Josie is a writer, actor and producer of colour from Nottingham …

Josie’s creative mission is to shine a spotlight on the lives of women of colour in twenty-first-century Britain, concentrating on how their mental health struggles are continually stigmatised and often ignored. Josie wants to create theatre for the Netflix generation that discusses societal issues that are poignant to millennials. Josie’s previous work includes TRAILBLAZERS, a short play, for Forest Green School, premiering at Hackney Empire. LOVE ME OR DIE, a monologue for ‘Common’ an anthology of new dynamic working-class monologues, published by Team Angelica Publishing, 2022, and ROTTEN.

We spoke to Josie about ROTTEN and working with Riki Beadle-Blair to bring it to life

Please introduce yourself …
I’m Josie White, an LGBTQIA+ writer, actor, and producer of colour from Nottingham. My heritage is Trinidadian and Jamaican on my Mum’s side and British and Irish on my Dad’s. I’m working predominately in theatre at the moment, creating exciting, thought-provoking, and entertaining theatre for young people.

Describe your life right now in a word or one sentence …
A journey of learning and growth

What started you on the path to becoming a writer?
It was working as an actor on Rikki Beadle-Blair’s masterpiece, GUTTED that really inspired me. I was fresh out of drama school, where I studied mostly classical text and was playing characters that were usually a lot older than me, and even though they were interesting, I couldn’t fully relate to them. GUTTED is a modern, challenging and thrilling, story about troubled young people growing up and trying not to make the same mistakes as their parents. Hearing Rikki’s inspiration behind the play got me thinking about the stories that I wanted to tell and gave me the confidence to believe that they should be told.

Tell us about your latest project ROTTEN what it’s about and what it means to you personally.
ROTTEN is my first full-length play which I developed under the mentorship of Rikki Beadle-Blair during the pandemic. The play follows three young, regional actresses: Saoirse, Coco, and Sonia as they struggle to survive in London. The electricity’s been turned off, they’re stealing their neighbour’s Wi-Fi connection and are completely broke. Living in the posh block of flats opposite them is an aristocrat/social media influencer, who they spy on every night, through their grotty living room window. One evening has the anti-heroes in an all-new position of power when they spy their neighbour in a compromising position and are later persuaded by Sonia’s boyfriend Ross to blackmail them. But their scheming soon spirals into complete anarchy and it’s every person for themselves!

ROTTEN is so close to my heart because it depicts the socio-economic crisis that is happening in Britain right now! The play challenges morality, capitalism, and social media culture, with powerful female roles that break stereotypes and showcase regionality.

What was happening in your world that inspired you to write this …
As a young actor trying to fulfil my dreams, while struggling to make ends meet in London, I became conscious of the huge gap between “the haves” and “the have-nots”. Sitting on the tiny balcony of my council flat that sat directly opposite a multi-million-pound block of apartments, I began to wonder what the lives of the people living in them must be like, and how easy it would be to become obsessed with who they are and what they have.

ROTTEN came out of these observations and I feel holds a mirror up to society, challenging the very make-up of it, by displaying characters that are frustrated and beaten down by their position in the world and desperate to change their circumstances. Saoirse, Coco, Sonia, and Ross continually challenge their morals and principles in ROTTEN, making shocking and at times disturbing decisions in their pursuit of wealth, but is this surprising when in today’s society what used to be classed as luxuries now seem like necessities? And thanks in part to social media and reality TV, young people can easily find themselves in a vicious cycle, where they never feel like they have enough.

How did you work with Rikki Beadle-Blair the director to bring your words to life?
I’ve been extremely privileged to have Rikki mentor me through this project, both dramaturgically and as a friend who has been in the industry for a long time and has built an amazing career. Being able to turn to him for advice has been a gift! Getting ROTTEN to where it is now has taken a lot of hard work and has really been a joint effort between myself, Rikki and our co-producers Emmerson & Ward.

As a new playwright, Rikki’s guidance was imperative, he taught me crucial skills and encouraged me to be brave with my writing. I would send scenes to him, he would give me constructive notes and before I knew it, I had a first draft! Rikki encouraged me to get a group of actor friends together via Zoom to read it, so I could hear my work, and this was the most helpful exercise for me. Immediately I was able to hear where I needed to make changes. Another skill Rikki taught me was how to cut text, which is an extremely difficult thing to do as a new writer, who is precious about what they have created but entirely necessary.

Why and how did you incorporate humour and thriller elements into your play while addressing serious topics like the cost-of-living crisis, capitalism, mental health, and social media?
Tackling hard subjects with elements of humour is generally how people cope with harsh realities, and it is a tool I use in ROTTEN and my other work to get audiences comfortable talking about the uncomfortable.

It’s said that you were influenced by Alfred Hitchcock and Agatha Christie. What is it about who-dun-its and suspense thrillers that speaks to you? – which Alfred Hitchcock & Agatha Christie films/books are your favourite?
Hitchcock and Agatha Christie have always been huge influences on my work. Although extremely different writers, they both encapsulate to me the great tropes of classic thriller. What I like about their stories is that they always have interesting characters, strong plots, and lots of twists and turns. My favourite Agatha Christie has to be A Murder Is Announced and my favourite Hitchcock is Rear Window.

Highs, lows, solutions …
The biggest highs would have to be when I found out that we’d secured funding to create and tour ROTTEN. It was a long process and writing bids can feel like a never-ending task at times. When I feel like this, I always think it’s best to talk to someone, and just get your thoughts out so that you’re not bottling things up. Manifestation and meditation also really help me.

In terms of lows, I think that in this current economic climate, it’s so hard to create new writing and even harder to put it on. We went through a few funding rejections, and it feels awful when you’ve worked so hard. I think when this happens it’s best to take a moment, breathe, maybe talk to a friend, and then roll your sleeves up and work out what your next step is. It’s ok to feel disheartened but important not to give up.

