Welcome To Your New Life

”Why have we kept doing this?” Anna, the anguished mother in labour cries. The audience, likewise, ponders the same question. Childbirth and motherhood can be such a traumatic assault on the senses and yet, we go back for more.

Welcome to your new life is a three hander ‘play with music’ based on the book of the same name by Anna Goldsworthy. A wonderful memoir written by Goldsworthy about her own experiences of motherhood has been turned into this current stage adaptation by the State Theatre Company, directed by Shannon Rush. An experienced writer and pianist, Goldsworthy cleverly weaves together a story following a woman, Anna, played by Erin James and her husband, played by Matt Crook, in their journey through labour and birth and raising a young child. This is not your typical storytelling, but a multifaceted piece of theatre that really ‘tells it like it is’ with great humour and intellect.

On opening night, it was obvious from the knowing groans and bursts of laughter that this audience had ‘been there’ and knew and empathised with the characters. The minefield that in today’s society is childbirth, and childrearing, was all too relatable and at times very uncomfortable.

On arrival in the theatre, we find an incredible Play School-esque set designed by Simon Greer. We see a nursery setup any parent would be proud of - bright colours, blocks and a mobile. The most interesting aspect is all are oversized- emphasising the huge task ahead. An enormous door perhaps symbolises that once it is passed through there is no turning back as one enters this ‘new life’.

As the play begins, we follow the neurotic monologues and interactions of Anna, the mother to be, played superbly by Erin James. We journey from her discovering she is pregnant at the start of Act 1, to the birth which abruptly closes the act. The overwhelming minefield of information, advice and value-laden comments by experts sets the scene for the mother to constantly live in a state of paranoia, guilt and uncertainty. Is she doing the right thing? Which is best - Pethidine, Nitrous Oxide, an Epidural? Oh, but wait… there’s a doctor explaining the side effects of each. More guilt. Breastfeeding vs bottle - what’s best? How to get a baby to latch explained by a lactation consultant who should have been in the SS. How does one create a birth plan? Is hypnosis effective?

The mother is constantly torn and confused. Likewise, the father (Crook) is doing his best to hold it together and support her. Interestingly, director Rush places the mother in a centre chair for much dialogue. She is the focus, but is never in control - the very fact that the chair can be spun around is, in itself, a metaphor for the unravelling confusion. There are some beautiful moments however amidst this turmoil. A monologue about the ultrasound was particularly touching - ‘your little star hands’ a precious line.

Act 2 opens with the set having been stripped back to grey tones to show the anxiety and uncertainty of motherhood. The baby is here. The mother comments ‘Loving you is like loving a celebrity. It is entirely one sided.’ The newborn is the complete focus, centred by the huge fluorescent light overhead. Some wonderful moments allow us to see the complete rapture of the mother and father over the perceived talents of the child in its ability to ‘karate chop’ and ‘conduct Mozart’. Separation anxiety is addressed during a first date without the baby, where the panic rising over leaving the infant is palpable but funny at the same time, as we acknowledge the absurdity of their imaginings. A holiday to a cabin where there is a composting toilet that poses a perceived threat to the child’s safety is a very funny, but again, relatable scene.

Erin James gives a stellar performance in what is a very wordy play. Some monologues were long, possibly needing editing and when accompanied by music, could be seen to detract from the flow and edginess of the play. James has a superb voice from much experience in musical theatre, and she is accompanied beautifully by her two co-performers, Crook and the very capable Kathryn Adams, who likewise are musically talented. However, this reviewer felt that despite the beautiful music and lyrics, composed by Alan John, the play would work without the songs and stand alone. Whilst entertaining, some of the songs broke the flow and the ‘Vortex song’ about the toilet, I felt was a little too much.

In mentioning the performances of Crook and Adams, both are incredibly clever, flexible actors taking on multiple roles in the play with skill and brilliant physicality. Each uses children’s musical instruments as foley effects in the play, take on many personas and support the story to perfection. Crook’s portrayal of Nick, the husband, is empathic and we feel for him at every juncture. A superb performance. Adams show her versatility in many roles (including a dog!), but it is her poignant realistic portrayal of Moggie the grandmother that stole this reviewer’s heart. It is Moggie that summarises what being a parent is really all about – nurturing our children to a point that they can survive successfully by themselves. As she is she sagely says on the edge of her own ‘departure’- “It’s all about letting go”- a wonderful juxtaposition.

Although I remain unsure about the need for singing as monologues or storytelling in this play, it is a highly ingenious work of theatre. It perceptively highlights the hypervigilance of parenting today, and the stresses that young parents experience when navigating though this gauntlet of guilt and misinformation whilst still showing the sheer joy, and the reason “why we keep doing this”.

Shelley Hampton

Photographer: Matt Byrne