My Mother Said I Never Should (Student Editions)

Product Information

It is typical of its time in that this story of four generations of women in one family (from the 1940s to the 1980s) not only explores the theme of mothers and daughters, but challenges the audience with different theatrical forms. The theme is one of independence, childhood, growing up, motherhood, death… And secrets where, as in many families, there is one big elephant in the room which must not be divulged until a certain birthday is reached… And it is the consequences of this secret which forms and drives the relationships between the generations. In 1969, Margaret’s relationship with her own daughter is strained, as art student Jackie experiments with her new found sexual freedom. However, the professionalism of the production is incredible whilst the acting and physical exertion required from the four cast members is to be admired.

The play has a non-chronological and non-linear structure and moves between different places (Manchester, Oldham, and London) and time periods. And yes, we’ve transposed it to a Deaf community but those issues are still there, whether it’s teenage pregnancy or fighting to have a career and a child; family secrets; oppression from men; fighting for equality. Much is left unsaid between the four women, and this gives extra weight to the climactic scene between Jackie and Rosie, when the truth of their relationship is finally revealed and Jackie bares her soul in a heart-breaking desperate speech.The play suggests that, while it’s incredibly hard, we can break the generational cycles of abuse in which we become trapped. You can change your choices at any time by visiting Cookie preferences, as described in the Cookie notice.

Her self centredness driven through having a child so young and giving her up then finding success, fame and fortune came across well.

osie always complicit2 and 4acie underneath the surace wild2 deiant and eperimental as well as being independent. It was a conference that, bear this in mind, everyone was hearing, and they brought in this little deaf boy and said ‘oh this boy can talk. It has been a huge influence on British Theatre and won many awards, including being named as one of the National Theatre Significant Plays of the 20th Century. One particular Pathé News feature about women in executive roles is cringe-making with its patronising tone. The story progresses, not in chronological sequence, but through a succession of contrasts: adult with child, mother with daughter, daughter with mother.

LK – I’ve had my family and my friends over last Saturday, and the really enjoyed it and all the audience reactions are really good. Very simply, Doris, born in 1900 to an unmarried mother, is instilled with a sense of dutiful subservience and self-sacrifice. SA – which is happening just about now in fact, director Jeni Draper and Lisa Kelly who plays Rosie. Written in 1985 and first staged at the Contact Theatre, Manchester, Charlotte Keatley’s award-winning play is the most commonly performed work by a female playwright worldwide.Director Lindsey Meer drew superb performances from all four cast members, weaving them in and out of ferocious childhood veracity and adult falsehood. The added bonus is the audience’s murmuring sounds of shared experience when many of Doris’s lines unlock memories of the past. LK – Yeah, and I think with hearing people, they would probably like portray via the tone of voice and with volume and things like that but because we’re deaf and we rely on visuals of everything that we like play in a visual way - more than hearing people. As the story progressed she got younger, more accepting and became the haven for young Rosie to flee to for acceptance and understanding. This play comes out of watching the new opportunities and pressures on women which I saw in the 1970s and 80s.