Mother’s Voice on Stage

Can we hear it? Where’s it gone? Was it ever there in the first place?

We are thrilled to announce an exciting line up of special guests for our post show panel discussion at The Wardrobe Theatre next week! 4 – 5 September at 8pm

Kim Heron and Jannah Warlow will be joined by special guests Anna Farthing (Arts Programme Director, UHB NHS Foundation Trust), Lucy Catherine (award winning writer), Chloé Naldrett Elwood (Bristol Old Vic), Liz Clarke (performance artist), Angie Belcher (comedian), Karla Shacklock (physical theatre/movement artist).

All panellists are mothers and artists, and have something to say about the experience of being both in an industry that isn’t welcoming to mothers and has forced many women to make a choice between their career and starting a family.

Our panel discussion was inspired by Kefi Chadwick’s 2012 article in The Guardian “Keeping mum: why don’t mothers have a voice on stage?


Guest panellists:

Tuesday 4 September

Liz Clarke is a mother of two, a performance artists and writer. Her practice includes making work with her children including I tattooed my baby and I’m Bitter About Glitter. Her writing on maternal practice has been widely published.

Lucy Catherine is a mother of two and an experienced writer who has created many original stories for TV, radio, theatre and the big screen over the last twenty years.  She’s worked on a number of primetime television series as well as being commissioned to develop her own work by major networks and leading Indies.  She is also an award winning radio dramatist with over twenty single dramas, series and adaptations to her name.

Chaired by Baba’s Song producer Naomi Lange


Wednesday 5 September

Angie Belcher is the mother of a 6 month old and an award winning stand-up, poet, actor and writer. She runs Aftermirth! a daytime comedy club where top circuit comedians entertain parents with under 18 month olds. She’s also currently in a play about the state of caring in the UK called Silva Linings Care Plan and is touring her character act, Odious Vex, a 17 year old crap poet.

Chloé Naldrett Elwood is mum to two awesome boys and Executive Producer at Bristol Old Vic, where her career began Front of House in 2001.  She worked for two years at Oxford Playhouse and then for six years with independent Producer and General Manager Mark Rubinstein on projects across the West End. In 2010 she joined National Theatre Productions to produce War Horse at the New London Theatre and then One Man, Two Guvnors on its 45-week tour of the UK and Ireland.

Karla Shacklock is a mother and was the Co-Founder and Co-Artistic Director of multi-award winning physical theatre and multimedia company ‘Precarious’, which produced and toured works for five years. She now runs the award-winning ‘Karla Shacklock Company’ based in Bristol. Karla regularly works as a Movement Director for other large-scale theatre productions – most recently she collaborated with Tom Morris (Warhorse) on ‘World Cup Final 1966’ and with Michael Oakley on ‘The Life and Times of Fanny Hill’ and ‘William Wordsworth

Anna Farthing was a theatre director. Then she had two children. Now she is an award winning producer and consultant who curates projects that traverse the heritage, creative and cultural sectors in all media including exhibitions, live events, film, digital, broadcast and publishing. She is currently the Arts Programme Director for University Hospitals Bristol NHS Foundation Trust. She wishes these conversations had begun twenty years ago.

Chaired by Heidi Hollis who is mother to twin girls and has nearly 25 years’ experience in theatrical activity, as well as training and experience in heritage sectors, TV and radio production, film-making and scriptwriting. She was mothering the raw, messy, insecure, and bolshy creativity of many developing creative people long before she became a biological mother. She works with all ages, coaching and cultivating performers to work through blocks, understand narrative shapes, make bold performances choices, and ultimately find themselves. Her current practice is through writing, facilitation, and dramaturgy, especially with projects in development to embolden the people and messages that need to find full expression.

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