This production isnât what you may think of when you see its title; it is far from the tranquil relaxation that the hobby Birdwatching suggests. Birdwatching by Black Bright theatre is a folk horror story about three girls who go camping as a farewell to Amelia, who is embarking on a new chapter of her life in Australia. The story explores ideas of female experience, adolescent insecurity, as well as beginning to make suggestions about queer relationships.  Â
Amelia, Poppy and Laurenâs journey into the woods has a rocky yet comedic start as they forget the alcohol and one of the tents. Although there seems to be high levels of tension amongst the group, the script is written in a way where the overarching feeling the audience felt was humour, despite being prepared to watch a folk horror. The arguments the girls had, and the presentation of the typical control freak or mean girl, felt relatable, especially when thinking about trivial arguments with friends and how quickly experiences such as this can go sour. Although these arguments were relatively surface-level, later in the play, the girls can be seen discussing much deeper issues, such as their negative experiences with men and sexual harassment. Although Amelia and Poppy could have connected with their past traumas â such as Amelia being followed home and Poppy being filmed in the bathroom – the opposite occurs, and the girls can be seen arguing as Poppy shames Amelia for her âirresponsibleâ decision to walk home alone and drunk. This emotionally-driven debate shines a light on female experience and not only their experiences with dangerous men but the way in which women are not always able to support one another. I thought these conversations, although emotionally jarring and frustrating to watch as these strong female relationships fell apart, were particularly important to consider and, importantly, critique, especially when looking at Poppyâs flawed and patriarchal beliefs about Ameliaâs actions. However, Poppyâs response to Ameliaâs trauma has been shaped by trauma of her own.   Â
Laurenâs characterisation was particularly strong, as she stood to truly represent a relatable character of adolescent insecurity, as well as revealing neurodivergent traits. I found this characterisation not only relatable as she poignantly and movingly confessed how she felt unwanted and rejected amongst her friends, but I also felt this relatability was key to engaging many members of the audience, and if not relatable, her character created pathos and understanding from an audience looking in on this group of girls.Â
Suspense is successfully built throughout the play. This is done through the stage design and setting, as well as the lighting, and particularly the use of sound. The design on the stage was limited to just a circle of leaves, but the creepy atmosphere was still significantly felt, fulfilling the adage that less is often more. The actors effectively portrayed the fear you would feel if placed in their situation, and I really felt like I was going through their angst and empathising with their plight. The visceral sound effects really bring the atmosphere of the horror genre to life for the audience. Â
The play is quite a slow burn, especially as I expected a folk horror to have a faster-paced production; however, I felt it was successful in getting the audience to both relate to the characters and understand them. Although the group dynamic was at times hard to understand â at times it is hard to understand why they are friends at all – it is a relatable tale and shares a truth in dealing with both female and adolescent friendships. Â
Although I personally felt that the ending of the play was almost rushed and slightly too ambiguous, the overall sentiment of the play ensured my complete enjoyment of the production. The characters truly resonated with me as a twenty-year-old woman; their experiences with womanhood felt raw and real. The political hints intertwined with the overall sensation of horror felt exciting, and it was a triumph that kept my mind coming back to the production long after the end of the play.
Editor: Grace Lees