Review: Invisible Thread - The Station, Bristol

Spud and I were lucky enough to attend a work-in-progress performance, from the Bristol-based theatre company Can’t Sit Still.

The work, Invisible Thread, is a part-devised, part-improvised performance, intended for mums and their pre-crawling babies; based around physical theatre, circus, music, and storytelling, and drawing on the Mexican Cerrada ceremony. The show aims to be immersive and intimate, and ‘explore the connection between mother and baby and aims to have a positive effect on maternal mental health and well being.’ The company are all mothers themselves, which lent a beautiful note to the piece.

Spud has a habit of sleeping, or eating, through many of the supposedly fun things I take her to, and this was – for the most part – no different. However, the contrast with this work was that it was just as much for me, as a mum, as it was for her; the Cerrada ceremony, from which this work takes inspiration, intends to heal and celebrate the woman as mother, and strengthen the bond between the new mother and the new baby.

We were greeted by Julia Turner’s gentle guitar music as we entered the space and sat (or lay) on scattered cushions or blankets in a circle, enclosed by Laura McEwan's colourful yet calming set: fabric covered screens brought an intimacy to the space and the sunset colours of the materials were complemented by soft golden lights strung through wooden trees, creating a warm, comforting atmosphere.

The three performers blended peaceful melodies from a range of instruments with beautiful, harmonious vocals, and Hobbit, a circus performer, displayed incredible control over her body as she gently tumbled and hula-hooped in the space between the audience. Her displays of strength and control, accompanied by mellow live music, beautifully portrayed the binary of motherhood – that women are both soft and strong. Original lyrics referenced the transformative poignancy of becoming a mother for the first time, and, as I am a sucker for a harmony, brought me to tears several times.

Spud, being only seven-weeks-old, possibly didn’t appreciate this subtlety, although she did like watching the lights. Her highlights appeared to be the black and white hula-hoops, which Hobbit brought close to the baby’s faces, as she watched these with a new intensity. I would also like the musicians to move in with me; as a tantrum brewed Claire Northey appeared with a small shaker, and the threatened tears immediately subsided.

As a work-in-progress performance there will, naturally, be elements that will change before the tour (scheduled for next year). The piece is billed as a multi-sensory encounter, and I feel that this element could be explored and exploited a little more for the younger babies – the older pre-crawlers were watching raptly, and maybe my little lady is a touch young at the moment, but perhaps adding sensations of touch or scent to the work would heighten the experience for those of the audience who were perhaps a little young to appreciate the virtuosity of the performers.

I left the room feeling rejuvenated, and connected to my daughter in a different way – more aware of the Invisible Thread that still binds us together even after she has become her own unique person.

Also posted on dandtmakesthree.blogspot.com