Every now and then, a tale serves as a stark reminder that safety is a luxury denied to many women. In this poignant and rage-inducing play, New Zealand actor Lisa Brickell unpacks the protagonist’s (Tina) matriarchal lineage. She follows the line of a family history of misdiagnosed postpartum depression by multiple generations of doctors. This includes Tina’s great-grandmother Alice, who arrived in Australia by boat from Ireland only to have her daughter taken from her on arrival, never to be heard of again. Her grandmother and mother were also misdiagnosed; each had their own horror story of mental health abuse. The performance uses actual records taken from hospital archives. The words chill to the bone with diagnoses like ‘Doesn’t like housework, therefore obviously insane!’. This brutal family history is both the show’s premise and the source of Tina’s reluctance to have children. This comes to a head when a casual fling turns into a serious relationship and Ty, her Māori boyfriend, wants to start a family. Brickell is supported by Siri Embla, who skilfully plays both Tina's inner critic and provides musical support, which compels Tina to confront her feelings around having children and to explore societal stigmas that tend to go ignored. Together, Brickell and Embla perfectly capture the essence of this feminist noir.