Dear Birthmother

After waiting for Mr. Right (who has yet to arrive) and experiencing years of fertility treatments, Suzanne, a single woman in her forties, decides to adopt an African-American baby. Dan Collison and Elizabeth Meister follow her for several months as she attends workshops designed to "teach white people to raise kids of color," goes on baby-shopping trips with Mom at Target, takes part in a critical rendezvous with a young mother at a pancake house, and, finally, a magical night at a suburban restaurant chain. (28:44)

Produced by Dan Collison and Elizabeth Meister

Link to Listening online HERE

I think this program has a really strong concept for observational representation - there is a lot at stake for the central character, the story has clear steps or narrative milestones to get through and the program concept contains a well-defined climax/conclusion... all necessary attributes for an observational program concept worth pursuing... oh, and of course, the producers were in a position to 'catch' the story at the right stage in the process (another really important factor) - you generally need observational stories to 'unfold over time' with rather than without you (though having said this there are sneaky ways of getting around it if you arrive at the story a little late - this can sometimes produce quite a stunning effect - see Lea Redfern's Try not Breathe)

If you listen loosely there doesn't appear to be a very sophisticated use of contrasting aural texutures - it's very word-heavy and a single voice predominates... there is not much space between the words and sounds are not left to 'speak for themselves' and tell their side of the story... much more 'telling' than 'showing' (and I think 'showing' is pretty key in observational documentary)

However, if you listen closely there is actually a very complex and interesting variety of contrasting voice textures - the differences are subtle, but very effective. The differences are primarily achieved through alternating modes of address  - we hear the protagonist talking to others, reading aloud from both script and letters, speaking directly to us (both scripted and improvised), speaking to an interviewer (who we don't hear)... the piece interweaves and shifts relatively quickly between these variations in timbre - I think the effect adds interest to the surface of the piece, making it kind of 'shimmer'.