BATSHIT @ Traverse Theatre

BATSHIT pays homage to the true story of Leah Shelton’s grandmother Gwen, who was sent to a mental health institution in 1960s Australia to be (mis)treated for schizophrenia. Protesting against the pathologization and silencing of women throughout history, Shelton and Ursula Martinez have created a visually stirring show that exposes society’s systemic labelling of women as ‘crazy’. 

We are transported to a 1960s clinic with a mid-century set, tiled walls and floor as the voice of Shelton’s mother echoes into the audience, confessing her shame about her mother being sent to Heathcote, aka the 'funny farm'. A device used throughout the show, the use of voiceover effectively communicates the ubiquitous and harmful judgements that have resulted in condemning women as ‘psycho’. It is especially striking during Shelton’s depiction of Gwen's electroconvulsive therapy, where electric shocks course through her body while the patient case is narrated through voiceover, emphasising the clinical, detached language of medical assessment and the intent to sedate and control women. 

Starting in full 1950s housewife regalia, Shelton uses absurdist visual humour – elongated arms, mouth gags, an axe – to satirise the all-too-familiar image of the ‘hysterical woman’. In stark contrast with her wide-eyed enthusiasm and sunny personality, the comedy is but a thin veil lying atop the cavernous pit of centuries of abuse and torment. The images that Shelton creates onstage are incredibly stimulating. 

An old television set is used throughout the show to facilitate the storytelling, playing real-life footage of street interviews and public service announcements. These antiquated videos are darkly funny, as blinkered views of women spill out of the screen. The television also screens live CCTV footage of Shelton on stage, commenting on the way women have been and still are constantly watched and monitored.

Having only scratched the surface of technology’s role in the production, it is clear that Shelton relies heavily on recordings, videos and visual devices to drive the piece, often leaving the stage for extended periods of time. Though gripped and intrigued by the information provided, you find yourself longing for Shelton to return to the stage for more live performance art. The result is a show that feels more like an educational installation than a piece of theatre.

BATSHIT is an inventive production that skillfully employs various media and stagecraft to convey the difficult truths surrounding the pathologization of women throughout history. Grounded in extensive research, the work is both informed and thoughtful; however, a greater emphasis on the performance aspect would truly elevate the show and allow it to achieve its full potential.

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BATSHIT, Traverse Theatre (Traverse 2), until 25 Aug, various times, returns only