Actor/writer Rachel Cairns faces head on the gritty and controversial subject of abortion and a woman’s right to choose in this intimate, sensitive and very personal autobiographical one-woman show. The result is an irreverent, honest and hilarious unpacking of life, loss, parenting and choice. No matter where you sit on reproductive rights, this show entertains as much as it elucidates.

Rachel Cairns is one to watch in Toronto’s theatre scene. It takes a brave and immensely talented individual to write about a troubling time in one’s life and then be prepared to jump on stage and share those personal stories and attitudes with a room full of strangers for 93 solid minutes.

This show is all Cairns. As a playwright, she’s been developing and tweaking the content of her monolithic monologue for five years. As a performer, she’s engaging, natural and thoroughly captivating. She takes no time endearing herself to an audience as a friend and making us her confidantes.

It’s no surprise that Cairns has teamed with Nightwood Theatre, Canada’s preeminent feminist theatre, to riff on the choices that determine people’s reproductive decisions.

Clad in blue jeans, white sneakers and T-shirt, Cairns leaps onto the stage to tell us about her unintended pregnancy 5 years earlier, her awkward doctor’s appointments, and a hastily arranged Christmas Eve abortion. But it’s not as simple as all that. We learn from Cairns that parenting – or even deciding to become a parent – is complex. There are personal and societal factors that shape our reproductive lives including a troubled economy, inflation, rent affordability, daycare, education, governmental upheaval and global warming.

Cairns’ high-strung neuroses have her asking what is life, anyway, and when does it start? She dives into analytics and research about abortions and the history of the fallibility of contraception, all aided by Julia Howman’s humorous and clever projections. Cairn’s narrative takes us back and forth through time as she recounts shining shoes for money in Toronto’s Bay Street area as a theatre school graduate, to meeting her boyfriend, moving in with him, breaking up with him, getting the abortion and getting back together again.

Cairns keeps the pace going at breakneck speed. Her timing is equally good – mostly. Several funny lines were lost, spoken over audience laughter. But clearly, she has the comedic chops but also poise and charisma. While extolling the virtues and vices of white feminism, she occasionally drifts into neurotic self-deprecation, always regains a level head before continuing. She effortlessly transforms into her judgemental but supportive mother, a pro-life guest speaker at Google, and a plethora of friends and medical professionals that help her navigate the timely topic of “pro-life” and “pro-choice.” She leaves us with the age-old question – Is there ever a good time to have a baby?

Director Courtney Ch’ng Lancaster and Production Designer Julia Howman masterfully stage the performance on a square riser with attached white wall for projections. Cairns walks the platform’s perimeter for her narrative while jumping onto it to enact her scenes. A single chair on a shag carpet and an occasional blanket are the only props needed to help us visualize time and place.

Howman does triple duty by also providing the wonderful lighting design. Her coloured side lighting, spots, and breakup patterns accentuate the storytelling with aplomb, while subtle drone effects and musical backing are provided by Cosette “Ettie” Pin.

This is a personal and timely story told by a gifted and insightful writer and actor. It’s no easy feat to capture an audience’s attention and collectively captivate their imaginations, but Cairns hits the target with vulnerability, powerful prose, and frank honesty.

Rachel Cairns had an abortion, and you’ll want to hear about it.

Running time: Approximately 90 minutes with no intermission

“Hypothetical Baby”
Written and performed by Rachel Cairns
Directed by Courtney Ch’ng Lancaster
Production, Lighting & Projection Design by Julia Howman
Sound Design & Composition by Cosette “Ettie” Pin
Produced by Nightwood Theatre in association with The Howland Company

(Credit: Dahlia Katz. Pictured: Rachel Cairns)