Let’s talk about female characters, not just the lack of them.
So Beth, as a fellow actress and feminist, you wanted to do something about representation of women in theatre – what did you do?
I set up a Twitter page. I did it while I was in a room full of feminist theatre types. Actually, I’m not sure if it was my idea or not. I raised the idea of using the Bechdel Test for theatre and someone came up with the idea.
I’m friends with the Bechdel Test Fest people and we started making comparisons between film and theatre.
Twitter is a way of spreading a simple one line message and getting people involved simultaneously. The Bechdel Test is perfect for Twitter because it reduces a very complicated argument to a simple point.
So, why not get people to tweet about Bechdel-busting plays?
When did you know you were onto something?
The amount of tweets I got really quickly. Within a month, I had double the amount of followers than my personal account.
With Twitter, it’s a really supportive thing. Before we’ve even seen a play or passed judgement, we can celebrate that it has women in it, retweet and spread the love.
There is a limit to how far Twitter can take the debate.
I started my own blog but I don’t like ‘Here’s my opinion, take it or leave it’. It’s not my natural way of doing things.
I get a lot more from ‘Hey, let’s meet up for a coffee’.
Where did you find people to meet up for coffee with?
Operating as I normally do by going to lots of events, but rather than saying ‘Oh, it’s a bit shit that there are no parts for women’, I was saying ‘I’ve set up at Twitter page’.
As soon as you say you’re doing something, people say ‘You should speak to …’ Amy Clare Tasker from Gap Salon said why don’t you speak to Whoop ‘n’ Wail; director Bruce Guthrie suggested Naomi Paxton’s Suffrage Plays; Helen Barnett from Sphynx Theatre invited me to one of their salons, and Jo Caird from The Stage wanted to write an article.
You’ve really answered my next question, which was: was it a conscious decision to pull together all the great work that is already being done by practitioners in this field?
Initially I thought, I’ll produce a bunch of new plays that pass the Bechdel Test – but then I found out that’s what you guys do with Whoop ‘n’ Wail Represents… and I like it a lot but I don’t want to copy it!
So, I decided I’d be more of a vehicle for spreading the word.
And in doing so, you’ve taken a very collaborative approach to your work.
People were asking me, is it just you? Are you doing this on your own? But I want it to be everyone.
There is a lot of talk about when women make theatre, collaboration is the way we work and I thought this approach was more feminist, but a lot of the people who have been involved with Bechdel Theatre have been men.
Perhaps it’s my social conditioning. Before I do anything, I want to ask everyone else’s opinion. We can see it as asking for permission, and women in particular get slagged off for this, but maybe it’s a positive thing.
If you are doing something about feminism, then it’s about supporting other women and so, how could I do that on my own?
And how does talking about women in theatre connect to women in the world?
It’s the feeling of being welcomed into a room because you share certain struggles or lack of privileges.
That’s what I get when I watch a play that represents women. I want to share what I’ve experienced with other women who don’t usually go to the theatre – it’s a misconception that you have to have a degree to understand theatre.
The best conversations I have about theatre are: ‘Oh my god, wasn’t that woman on stage just like your mum?’ or ‘I couldn’t believe she did that, I thought she was making a huge mistake, but maybe she did it because…’.
How will you know that the Bechdel Theatre Festival has been a success? What does success mean to you?
To get people to see plays with women in them and that someone, if not everyone, brings a friend who doesn’t usually go to the theatre.
I want to bring together theatre buffs and first time theatre goers with the people who make theatre. Not just in a Q&A situation where writers, actors and directors tell audiences what feminist theatre is, but by talking together as equals about how female characters affect them.
And ultimately, I want people talking about female characters, in a way that’s not talking about the lack of them.
Or follow the conversation @Bechdeltheatre
See you there!
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