When access to abortion
was illegal in Canada

Playwright Anna Burkholder provides insights into the play Caravan

By Irwin Rapoport

Updated June 10, 2024

The fear of being drafted into the American Army and sent to fight in the Vietnam War was crystallized in the late 1960s film Alice’s Restaurant. It reflected the mindset of many Americans who lived on tenterhooks, worrying if they would receive the dreaded letter that could lead to their deaths in tropical jungles.

Caravan, which premiered in Montreal on May 25 at the Monument National, accurately captures what millions of Canadian women felt in the 1960s and early 1970s when abortion services were illegal and far too many women died as a result of illegal and botched underground abortions.

Caravan play Theatre reviews are not my forte, but let me say this: I enjoyed Caravan immensely and wish more Montrealers had an opportunity to see it. The performance was gripping and when the 80-minute play ended, I was left wanting more. Although there are no immediate plans to take the play on tour, I certainly hope it does as the right to access abortion services and medication to induce them are under threat in the United States and who knows if the Conservative Party in Canada will bring forth legislation in the future to limit or eliminate access to abortion. Hundreds of millions of women across the planet do not have access to abortion and face serious dilemmas daily. Although Caravan is set in Canada, its message is universal and it perfectly illustrates the serious problems women encounter today.

The Tableau D’Hôte Theatre production featured honest and realistic dialogue for the play set in 1970 when the only way to secure a legal abortion in Canada was to make one’s case to a panel of doctors, predominantly men. If one was lucky, the request was granted, otherwise, one had to travel to places such as Montreal or New York City for safe medical treatment. Those who could not make the journey had to gamble on finding legitimate local doctors who knew what they were doing.

The web page for Caravan describes the play as thus: “After meeting a stranded stranger, Birdie finds herself on a whirlwind cross-country road trip. Commissioned by Tableau D’Hôte’s More Than a Footnote Program, Caravan follows Birdie as she unexpectedly races across Canada to join the historic 1970 Abortion Caravan. The Trans-Canada highway brings hitchhikers, vomit bags, and Good Vibrations under open skies, as three strangers search for understanding and support.”

Not only was the play written by a woman, Anna Burkholder, and directed by Liz Valdez, but the cast also featured three young and accomplished female actors – Olivia Kearval-Jobin portraying June, Elly Pond as Birdie, and Prerna Nehta as Patti.

The Tableau D’Hôte Theatre production featured honest and realistic dialogue for the play set in 1970 when the only way to secure a legal abortion in Canada was to make one’s case to a panel of doctors, predominantly men.

With smart dialogue, terrific acting, and a simple stage brought to life with exceptional projections, lighting and original music, everything came together to ensure a nearly flawless performance. The audience not only laughed, but experienced the characters’ fears, moments of terror, and epiphanies. As the characters were on a journey, so was the audience, carried along by a script whose dialogue was not formulaic and allowed the characters to unfurl before our eyes.

It is simple to overplay a character and miss the point. However, with Caravan, the actors were in the zone. They reflected the women’s youth, their inner and public thoughts and internal battles in a most natural way. The dialogue reflected the 1960s. In a sense, the audience became one with the characters.

In addition to solid acting, the actors were accomplished dancers and sang well. The music was original, and sound designer Violette Kay composed the score and reworked songs. The influence of the musical Hair was felt as the play permitted us to learn about each character and their motives at the same time that they bonded.

They were driving a van from Alberta to Ottawa, where a demonstration in favour of abortion rights was being held at Parliament Hill. For much of the journey, a coffin was placed over the van. Patti and Birdie were planning to attend the demonstration. The significance of the coffin was driven home as it represented Patti’s late sister, who died as a result of a botched underground abortion. Taking the coffin to Ottawa was a way to bury the memories of her sister’s death and allow her sister to play a role in the gathering. In one poignant moment, Patti lay in the coffin.

‘… the production values were stellar and the small stage became a veritable world. Everything came together. I saw the final performance and if the applause was similar to what was given that afternoon, I can only imagine the reaction on opening night.’

We learned that Birdie was pregnant and upon arriving in Ottawa, left for Montreal to secure an abortion at Dr. Henry Morgentaler‘s clinic. As the play ended, just as she was about to undergo a procedure, the clinic was raided. June, hailing from British Columbia, was also heading east for an abortion. As with Birdie, once in Ottawa, she took a bus to New York City to have an abortion at a clinic her sister made use of one year earlier.

In the year the play was set, abortion was illegal and the characters reflected that, as they were afraid to say the word in public for fear of other people hearing it. The sexual revolution coincided with the 1960s, and hence the issue of access to abortion intertwined with the era and led to the Roe v. Wade ruling in 1973 which was overturned more than a year ago due to a maligned and condemned U.S. Supreme Court ruling that created an ongoing disaster for millions of American women.

Aside from the serious moments, there was a lot of humour, sarcasm, irony and many double-entendres. One hilarious scene featured a vibrator. It was clear that the dialogue was written for women and was genuine. Their words were as timely back then as they are today.

As noted, the production values were stellar and the small stage became a veritable world. Everything came together. I saw the final performance and if the applause was similar to what was given that afternoon, I can only imagine the reaction on opening night.

The design team included META recipients Violette Kay on sound, Zoe Roux on set and lights, Diana Uribe on costumes, and Aurora Torok on projections. Caravan was developed in collaboration with the Playwrights’ Workshop Montréal.

For more information on Tableau D’Hôte Theatre, visit tableaudhote.ca

Caravan play

Playwright Anna Burkholder replied to a few questions about the play and what it means to her:

WM: When did you first encounter this bit of Canadian history?

Burkholder: I stumbled upon this slice of Canadian history during the 2018 Irish abortion referendum, a moment that hit me hard. Returning to Canada after six years in the UK, I was shocked to realize my ignorance – I had no idea about Ireland’s abortion ban. I started to dig into Canada’s abortion history. I ended up uncovering unsettling and disturbing truths. It was very eye-opening to learn that abortion was decriminalized in Canada during my lifetime.

WM: Why do you think it’s important for the audience to know this history?

Burkholder: We can’t take our rights for granted. It’s not just about laws; it’s about access. Abortion accessibility remains a barrier for so many people, including Indigenous, Trans and Immigrant communities, and those living in rural, Atlantic and Northern locations.

‘I started to dig into Canada’s abortion history. I ended up uncovering unsettling and disturbing truths. It was very eye-opening to learn that abortion was decriminalized in Canada during my lifetime.’

– Anna Burkholder, playwright, Caravan

Our daily actions affect the landscape of reproductive justice. My own experience of leaving a 9-year abusive relationship made me realize how easily my body autonomy can crumble. Even in a country where abortion is legal, reproductive coercion and non-consensual medical procedures persist behind closed doors.

By shedding light on the hard-fought battle for abortion legalization, I want to inspire audiences to defend their rights and advocate for others. I hope folks will be motivated to dismantle our culture of shame and stigma and find ways to reshape societal beliefs about motherhood.

WM: What’s been the most delightful change from the page to the stage?

Burkholder: Seeing the story visually unfold has been a joy! I write magical realism scenes with abstract or cinematic stage directions, requiring imaginative directorial and design choices to bring them to life. Sound designer Violette Kay added magic with her original musical compositions while director Liz Valdez infused these moments with heartfelt movement.

Images: courtesy of Tableau D’Hôte Theatre