Loves Me, Loves Me Not
The original play Loves Me Loves Me Not includes live music, choreographed dance and dramatic scenes. It was filmed at the Brunswick Picture House in June 2022. The dynamic and thought provoking play once again displays the skill and talent of the eleven Byron Youth Theatre cast members who are aged between 13 and 30 years.
Loves Me Loves Me Not explores issues of consent and responsible relationships. It refers to and includes references to abuse, domestic violence and sexual assault. Byron Youth Theatre is well known for its honest and open exploration of important issues and it provides an excellent opportunity for parents, caregivers, teachers and youth related organisations to engage young people in meaningful conversations on the topics raised.
The production follows several different relationships that intertwine and gives a powerful platform for both young people and adults to express their hopes, fears, confusion and deep longing about how we can develop meaningful connection with one another.
The entire cast attended the Wheel of Consent Training and Actor Boundaries and Professional Intimacy Consent workshops in the development of this original play.
Funded by the Northern Rivers Community Foundation and Women’s Resource Service, the production also received a generous donation from Global Ripple, a strong advocate in the prevention of violence towards women and children. It is proudly supported by Byron Youth Service and Brunswick Picture House.
It is recommended for 14+
WARNING : SOME CONTENT MAY BE TRIGGERING
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A brief overview of the scenes
SCENE 1
A movement sequence involving all of the characters from the play using phrases from their dialogue and physical actions which embody their relationships
SCENE 2
A song in the french language sung by Gem, one of the high school student characters.
SCENE 3 Home
Natalie and her daughter, Indi, both face challenges having recently moved away from an abusive relationship with Indi’s father in Melbourne.
SCENE 4 Support Service Office
Terri, the manager of the local Support Service Office inducts university student, Angela, for work experience. Angela’s boyfriend, Pete, helped arrange the placement with his friend Terri. Terri reveals there has recently been a homophobic attack in the neighbourhood and asks Pete to check in with his brother, Charlie, who has a reputation for anti-social behaviour.
SCENE 5: Charlie and Kimmy at school
Charlie, an abusive teenager, meets with his girlfriend during a school break. His threatening behaviour scares her.
SCENE 6 Natalie and Pete at work
Pete develops a friendly rapport with, Natalie, his new manager, as he gives her a tour of the office. Natalie raises concerns about a colleague John who applied for the position that she’s stepping into.
SCENE 7 Classroom
A PDHPE class becomes challenging for the teacher when he is faced with questions about gender diverse relationships, love and how to conduct conversations.
SCENE 8 Angela and Pete at home
Angela introduces Pete to the Wheel of Consent a powerful relationship model created by Dr. Betty Martin and featured in her book The Art of Giving and Receiving. With gentle guidance Angela explains the difference of giving, taking, receiving and allowing in terms of consent.
SCENE 9 Grace getting her L’s
Grace is getting photos done when the photographer decides she needs a makeover. Grace’s horror turns to delight when she views her new look only to discover it has all been a dream.
SCENE 10: The Party
Jarrah takes Indi to a party where they meet up with Kimmy, Bel, Charlie, Grace and Gem. Trouble erupts when Gem dances intimately with the intoxicated Bel. Bel and Charlie’s homophobic prejudices cause Gem, Grace, Jarrah and Indi to quit the party, leaving an intoxicated Bel in the hands of the abusive Charlie .
SCENE 11: Natalie’s Monologue
A tragic tale of the consequences of falling pregnant while in a domestically violent relationship.
SCENE 12 Jarah and Indi
Alone together in an intimate moment, Indi reveals her frustration about the misogynistic way of the world and her desire for change.
SCENE 13 Natalie and Pete at work
The work colleagues discuss Natalie’s dismissal of John the colleague who was passed over for promotion when Natalie took over the role of manager.
SCENE 14 Grace and Gem
Grace asks, Gem, her more worldly friend, about sexual orientation and gender diversity.
SCENE 15 Kimmy’s monologue
Kimmy defends her dysfunctional relationship with the abusive Charlie, who comes from a broken family.
SCENE 16 Mother and Daughter
Natalie, deeply concern for the assaulted person, grills Indi for details of what happened at the party .
SCENE 17 At school
Bel confronts her friends about leaving her alone with Charlie. They support her to get help even though she is terrified that Charlie will find out.
SCENE 18 Bel seeks help
With the gentle encouragement of Terri and Angela from the Resource Service, Bel reveals she was assaulted by Charlie.
SCENE: 19 Pete confronts Charlie
The brothers clash over Charlie’s involvement in the sexual assault at the party.
SCENE 20 Ending
A reflective whole cast scene based on the writing of Bianca Sparacino from A Gentle Reminder 2020 Sparacino, B. (2021). A gentle reminder. New York: Thought Catalog Books.
How we desire to truly connect with others in a society that often promotes lust and superficiality.
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The Byron Youth Theatre (BYT) gave a stunning performance at the Youth Health Conference, held at Surfers Paradise 7-9th November 2018. An audience of over 200 health professionals from around Australia were held in thrall as this talented group of young people portrayed - through choreographed drama and dance - an entire gamut of issues related to adolescent sexual and reproductive health. With authenticity, subtle humour and no holds barred, they made a thought-provoking contribution to a professional event that will be long remembered.
Clinical Professor David Bennett AO Senior Staff Specialist in Adolescent Medicine, Sydney Children's Hospital Network Member, Child and Family Advisory Council, NSW Health
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Our task is to educate their (our students) whole being so they can face the future. We may not see the future, but they will and our job is to help them make something of it.
Sir Ken Robinson
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Entertaining and compelling! A must-see for anyone wanting to create a better future for our young people.
Me, Myself and Mind is a powerful performance from Byron Youth Theatre that graphically portrays the mental health challenges young people face in navigating the journey of adolescence in a world beset by the crises of the COVID-19 pandemic and climate change.
It is a timely and significant performance given that Professor Patrick McGorry, Australia’s leading youth Psychiatrist has just described the deepening mental health crisis arising from COVID-19, especially among young people, as the “shadow pandemic”. Mental health problems affect more than 1 in 4 young people. A 2020 national survey conducted by Headspace found that a third of young Australians reported high or very high levels of distress.
Through a series of riveting and engaging scenes, the young actors graphically portray the doubts, emotional uncertainty and confusion that beset young people in terms of their developing identity, relationships, body image and sexuality. It underscores the sense of loneliness, alienation and despair that so many young people experience which is unfortunately linked to the disturbing fact that suicide is the leading cause of death among Australians aged 15–24 years (Australian Institute of Health & Welfare).
It is also a stinging rebuke of our health and social systems which all too often fail to adequately recognize and respond to young peoples’ needs.
Ultimately though, the performance provides a message of hope and inspiration as the actors poignantly convey the importance of connection, understanding, empathy and emotional support as pathways to wellbeing.
Peter Chown. Psychologist.
Consultant, NSW Centre for the Advancement of Adolescent Health
Specialist Trainer, Headspace
Ambassador, Uplifting Australia
Peter Chown. Psychologist.