GETTING TO KNOW YOU …

If not this, then what?
I think I’d be a Historian, probably specialising in The War of the Roses. History was one of my favourite subjects at school and I still have a real passion for it.

What’s made you Sad, Mad, Glad this week?
Glad— Sitting in the Garden at my Nana’s house last Sunday. The sun was shining, and it was lovely and warm!

What are you watching right now?
I’ve just finished binge-watching Bodkin on Netflix. I usually love a documentary though. Anything true crime.

What are you reading right now?
I’m re-reading The Little Book of Manifestation.

What are you listening to right now?
I’m into older bands like Queen and The Beatles, but I’ve been listening to a lot of Amy Winehouse recently and falling in love with her music again.

The last thing you saw on stage?
I just saw The Kite Runner. The show was first on in Nottingham over ten years ago and I missed it then, so was thrilled to watch it!

What’s on your bucket list? 
I really want to see the Northern Lights in Iceland

Where’s your happy place?
Home

Who’s the most important person in your life? Who do you rely on the most?
I couldn’t pick one, but it would have to be my family, we’re extremely close and I couldn’t cope without them.

Celebrate someone else (who do you rate right now?)
The five actors in my play, ROTTEN. Kavita Vyas, Narisha Lawson, Sam Butters, Nicola Taggart and Alice Berry! They are all super talented and are killing it on tour at the moment. I feel like a proud Mum every time I watch them!

Celebrate yourself … (make us proud of you)
I’ve struggled with my mental health for a long time, but I feel that I’ve been able to use writing to explore my feelings and hence understand myself and the world around me better. Creating complex characters who don’t always do the “right thing” but you still find yourself drawn to them and wanting them to succeed because they reflect the parts of ourselves we attempt to hide has definitely made me more compassionate to myself and
others.

Whose footsteps are you following in?
That’s a hard one! I’d have to say all the amazing artists and creatives of colour that have paved the way for future generations in this industry

What’s Next?
Taking my play ROTTEN on tour again, which will include a London run!

Where can we find you?
@Josiemwhite (Twitter/X) @Josiemw1 (Instagram)

Where can we see your latest work?
ROTTEN will be touring again this Autumn! Keep an eye on co-producers Emmerson & Ward and director Rikki Beadle-Blair’s twitter (@Emmersonward @RikkiBB) for dates and locations.

ROTTEN Toured until 23rd May 2024

Popular Netflix series Stranger Things has been brought to life by a multi-award-winning creative team, who take theatrical storytelling and stagecraft to a whole new dimension …

Hawkins, 1959: a regular town with regular worries. Young Jim Hopper’s car won’t start, Bob Newby’s sister won’t take his radio show seriously and Joyce Maldonado just wants to graduate and get the hell out of town. When new student Henry Creel arrives, his family finds that a fresh start isn’t so easy… and the shadows of the past have a very long reach.

Marking her West End debut Ella Karuna Williams plays Patty Newby. Her television credits include The Equalizer and she has recently released her first EP, Silent Noise. We spoke to her about being part of the Stranger Things Universe …

Please introduce yourself …
My name is Ella Karuna Williams, and I’m an actor who is currently portraying Patty Newby in the West End Production of Stranger Things: The First Shadow. I’m 18 years old, and I’m from New Jersey back in the USA.

Describe your life right now in a word or one sentence …
A whirlwind.

What started you on this particular career path?
When I was about 9 or 10 years old, I made my “acting debut” in a production of Shrek the Musical Jr. at a local children’s theatre as Teen Fiona. The first time I stepped on that stage in front of an audience, I remember being hit with the most terrifying yet exhilarating feeling. My mom actually told me afterwards that she could see my eyes widen as I faced the audience for the first time. I wanted to experience that again, so I kept acting in community theatre/school productions and have ultimately gotten to act professionally as well. Stepping into other people’s shoes and living in make-believe worlds never stops being fun. It’s hard work, but it’s so worth it.


Tell us about your latest project – Stranger Things: The First Shadow…
Stranger Things: The First Shadow is a stage show on the West End — expect to laugh, cry, and gape in astonishment at the mind-blowing effects that have been achieved on that stage, and the beautiful story at its heart. It’s a prequel to the Netflix series that takes place in 1959 and centres around the origin story of Henry Creel, aka Vecna, which my character, Patty Newby, plays a large role in. It also features other well-known and loved characters like Joyce, Bob, and Hopper. What’s really cool about the show is that it’s got the Stranger Things lore and vibes that fans of the show will love, but it’s also a standalone piece, so you don’t have to watch the Netflix show to understand it.

Can you tell us about Patty and what her goals are?
Patty Newby is the adopted sister of Bob Newby, and she’s a freshman at Hawkins High. She doesn’t quite fit in with the other students and I think just longs for acceptance, which she tries to find through Henry Creel (who also struggles to fit in) and through learning more about her past. She’s incredibly imaginative and loves comic books — particularly Wonder Woman — which really allows her to bond with Henry. I think one of her main goals is to just escape her lot in life – discover more about herself and her roots and go beyond the small-town upbringing she’s had.

As you’ve mentioned, Stranger Things: The First Shadow is set 25 years before the Netflix series. What aspects of the characters might audiences recognise?
Louis, Isabella, Chris, Oscar, Patrick, and the rest of the company do an incredible job of portraying the younger versions of characters that Stranger Things fans know and love; they simultaneously honour the source material while bringing their own flavour to it all. So audiences can expect to find comfort in the familiarity of these characters while also discovering new depths to them. I hope they’ll also have fun discovering entirely new characters — like Patty. What I think Stranger Things does so well in terms of all its characters — new or old – is to revisit and explore the feelings associated with growing up and figuring out who you are, feeling different, and wanting more out of life than the lot you’ve been given.

