street, Wellington.

'Not too late, my daughters,
'Not too late;
Too late wilt mean the end
And this unworldly dream that we
have nurtured at our breasts
Will turn and kill us all.
See our world, my daughters,
See our world;
Our world floating like a
Bloated cosmic ball
Choking in the poison, piss
And vomit of a god who had forgot —
That he was just a man.'

- R.D.T.

— Richard Mays