The title of Sistren’s first production, Bellywoman Bangarang, means “pregnant woman’s noise”. The way the personal testimonies were dealt with in this play became, in a sense, the group’s manifesto. First staged by Sistren in 1978 and then re-staged in 1982, Bellywoman Bangarang was the creative outcome of the group’s first year in their “aesthetic space”. Honor Ford-Smith directed the original production but handed the reins over to Trinidadian theatre practitioner Rawle Gibbons for the second season. The play explores the inequalities suffered by working-class Jamaican girls as they mature from childhood to adulthood. Sistren’s testimonies were compiled to create four female characters—Didi, Yvonne, Gloria and Marie—who represent, through shared experience, the original working-class women in the company (see Ford-Smith “Sistren: Exploring”). Each of the characters falls pregnant in her teenage years and encounters sexual assault, rape, and/or domestic violence. Sistren uses folk songs, children’s games, rituals, riddles, and character transformations to preface episodic scenes in which they enact the characters’ stories on stage. In this chapter, Sistren’s stage performance is read through a feminist and gender theoretical framework, most notably the ideas of sociologist Barry Chevannes who has suggested that Jamaican children occupy space differently along gendered lines because of the threat of violence and sexuality in the public sphere. Unlike previous readings of Bellywoman Bangarang, this chapter will look at Sistren’s portrayal of constructions of both masculinity and femininity, and it will outline how this play demonstrates Sistren’s theatrical methodology in performance.