Given the huge fanbase for Stranger Things, is there pressure to live up to the series?
Because I’m playing a new character, I don’t have the pressure that the others have of taking a beloved character and then making it their own, but I do feel the pressure of creating a new one from scratch. The Duffer Brothers have crafted such a rich and brilliant world, so it was really important to me that Patty felt like she “fit” within the Stranger Things universe. The only Patty that audiences see is the one in the play, so she has to be fully fleshed out and established and complex to (hopefully) captivate people. Luckily, our writer, Kate Trefry, and our directors, Stephen Daldry and Justin Martin, gave me so much brilliant material to work with.

Before joining the cast, had you watched the series? If so, who are your favourite characters?
Of course. Series 1 came out when I was about 10 or 11, and it absolutely terrified me. I’m still a scaredy cat now, but luckily, I gave it another try when I was a bit older and fell in love with it. It’s just so good. And my favourite characters are Steve, Max, and Dustin — I particularly love the Steve-Dustin duo.

GETTING TO KNOW YOU …

What are you watching right now? I finally started The Bear.

What are you reading right now? I love books, so this question is very exciting. I’m currently reading The Martian by Andy Weir, and I’m enjoying it so far. I usually gravitate towards literary fiction and fantasy books rather than sci-fi, but this one is helping to bring me out of my comfort zone while keeping me on the edge of my seat. Also, while we’re talking about books, I have to mention a favourite I’ve read this year. Pachinko by Min Jin Lee is a beautiful story that explores the complex experience of Koreans in both Japan and Japan-occupied Korea, familial relationships, and resilience through four generations of one family. It’s an absolute must read.

What are you listening to? I’m listening to a lot of Lizzy McAlpine, who is also a big inspiration for writing my own music. My favourites of hers are Pancakes for Dinner, Reckless Driving, and All My Ghosts. Pancakes for Dinner is one I particularly like to play on the guitar and sing along to.

Last thing you saw on stage? I saw The Unfriend by Steven Moffat at the Wyndham’s Theatre. I have a few friends in it — the cast was brilliant, as was the show. It was just really fun to watch a silly family comedy, especially given that I get to “live” in the very scary Upside Down six days a week.

Whose footsteps are you following in? Hmm, this is a hard one. I guess I would like to follow in the footsteps of all the actors that have made me want to be an actor. There are so many, but to name a few – Jennifer Lawrence, Samuel L. Jackson, Emma Stone, and Zendaya.

What’s next? I’m taking it one day at a time at the moment, but I’d love to branch into some film and TV next. A limited series or a period piece would be so much fun, but the sky’s the limit, really. It’s also a dream of mine to work with Greta Gerwig.

What’s your socials? I’m on instagram: @ellakarunawilliams

Stranger Things: The First Shadow runs at the Phoenix Theatre in London until December 15th 2024. Find out more here.

In Everglade Studio opens in a small, forgotten recording studio, some three or four floors
underground in 1971 England.

We meet Skye, an aspiring country music star, Baron, her surly keyboardist, and Clarke, their enthusiastic but temperamental producer. Clarke has big plans for Skye and is trying to squeeze every last drop of talent and creativity from her and Baron before their studio time runs out.

The play introduces these characters with the first of many brilliant original songs by Nathaniel Brimmer-Beller and Aveev Issacson, performed live by Isaacson and Emily Moment who play Baron and Skye respectively. From its opening moments, In Everglade Studio cements itself as a masterclass in acting and performance combined, only further solidified by the play’s fourth and final character Matilda (Hannah Omisore), a black singer/songwriter who Clarke has invited to the recording session to establish more “soul” into Skye’s music.

Matilda is a destabilising presence in the recording studio’s already volatile working environment. She is black and she is beautiful, posing an immediate threat to Skye. Clarke becomes frustrated as the person he has backed to be the next big thing is no longer the most talented voice in the room. As the performing trio record more and more of Matilda’s songs under the guidance of the clueless Clarke, the audience is shown the deeply uncomfortable and antagonistic circumstances that Matilda must contend with to have her voice and music heard in 1971 England, each character posing a unique threat to Matilda’s wide-eyed innocence.

Baron is that subtle disparaging presence that acts friendly yet holds his tongue when it comes to defending the minority in the room. Clarke, meanwhile, represents the black person who would rather shed his race and identity to get ahead in life and avoid facing, head-on, the challenges that come with being black and successful. Skye is an outwardly hostile force towards Matilda, trying to undermine and outshine her at any and every opportunity.

The third act looks to flip the natural character dynamics on its head, as the strange behaviour each character has been exhibiting throughout the play is finally explained. A harmful chemical substance has been slowly leeching through the walls of the tiny underground recording studio, turning our characters crazy in the process. In Everglade Studio melds the bizarre and ridiculous behaviour of four people who are unknowingly inebriated, with their fundamental biases and hang-ups, all the while having them perform original songs that take on new meaning under these new circumstances.

This comedy thriller toes the line between hilarity and a claustrophobic terror that is exaggerated tenfold
by the intimate space in which the play is performed. The Hope Theatre in Highbury and Islington is the ideal place to watch madness settle into these characters and, at times, it felt as though we too were feeling the effects of those poisonous walls.

This play is brilliantly written in both the music and script. Each character feels distinct in what they say and sing and there were several laugh-out-loud moments. The times where the characters do sing don’t feel like a separate entity to the storytelling as could often be the case in musicals. Instead, the songs become just as important at propelling the plot as any of the spoken dialogue.

