By Geraldine Harris Elaine Aston
Relocating around the obstacles of mainstream and experimental circuits, from the affective pleasures of commercially winning exhibits equivalent to Calendar women and Mamma Mia! to the feminist chances of new burlesque and stand-up, this booklet deals a lucid and available account of renowned feminisms in modern theatre and function.
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Additional resources for A Good Night Out for the Girls: Popular Feminisms in Contemporary Theatre and Performance
As second-wave feminism interrogated itself, the next generation of feminists felt compelled to declare their lack of identity with second-wave feminists. Second-wave feminism is remembered, and demonized, as personally censorious, hairy and politically correct, and has been the key other for younger women keen to celebrate the femininity and feminism of Buffy and Ally. (ibid) The feminist waves of disidentity are, Brunsdon argues, produced both by feminist scholarship on the popular and by representations of women in the popular that are centrally informed by the idea of ‘not being like that other woman’ (ibid: 45).
3. Jam and Jerusalem fictionalises a women’s guild in a West Country village. Although a guild rather than an institute, the title of the series signifies a WI connection, and members from Devonshire’s North Tawton WI were recruited as extras for the first series. 4. Dominc Maxwell reviewing the original Chichester production, for instance, wrote ‘Calendar Girls is based on a real-life story but it’s not exactly what you’d call a real play’ (2008). 5. Although stating this, we should also note in respect to Calendar Girls, that this show has fund-raised for Leukaemia Research, with commercial booking fees donated to this cause (see Rees, 2009: 8).
As Cadwalladr insightfully observes, ‘by the second act, there are some genuinely affecting moments, not least because it’s almost a communal experience, cast and audience united: there are very few husbands in attendance, and it’s impossible to ignore the fact that, in all likelihood, not all are home watching TV’ (2009). But more complexly, this heightening or intensifying moment of affective sentimentality, returns me to the matters raised in my introductory remarks about the politicising possibilities for the sentimentalist spectator.