An Evaluation of "Cracked Mirrors", A Theater Production for Advocacy Against Child Sexual Abuse and Exploitation

Author: Heather O'Neill

Date: March 2007

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A Research Thesis by Heather K. O’Neill
This study utilized the survey method to evaluate the Cracked Mirrors theater production for advocacy against child sexual abuse and exploitation. The Cracked Mirrors performance is a creative attempt to raise awareness and address the culture of silence that so often surrounds sexual abuse.  With an increase in awareness and education about child sexual abuse and exploitation, children who have been victimized can come forward more freely to receive the help they desperately need.    

The review of related literature provides an overview of child sexual exploitation and abuse.  It highlights the plight of the Filipino street child who is at extremely high risk of sexual exploitation and abuse.  The literature shows that the attitudes, customs and practices of societies often enable, normalize and condone the demand for sexual exploitation.  Communities are often reluctant to intervene due to lack of knowledge, lack of understanding about the harm to children, fear and intimidation, or for economic reasons.  The literature explains the need for advocacy, especially through drama, and the reasons to evaluate advocacy projects.  Finally, the literature reveals similar issue-focused drama projects that are raising awareness for a cause or advocating for social change.

The Cracked Mirrors performance incorporates rap and song into a series of four monologues to express the painful realities of child sexual abuse and exploitation. Cracked Mirrors specifically targets some of the dominant types of child sexual abuse and exploitation: trafficking; prostitution; pedophilia; familial abuse; sex tourism; and abuse while in detention. It aims to change the belief that it is shameful to talk about such things, and it encourages audiences to break the silence that surrounds the issue and the victims.  

A written questionnaire was used to randomly poll 446 audience members from nine showings in 5 separate venues within Manila, Philippines. First, audience members were asked about their general reaction to the play.  These answers were used to determine what kinds of impact the play may have had on viewers and to determine if awareness was being raised.   Second, they were asked what they perceived to be the strengths of the play.  If the play was effective in raising awareness, the answers to this question would show why it was effective.  Finally, the question of what should be improved substantiates why the play might not be effective or what could make the play more effective.   

It was found that the Cracked Mirrors performance was, indeed, a strong medium for raising awareness and breaking the silence around child sexual exploitation and sexual abuse.  The audience stated that the real life experiences of the actors added credibility to the information presented.  It should be noted that the actors were a major factor in the effective delivery of the information, and the audience clearly felt that the actor’s own histories of abuse combined with acting talents made the performers the strength of the play.   The audience did not believe that changes should be made to the performance and confirmed that this drama is a worthwhile method of advocacy for the Stairway Foundation.  

The performance reached people because of its realistic nature and emotional portrayal of the damage inflicted on children through sexual abuse.  Due to the emotional nature of the play, it is recommended that counselors be made available after the performances.  Further research into audience background is also recommended to determine what audiences knew about CSA/CSE pre and post show and to discover how the play affects certain groups in comparison with others.  It is also recommended that the play be performed in Filipino language, especially in the provinces where English is less prevalent.

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