Ripening review

Ripening, written and directed by Jayde Kirchert, explores the experience of pregnancy through Lea, a woman nearing the end of hers. She focuses closely on Lea's personal journey, supported by an all-female cast, that offers different perspectives on what it means to become a mother. It’s a thoughtful look at some of the challenges and emotions that be stirred up in the lead up to giving birth. 

Kirchert delivers an engaging exploration of the path to motherhood through Lea (Veronica Thomas), a woman on the cusp of giving birth. Although Lea is in a relationship with her male partner, his complete absence from the narrative allows Kirchert to centre her story and amplify a range of viewpoints on motherhood via an all-female cast. The play also does an excellent job of creating a bond between Lea and the audience - regardless of whether they’re pregnant, female, or neither.

With compassion and insight, it sheds light on birth trauma, bodily autonomy, the complexities of womens' relationships, and the complicated navigation of the medical system while pregnant. However, the final scenes felt rushed and somewhat jarring, in their dialogue and direction, reducing the impressive sense of comfort and cohesion that had been so carefully cultivated throughout the show.

It’s nearly two years since I last saw Thomas on stage, which is far too long. Ripening is a strong reminder of her remarkable ability to embody and convey the essence of a character, no matter the genre or role. What makes her portrayal even more compelling here, is that Thomas is actually pregnant, adding a layer of authenticity and depth to the story that can't be faked.

Emily Carr brings humour and warmth as the midwife Lea meets in her birthing classes, offering a welcome dose of empathy. Asha Khamis gives a solid performance in her dual turns as Lea’s sister-in-law and her birthing class friend, though neither character provides much room to stretch. Ana Mitsikas is a standout as the overbearing mother - well-meaning but ultimately more stress-inducing than soothing - and captures the fine line between love and unintentional sabotage with great skill.

Sarah Tulloch presents a deeply affecting set design, framed by sheer white fabric draped in a U-shape around the stage. The design evokes the feeling of being inside a womb, immersing the audience into the themes of pregnancy and birth and placing them right at the heart of the story.

As director, Kirchert makes effective use of the space, giving Lea room to express her thoughts and emotions, and shifting scenes and locations with simple clarity. Some staging choices could do with a rethink, particularly the times where Lea is seated on the floor, which left people in the second and third rows struggling to see her. 

Clare Springett’s lighting and Imogen Cygler’s sound design add subtle yet evocative layers to the storytelling, enriching mood and tone. Their work is especially impactful when Lea, overwhelmed by anxiety, begins to hear the flood of advice, warnings, and criticisms she has carried with her. Springett and Cygler skillfully heighten the intensity, supporting both the character’s unravelling and her progress forward.

Anchored by Thomas’s authentic performance, Kirchert’s focus on Lea’s journey brings vital conversations about birth trauma, bodily autonomy, and female relationships to the stage. While the concluding moments stumble slightly, Ripening succeeds in forging a genuine emotional connection with the audience, and provides a rare and valuable opportunity to reflect on the complex highs and lows of bringing new life into the world.

Ripening was performed at Gasworks Arts Park between 28 - 31 May 2025

Image credit: Liv Morison