However, Matilda’s significance as a character is capped by the plot. She is demeaned and spoken down to throughout, is interrupted in songs and never truly gets her chance to fight back before the effects of the contaminated walls take over the bodily functions of her and her oppressors. I loved the characters for all their flaws but found Matilda to be the least developed of the group, with not enough in the way of motivation like some of the other characters.

Overall, I had a lot of fun watching In Everglade Studio. The music was an absolute highlight for me and brought an interesting new twist to the idea of a musical. The acting is excellent and directors Nathaniel Brimmer-Beller and Phoebe Rowell John, along with stage manager Summer Keeling, create a brilliant atmosphere, really bringing to life the feel of a tiny recording studio with volatile peers and poisonous walls. I would recommend going to see the play here in London after its critically acclaimed run at the Edinburgh Fringe Festival in 2023.

In Everglade Studio ran @ The Hope Theatre from 16th April- 4th May 2024

Ray Young is a transdisciplinary performance artist, experience maker, and writer …

Widely recognised for their groundbreaking work at the forefront of activism, queerness, race, and neurodiversity.

Ray’s work has been presented widely across the UK, including in London, Cambridge, Brighton, Leeds, and Edinburgh, as well as internationally including Portland, Mexico City, and Venezuela. Their groundbreaking contributions to the field of performance art have earned them numerous awards and accolades, and their work continues to push boundaries and challenge conventional notions of what art can be and do.

We spoke to Ray about their award-winning duet OUT a reimagining, reclaiming and celebration of aspects of Caribbean culture from a queer perspective,

Please introduce yourself tell us who you are and what you do, and where you’re from?
I’m Ray Young and I’m a trans-disciplinary performance artist and writer. I’m from the Caribbean. Both of my parents are from the Caribbean, Saint Vincent and Jamaica via Nottingham.

Describe your life right now in a word or one sentence …
Slowly evolving…

Tell us about your latest project OUT?
OUT is a work that I first started thinking about in 2016. It grew out of conversations I was having with the queer community in Nottingham, and more specifically with a friend of mine called Dwayne Antony. We were talking about some of the frictions between our blackness and queerness. The work tries to carve out a joyful space where we can fully be ourselves, away from the doctrines that we may have grown up with and all the respectability politics that may have kept us from living authentically.

Why did you make the decision to re-run OUT?
It feels like the work resonates now more than ever. I’d like to think that we have moved on from using people’s sexuality or gender expression to question their humanity. However, you only have to watch the news or scroll through social media to realise that isn’t the case. There is so much harmful legislation coming up all over the world. So now feels like the perfect time to bring this work back.

What did you learn from the response to the first run of OUT and how did you apply those learnings to the reprised version?
When I first made OUT, I didn’t have any expectations for the work as it was a chance to experiment and an opportunity to see how we might share some of the aforementioned conversations into an experience that might relate to other people like us. I wanted to work in a different, more embodied way. From the first moment that we shared the work with an audience, we realised the power in it. The thing that’s struck me the most is how it’s resonated with black queer audiences. And that there aren’t many opportunities for us to be fully ourselves in this industry. Which was evident when we did the casting call to find new performers for this iteration.  It was so beautiful to see everybody be their authentic selves in the space, it really felt like queer joy. Having new performers has been the most significant change. I’m directing and not in it this time around. So while parts of the piece have changed because the performers bring a different quality and experience to the work, structurally and at its core it’s remained the same.

As you navigate your creative journey how do OUT and your previous works BODIES, and THIRST TRAP tie together to shape the message you want to share with the world and your audiences?
All of these works are related in that they speak on social justice issues. OUT and Nightclubbing explore identity politics alongside social justice and racial justice. BODIES and THIRST TRAP are looking at climate justice which I don’t think you can achieve without tackling social justice. In OUT, we’re trying to strive for a place of black joy and in BODIES and THIRST TRAP as much as we’re trying to speak to climate justice, we’re also trying to find a space for rest and recuperation (it’s hard out here). We need our collective energy to go out there and fight for what’s right. All of these works are also about building community. Making work where people can come together feels really important right now and bringing people together is one of the main reasons why I create. 

Your bio says – ‘you are a transdisciplinary performance artist, experience maker, and writer, widely recognised for their groundbreaking work at the forefront of activism, queerness, race, and neurodiversity. Their practice is centred around creating a safe space for those who exist at the intersection of multiple realities, through collaboration and resistance to traditional forms‘ – there’s a level of responsibility when it comes to the space you occupy – was this always your intention …?
Firstly, I’d like to amend my bio slightly as there are no safe spaces. Space of generosity is a phrase that perhaps better encapsulates what I’m trying to create. When I started making work, I was just trying to tell the stories or the lived experience that I didn’t see represented. At the time I was a jobbing actor, and I was trying to exist outside of the very limited roles that were there for me at that time and to tell our stories. Sometimes yes, that does feel like a huge responsibility. But there are lots of amazing black theatre makers, dance makers and live art makers, and together it’s a really exciting time to be creating work and putting it out there into the world. 

The scary thing is sometimes when you do put work out there, especially where it centres black and brown people, it can get under the skin of people who don’t have that lived experience because they feel like they’re being excluded. When in actual fact, we’ve been excluded from the mainstream for such a long time and also deserve to take up space.

Please share the Highs, lows, solutions to getting OUT completed and how you resolved the obstacles.
The high point for me was the casting and being surrounded by black, queer, trans and non-binary performers. It felt really beautiful and joyful and accepting to be in that space which doesn’t happen every day. One of the challenges is making work in this climate now when you’re sitting with personal grief and collective grief. And making work in a climate where there’s lots of cuts to the art. The power of the work itself helps me overcome the obstacles as I know what it did for me in terms of how transformative it was to perform in a piece that allowed myself to be seen in a way that I hadn’t been before. As well as how it resonated with other black queer audience members that came to see it. I try to hold that with me all the way through the process as to why it’s worth pursuing and getting to the end.

