October 26, 2021

Dear little one – come into mummy’s cellar

Come into the mothercellar and let me give you suck

Because sometimes we all need a good, hot round of birching

Summary of project description

Mother Masochist explores the relationship between mother and son. The intimacy, the love, the pleasure and the pain push the concept into an exploration of gender within the heterosexual binary roles of man and women, non-sexual BDSM play through the relationship of mother/son/audience - and the intimacy, love and reassuring pleasure of consensual abuse.

In a space somewhere between a BDSM dungeon and a labour ward this project explores co-dependency, infantilisation and expected adoration. We focus on the masochism of motherhood and the dominance of the child. An emotional negotiation ensues between the characters who stage themselves and their audience in this BDSM Motherhood session.

Further, the project investigates the shifting of power – specifically how suffering, or the nurturing of one’s own suffering caused by others, masochism if you will, can be used to control.  Generally, we see this with leaders of states who tell stories of victimhood in order to elicit compassion in the public for their cruelty. In this project specifically, we come closer, into the dominant Mother Masochist who narrates martyrdom, physical- and psychological pain in order for her to subdue the perhaps Sadist Son.

I am interested in the shifting of relationships: sociologically, psychologically and privately, as the son becomes a man and consequently the mother a woman. In this intersection I look for the possibly painful and violent consequences in the beauty of unconditional love.

The contrasts within the characters are important. I aim to rip them down the middle as they are stretched between love and hate, the hate in love, pleasure and pain, the pleasure of pain, kindness and cruelty and the cruelty of kindness.

I am interested in the exploration of gender and power when Daddy’s little princess gives birth to her very own, private little man.

Because sometimes, all anybody needs is a good, long [hard?] spanking...

Synopsis of manuscript

The performance opens with a young man staging himself as the mother of the audience while a middle-aged woman is bound upstage. He takes his time singing to the audience, disciplines them, tells them stories of times in their life they could not possibly remember, for instance one four-page monologue directed to one person in the audience where he speaks of the day they were born. He talks about good mothers; he gives the audience milk and speaks of the sacrifice of two mothers: Mother Mary from the bible and the common milking cow from the barn. One sacrificed her child for our sins – the other sacrificed her child for our breakfast cereal. He takes the audience as his hostages of care and the end-goal is for them to fall into a Stockholm syndrome and accept him as their mummy. All of this while a middle-aged woman sits on stage, tied beautifully in Shibari-bondage. She does not object. She submits.

In the second part of the piece the young man unties and releases the middle-aged woman. At first, she remains in her submissive mindset, but it does not take them long before they start negotiating their place in this performative space. They negotiate as artists, as a man and a woman, they negotiate power, and they negotiate what is to come. Eventually they fall into place perhaps as a couple, perhaps as father and daughter or most likely, as mother and son. This is not specifically pointed out in the text - it is simply played out. A Mother and the man of her life. Her own special Little Man.

Supported by:

Text- and concept development: Dramatikkens hus, Fritt ord, Kulturrådet

Production: Kulturrådet, Fritt Ord, Fond for Lyd og Bilde, Trøndelag fylkeskommune, Trondheim kommune, Black Box Teater

Co-produced by: Black Box Teater, Grenland Friteater, Rosendal Teater

Performance history:


Black Box Teater (world premiere)

Festspillene I Nord-Norge

Rosendal Teater

Grenland Friteater