Strawberry Baby is a contemporary dance/theatre work that, while playful and joyful, also delves into some difficult subject matter in an authentic and meaningful way. My impression is that it is a commentary on beauty standards and feelings of not fitting into those imposed upon us by society. It is an ode to young women grappling with impossible measures of so-called perfection, and insecurities around our identities and how others judge us.

Entering the performance space, you are invited to add your name to a section of pink fabric on the wall, a nice personal touch that immediately involves the audience member in the world of the work. As you ascend further, pink dominates everything- the floor, the walls, and scattered props. The primary performer, Fiona Saunders, sits in the middle of the fluffy pink floor, brushing the carpet, in the space evoking a stereotypical image of a teenage girl’s bedroom. This becomes a place for self-expression, reflection, and solace as the work unfolds. The world brought forth from the set design is further supported by the brightly coloured lighting and bubbly pop music used throughout the piece.

I am especially struck by the personal nature of the work. I love the honesty of the experiences shared with the audience, which evokes a strong sense of empathy. It is obvious from the accompanying movements and words spoken in a monologue around topics of sexuality, beauty standards, and trying to fit in, that these were authentic emotions being shared. I also appreciate the way that the work frequently comments on itself, providing some humour to balance the seriousness of the topics raised – for example, an explanation from Saunders of how the work came to be, and a conversation with a fellow cast member about how the current performance is going.

A humourous, relatable scene depicts Saunders in an attempt to take the ‘perfect selfie’ – adjusting her clothing, brushing her hair, changing angles, applying makeup up and even waxing between taking each photo. Many young women, particularly those who have grown up in the era of social media, will no doubt have memories of engaging in similar behaviours in their teenage years.

Saunders is a talented physical performer and an evocative storyteller. She moves gracefully in and out of the floor, effectively executing choreographed movement. She demonstrates subtleties in her performance that serve to strengthen the overall mood and ideas being expressed. An example of this is her wide smile for the majority of the first part of the work, exuding effortless perfection, which only fades after her speech about not being accepted. The disappearance of the smile spurs on a hilariously sarcastic dance to the song ‘Let’s Hear It For The Boy’, where her flat affect directly clashes with the upbeat movement style.

An enjoyable yet at times emotional watch, Strawberry Baby seamlessly blends humour with a genuine story of struggles around identity and attempting to match unrealistic beauty standards. Saunders is compelling as both creator and performer, and I admire her vulnerability and willingness to put so much of herself into the piece.

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