A moment/scene in OUT that best captures why people should go and see it … 
It’s hard to pick just one moment as I like how it all sits together as a composition. The performers in the work, Azara Meghie and Bambi Jordan Phillips are amazing, truly powerful and captivating artists which is also a reason to come and see the piece.

GETTING TO KNOW YOU

If not this, then what?
I think I would be a therapist.

What’s made you Sad, Mad, Glad this week?
The ongoing genocides in Gaza, Sudan and Congo have made me sad. The hate and vitriol towards LGBTQ+ communities has made me sad and mad. Getting to sing with my choir, the G.O.A. (Gang of Angels) has made me glad this week.

What are you watching right now?
I’ve been watching Atlanta.

What are you reading right now?
Memorial by Bryan Washington.

What are you listening to right now?
Beyonce’s Cowboy Carter.

The last thing you saw on stage?
The Making of Pinocchio at Battersea Arts Centre.

What’s on your bucket list? 
I’m excited about being able to make new work.

Where’s your happy place?
At the moment my happy place is in the bath with some candles and lavender, rosemary and eucalyptus oil.

Celebrate someone else …
I rate my friend and choir director Honey Williams from G.O.A, who is also a brilliant visual artist. I also rate curator and producer Saziso Phiri, and Ioney Smallhorne who is a speculative fiction writer.

Celebrate yourself …
I feel proud that I’m still at it after this many years. I’m really pleased to be bringing OUT back to life and sharing the work at Sadler’s. I’m proud of the canon of things I’ve created over the years. When I look back at all the pieces, everything feels like it could only have been made by me, like it’s in the brand if I have one. I’m also proud of my perseverance and determination.

Whose footsteps are you following in?
Whenever anyone asks who I want to be my mentor I always say Solange. I like that she’s always stepping out and doing her own thing. 

What’s Next?
I’m in the early stages of creating a new project and I can’t share too much at the moment but I’m excited!

Where can we find you?
You can find me on my website and on socials @rachaelraymck

Where can we see/read/listen to your latest work?
OUT ran at Sadler’s Wells’ Lilian Baylis Studio on 25th and 26th April, and will run at Home Live Art, Hastings on 7th June.

Theatre highlights this May include The Book Of Grace By Suzan-Lori Parks. Directed by Femi Elufowoju Jr

You can also catch Dugsi Dayz written by Sabrina Ali, The Great Privation Written by Nia Akilah Robinson. Directed by Kalungi Ssebandeke and Between Riverside And Crazy Starring Danny Sapani and Martins Imhangbe.

Dugsi Dayz written by Sabrina Ali

“Your stories are silly, no valuable lessons? What happened to the hair-raising blood-curdling stories!?”

Detention on a Saturday? These four girls are keeping tight-lipped on why they’re there. When a power outage at the Mosque plunges them into darkness, the girls retell Somali folktales to break the ice. As they delve into their stories, they discover parallels that may just lead to friendship.

Dugsi Dayz runs at the Royal Court Theatre from Wednesday 1st May – Saturday 18th May

Liberation Squares @ Brixton House

Three teenage girls forge an unlikely friendship. They challenge each other with TikToks, beat-boxing, rap and dance routines… They just want to build their social media empire, study astronomy, or become as good a rapper as Megan Thee Stallion. But they undergo a political awakening when they realise that what you say – even what you think – is viewed very differently depending on who you are.

When they find themselves the target of the state surveillance ‘Prevent’ programme, they have to fight back. Friendships fracture and loyalties are tested as they pursue different avenues of resistance. In an era when dissent is being criminalised, what does it take to speak up?

Liberation Squares runs at Brixton House from Thursday 2nd – Saturday 11th May

The Government Inspector starring Kiell Smith-Bynoe

“There’s no money in honesty!”
A comedy about hypocrites, hysterics and hustlers.

This hilarious new adaptation sets the action in a small parochial town in late 19th century Britain, where the corrupt local officials mistake an over-privileged, vainglorious liar, who just happens to be passing through the town, for a high-ranking government inspector. Desperate to cover up their crimes and escape censure, the town’s Governor and his cronies pull out all the stops to try and bribe this dishonest buffoon with money, wine and women.

The Government Inspector runs at Marylebone Theatre from Friday 3rd May – Saturday 15th June

Sappho with Emmanuel Akwafo, Jumoké Fashola and Velile Tshabalala

We are somewhere between imagination and 6th century BC on the Greek island of Lesbos. The poet Sappho creates a new world in her own words. She breaks the rules of her society and elevates her gender. Socrates calls her work beautiful, Plato describes her as the tenth Muse and many think her work rivals even that of Homer’s Iliad.

Sappho has fallen in love with a woman but her family and a civilisation on the precipice of democracy have other plans for her. The defiantly spirited Sappho comes under fire and soon she must decide whether to marry a man for the advancement of her society or remain true to her own words – and her authentic self.

Sappho runs at Southwark Playhouse from Friday 3rd – Saturday 25th May

Between Riverside And Crazy Starring Danny Sapani and Martins Imhangbe

Since his wife died, ex-cop Walter ‘Pops’ Washington has filled his palatial rent-controlled apartment in one of Manhattan’s most desirable areas with an oddball extended family of petty criminals. So now he’s besieged by the landlords, who want him out, the NYPD, who want him to settle his lawsuit against them, and the ladies from the local church, who want to save his soul… But Pops, calm at the eye of the storm, is going to do precisely what Pops wants to do…With Ayesha Antoine.

