Motherhood. With or without apple pie, is the sacred state of being a mother always so perfect?  In And She, Bonnie and the Bonnettes explore what it is to be a mother, glimpsed through the eyes of others, particularly their children. 

Created and performed by the tremendous Hattie Eason, Cameron Sharp, and Rebecca Glendenning we explore how three very different offspring interact with their mothers from childhood to the current day. The evening starts out in rather brash fashion with the three actors taking to microphones and strutting their stuff in a shouty song.  However, we soon get to hear the stories of their respective mothers who are each linked with copious amounts of alcohol, annoying pieces of useful advice and a growing sense of warmth and affection.

Cameron is gay, Rebecca is a lesbian and Hattie is worried about her body image and still particularly angry at not being allowed to wear her new cool coat to school.  Very personal and intimate narratives are carved out through dialogue told in a ratatat manner straight to the audience.  Memories of petty squabbles, irritating shopping trips and a coming to terms with what their relationship with their mothers needs to be follow over the next 75 highly entertaining minutes.    

The story is interlaid with strong songs which in turn capture the highs and lows of existence, as well as the routine ordinariness of life.  Problems are encountered including cancer, the difficulty of finding clothes that fit when you are ‘in between sizes’ and hilariously, how to coach your technologically – challenged mother how to turn on the TV box during a phone conversation.

Three performers take it in turns to sing and tell their own and their real life mother’s stories, but the show avoids telling a straight chronological arc while interpolating a rapid fire retelling of anecdotes, favourite phrases and exasperating behaviour that clearly resonated richly with the audience.  The reminiscences are often poignant and moving although it is the most mundane and commonplace that are the most affecting.   

Despite the brashness and sometimes brazen nature of some of the story telling, this is ultimately a highly sophisticated piece and deals with some big themes including marriage breakdown, abuse, illness and alienation and eventual reconciliation with their progeny. 

All of the songs are well choreographed and special mention goes to the movement direction by Alicia Meehan which provides a sense of enormous energy.  The set is sparse, and styled mainly on a dancefloor with outfits, rose petals and even microphone cables coloured in the same tangerine glow, so that at times the show resembles a rather camp Easy Jet advert.  Throughout there is enormous charm and as the telling becomes more perceptibly personal in nature, the passion is exposed.  There is humour in abundance, but this isn’t the heart of the message.   

No, motherhood isn’t perfect, but this show provides a life affirming comfort blanket to warm anyone up on a wet March evening.  With or without the apple pie.    ★★★★☆   Bryan Mason    4^th March 2020