Between Riverside And Crazy runs at Hampstead Theatre from Thursday 3rd May – Saturday 15th June

People Places and Things Starring Malachi Kirby

Emma was having the time of her life. Now she’s in rehab. Her first step is to admit that she has a problem. But the problem isn’t with Emma, it’s with everything else. She needs to tell the truth. But she’s smart enough to know that there’s no such thing. When intoxication feels like the only way to survive the modern world, how can she ever sober up? With Ayo Awoyemi-Peters.

People Places and Things runs at Trafalgar Theatre from Thursday 3rd May – Saturday 10th August

Between the Lines Starring Alexander Lobo Moreno

A rundown council flat in Hackney is the home of Blaze FM, a frantic pirate radio station playing Jungle and Grime to keen listeners. Illegally.

Hughbert and the Shut Down Crew are here to tell you about Blaze FM being the heart and soul of raw new music, as well as it being a hub bringing real news to the community. But with the constant signal cuts by DTI and threats from the authorities, there’s more at stake than the station’s existence.

Can Blaze FM survive? Can Hughbert keep his secret from those closest to him? How far can your expressions of freedom go before you become a target of the state? With Anais Lone.

Between The Line runs at New Diorama Theatre from Friday 3rd May – Saturday 1st June

Kinky Boots directed by Amber Sinclair-Case

Filled with glitter, glam and a whole lot of sole,  ‘Kinky Boots’ is a reminder to celebrate your life triumphantly! Starring Duane-Lamonte O’Garro.

Kinky Boots runs at Storyhouse Theatre from Friday 3rd – Saturday 18th May @ Storyhouse

Now, I See by Lanre Malaolu

Two brothers reunite to honour their sibling’s life at a celebration of remembrance. As they begin to explore letting go, they are forced to confront their shared past and long-standing estrangement. 

A powerful fusion of movement, song, and text, Now, I See is an exploration of identity, forgiveness and nature’s visceral power to heal. Now, I See is the second instalment in Lanre’s trilogy that excavates and celebrates the truth of being a Black man in contemporary Britain. Starring Oliver Alvin-Wilson, Nbabiko Ejimofor and Tendai Humphrey Sirima.

Now, I See runs at Stratford East from Friday 10th May – Saturday 1st June

Romeo and Juliet Starring Francesca Amewudah-Rivers

Violent delights have violent ends.

Tom Holland is Romeo and Francesca Amewudah-Rivers is Juliet in Jamie Lloyd’s pulsating new vision of Shakespeare’s immortal tale of wordsmiths, rhymers, lovers and fighters.

Romeo and Juliet runs at Duke of York’s Theatre from Saturday 11th May – Saturday 3rd August

Passing Strange Starring Giles Terera, Rachel Adedeji and Keenan Munn-Francis

You know, it’s weird when you wake up in the morning and realize that your entire adult life was based on a decision made by a teenager. A stoned teenager.

A young musician sets out on an electrifying musical odyssey to find himself and his place in the world, swapping his middle-class L.A. upbringing for punk rock and protest in 1980s Amsterdam and Berlin.

Passing Strange runs at the Young Vic from Tuesday 14th May – Saturday 6th July

The Great Privation Written by Nia Akilah Robinson. Directed by Kalungi Ssebandeke.

In early 1800s Pennsylvania, a mother and daughter keep vigil at a grave. Today, at a Summer Camp on the same grounds, a new, yet not entirely different mother and daughter navigate a new, yet not entirely different landscape. Alongside them, two distinct male figures move in and out of both sets of lives, threatening to unearth dark truths – or to help create them. As timelines collide and secrets and lives become buried and revealed, a reckoning comes calling to them all: the roots to our ancestors are not as long as we may think. Starring Sydney Sainté, Christie Fewry and Romeo Mika.

The Great Privation runs at Theatre 503 from Tuesday 14th May- Saturday 1st June

The Book Of Grace By Suzan-Lori Parks. Directed by Femi Elufowoju Jr

Grace lives with her husband Vet, a patrol officer on the Texas-Mexico border. When Vet is awarded a medal for his service, Grace invites his estranged son Buddy to join them at the ceremony. But Buddy arrives armed with resentment, an ultimatum and (several) hand grenades. Can Grace heal the rift, and contain the threat? Starring Ellen Vincent, Peter De Jersey and Daniel Francis-Swaby.

The Book of Grace runs at Arcola Theatre from Thursday 16th May – Saturday 8th June

Handa’s Surprise @ Polka Theatre

Travel to Kenya and follow in Handa’s footsteps as she journeys to see her best friend Akeyo, in the next village. Handa is taking seven delicious fruits as a surprise – but seven different animals have seven very different ideas… could you resist the sweet-smelling guava? How about a ripe red mango or a tangy purple passion fruit?

A blend of physical performance, puppetry, live music and song combine to create an intimate, magical production with audience participation. Come and share in the magical tangerine surprise!

Handa’s Surprise runs at Polka Theatre from – Wednesday 22nd May – Sunday 23rd June

Pied Piper: A Hip-Hop Family Musical Written and Co-directed by Conrad Murray.

It’s the eve of the mayoral election, and the kids of Hamelin aren’t happy. The mayor and owner of the local pie factory has imposed a music ban, and to make matters worse, there’s a serious rat problem.
But there have been whispers of a mysterious rat catcher in town: sometimes he plays a pipe, sometimes he uses a microphone. Can this curious stranger help Hamelin to find its voice once more?

Featuring a hugely talented cast of beatboxers, musicians and special guest performances from the local community.

Pied Piper: A Hip Hop Family Musical runs at Queen Elizabeth Hall Southbank Centre from Friday 31st May – Sunday 2nd June

Theatre highlights this April Love Steps written and directed by Anastasia Osei-Kuffour

You can also catch The Comeuppance with Tamara Lawrance and Anthony Welsh and Housemates Returns: Is Dat U Yh? Written and directed by dkfash

Player Kings with Toheeb Jimoh and Clare Perkins

Amidst a divided England, reluctant Has faces an unexpected destiny as King while grappling with loyalty, corruption, and impending war.

Player Kings runs Monday 1st April – Saturday 22nd June 2024 @ Noël Coward Theatre

No More Mr Nice Guy by Cal-I Jonel

Prepare to be captivated by the world premiere of the award-winning play No More Mr Nice Guy.

This gripping narrative revolves around Keloughn Douglas, a British-Caribbean Music Teacher entangled in the complexities of his aspirations for senior leadership, a burning passion for a successful music career, and his yearning to marry the love of his life.

As he grapples with the balancing act of work and personal life while navigating the day’s microaggressions, Keloughn’s world hangs in the balance. Audiences will be drawn into his psyche through a captivating blend of storytelling, movement, rap, RnB, and sound effects. Described as “funny,” “thought-provoking,” and “clever,” this experimental gig-theatre production is an experience not to be missed.

No More Mr Nice Guy runs Wednesday 3rd – Saturday 6th April @ Bristol Old Vic

Underdog: The Other Brontë Directed by Natalie Ibu.

Charlotte Brontë has a confession about how one sister became an idol and the other became known as the third sister. You know the one. No, not that one. The other, other … Anne. With Adele James and Kwaku Mills.

Underdog: The Other Brontë runs Wednesday 3rd April – Saturday 25th May 2024 @ National Theatre, South Bank

Romeo And Juliet starring Hayden Mampasi & Felixe Forde

Set in 2024, this is the most famous story about teenagers ever told: their intense passion lights up a world of increasing violence between rival gangs, the Montagues and the Capulets.

Caught in the spiral of hate and revenge, Romeo and Juliet connect across enemy lines. Can they break free of the bloodshed and find hope for a different future?

Romeo and Juliet runs Wednesday 3rd -Saturday 13th April @ Shakespeare’s Globe Theatre

Love Steps written and directed by Anastasia Osei-Kuffour

The drama fuses poetry, dance and music to tell the story of Anna, a young, ambitious woman, who sets out to redefine the ideal of love on her own terms. The semi-autobiographical work also explores Black female identity and racial perspectives on beauty.

Love Steps runs @ Omnibus Theatre (Wednesday 3rd – Saturday 20th April) and transfer to Talawa’s Studio Theatre Fairfield Halls (Wednesday 29th May to Saturday 1st June).

The Comeuppance – with Tamara Lawrance and Anthony Welsh

Autumn 2022. A group of friends gather hours before their high school reunion.

20 years have passed since graduation: some have had children; some have moved to the other side of the world; some have been to war.

But there’s another presence in their midst. And as they catch up and reminisce, it only takes a scratch for the scars of those school days to surface.

The Comeuppance – Saturday 6th April – Saturday 18th May 2024 @ Almeida Theatre

The Ballad of Hattie and James with Suzette Llewellyn

An epic, life-spanning tale of friendship, music, and the moments that change you forever.

At St Pancras International, a woman sits at the piano and begins to play. The music captivates commuters, tourists and, following a viral clip, people around the world. Behind the music is the incredible story of a lifelong duet – the ballad of Hattie and James.

Throughout their lives, Hattie and James find themselves inextricably linked, for better or worse, and cannot help but replay the experiences that have shaped them.

The Ballad of Hattie and James runs Thursday 11th April – Saturday 18th May 2024 @ Kiln Theatre

Cheeky Little Brown by Nkenna Akunna

Meet Lady, a determined sharp-tongued charmer who loves her best friend Gemma as much as she loves a late-night kebab. It’s Gemma’s birthday party. The two haven’t seen each other for six months.

With original songs, this coming-of-age story examines a friendship between two Black women on diverging paths of self-love and acceptance.

A tiata fahodzi production. Directed by Chinonyerem Odimba.

Cheeky Little Brown runs Tuesday 16th April – Saturday 20th April @ Stratford East

Doughnuts and Ice Cream by Tamzin Murray and directed by Danielle Kassaraté.

This work in progress supported by Nouveau Riche, is a play full of laughter and inside jokes, as three women take us on an exhilarating journey through poetic conversations about love and success – however, beyond surface-level conversations and smiling faces, there is something much deeper taking place in their lives.

As Noelle goes through a lengthy journey to diagnosis for endometriosis, we see it affect her dynamic with best friends Gabby and Jazz, as well as her relationship with partner Andre as they navigate difficult conversations around fertility.

Their friendship quickly becomes more than a place to thrive but also a safe place to break as they piece back together her faith and view of womanhood.

Doughnuts & Ice Cream runs Wednesday 17th – Sunday 21st April @ Catford’s Broadway Theatre

Housemates Returns: Is Dat U Yh? Written and directed by dkfash

Tamagotchi’s, Pokemon and alien babies.

“a time where laughter was free and nonsense was all we knew”

It’s when you couldn’t be on the phone and the internet at the same time
It’s where you learned insults were a love language
It’s when spittin battles at lunchtime could get you happy-slapped

Tolu and the “Back Of the Bus Queens” relive and rediscover their love of home, in this joyous and whacky adventure down memory lane. Surreal memories, short stories, and nonsense!

Housemates Returns: Is Dat U Yh? runs Wednesday 17th – Saturday 27th April @ Brixton House

Much Ado About Nothing With Ekow Quartey as BENEDICK

After years of war, an idyllic Italian town is finally back in bloom. But young lovers Claudio and Hero, and sparring singletons Beatrice and Benedick, soon discover that all is not as it seems in their beautiful surrounds as they become entangled in a series of mischievous games, pranks and plots.

Much Ado About Nothing runs Thursday 25th April – Saturday 24th August @ Shakespeare’s Globe Theatre

Boy Blue: Cycles by Michael ‘Mikey J’ Asante and Kenrick ‘H2O’Sandy

Nine powerful dancers fill the space in what feels like unending motion. Celebrating the repetition and tenacity of our natural world, from day to night, birth and death, the tides, the ticking of time on a clock, the seasons and the steady rhythms of 1 2 3 4, Cycles is movement at its most fluid, distilled and skilled.

Boy Blue: Cycles runs Tuesday 30th April – Saturday 4th May 2024 @ Barbican Theatre

Small Stage: Big City. The Lonely Londoners gets a modern stage adaptation @ Jermyn Street Theatre.

What does the big city mean to you? What does it mean to live and breathe the same air as millions of others each and every day? Commuting and living in a hub of innovation and prosperity? Then ask yourself, what does it mean to be second best? Overlooked by a society that prospers around you, and ridiculed because of the colour of your skin. Sam Selvon’s The Lonely Londoners has been an indisputable bastion of the Black British experience since the mid 1950’s when it was first printed, and now, in 2024 a brilliant and moving recreation of Selvon’s poignant story have been recreated for the stage. Roy Williams’ adaptation of Selvon’s definitive work manages to squeeze the vast expanses of London’s endless sprawl, onto a stage no larger that your living room.

The Lonely Londoners is a piece of writing that has been close to me for a number of years. Being a text that I read and wrote about at university, hearing that it had been adapted into a theatre production was a cause for great excitement. I initially worried that any adaptation limited to a single stage would fall short of the scale that Selvon manages to portray in his writing. Roy Williams, the plays adaptor and director, cleverly does so in a way that is beautifully fitting to its predecessor. From the opening lines of Williams’ adaptation I see that Gamba Cole, Tobi Bakare, Romario Simpson, Gilbert Kyem Junior, Shannon Hayes, Carol Moses and Aimee Powell bring more than enough stage presence to embody London and its enormity.

The story follows Moses, played by Gamba Cole, and the friends he has picked up in his years as a Londoner. There’s Lewis and Big City, two fellow Caribbean migrants who moved to the City of London in the 1950’s. The name Moses is notable within the black experience in the London the audience is invited to watch. He is the point of call for anyone taking the trip over to London from Trinidad and Jamaica. Lewis (Tobi Bakare) and Big City (Gilbert Kyem Jnr) are two such examples of men taken under Moses’ wing. They come by his bedsit in Bayswater for advice and clean clothes and cigarettes almost daily, something that has clearly been the case for years already. We join the trio as Henry Oliver (Romario Simpson) knocks on Moses’ door looking for guidance and hospitality. Henry, who goes by Galahad, has just arrived on British soil and through his triumphs and defeats, we are treated to a look into what it means to take on life in the big city as a Lonely Londoner.

Roy Williams delves into the character of Moses and how he came to be the pillar of his community. He has tense and vivid dream-like conversations with a woman named Christina (Aimee Powell), and as we learn more about her and who she is to Moses, the scope of what he has left behind for a city that fails him over and over becomes clear. This is not a game, as much as he jokes with Lewis, Big City and Galahad, failure is not an option for him and his friends.

Through an engaging use of lighting and brilliant spacing and movement, The Lonely Londoners at the Jermyn Street Theatre uses the next 1 hour and 45 minutes to transform the tiny theatre space in Picadilly Circus into a bustling city-scape with palpable tension. Playing out on stage is the disconnect between new and old ways of thinking, between home and where one happens to live, and between Black and White.

We meet Lewis’ Family that follow him to London after reading the grand stories of a city of progress and fortune that he wrote about in his letters home. His mother Tanty (Carol Moses) and wife Agnes (Shannon Hayes) begin their own journeys in this strange city, learning to navigate the reality that awaits them. They are ignored and antagonised by locals and neglected by their main support system, Lewis. Tanty and Agnes place a strain, both emotionally and financially, on the precarious lifestyle that Lewis has cultivated for himself in London, a dynamic that plays out in a heartbreaking way throughout the play.

Meanwhile, Big City, an easy-going and impressionable young man, is battered by an onslaught of belittlement and nay-sayers that begin to wear away at his defences, taking him down a dark path of hatred and revenge that threatens the life he wants. All four men face vices that seek to tear them down in both the very structure and institutions of 1950’s London, and within their own shortcomings and egos.

As an audience member I saw a group of men left behind by their peers and that neglect reveals itself in the palpable loneliness that all four battle. Big City says it best early in the play, quoting a saying from back home: “Out of many, we are one people.” While Big City means to demonstrate the power of this statement to the apathetic white population of London, The Lonely Londoners depicts a reality where blackness makes you the ‘other’ and loneliness becomes deadly. It is only by leaning on one another, and sharing the hardships, that these Lonely Londoners can hope to come out on top in the vast, unforgiving city. The play is hilarious at times, ultimately uplifting and uniquely ‘London-y’, a sure-fire hit for anyone reading who calls London their home. I greatly recommend going to see the play before the end of its run on April 6th, to see life, love and London brought together beautifully on one (impressively tiny) stage.

29th February – 6th April 2024 @ The Jermyn Street Theatre

Rachel John stars in The Big Life, a musical that revisits the stories of the Windrush generation in 1950s London.

Reflecting on the journey from being an audience member 20 years ago to now portraying Zulieka, Rachel discusses the importance of the play’s revival, its message of love and resilience, and the personal significance of participating in a narrative that mirrors the cultural heritage and struggles of Caribbean immigrants …

Please introduce yourself …`
My name is Rachel John and I am an Actress.

Describe your life right now in a word or a sentence …
My life is blessed.

You discovered you could sing and act when?
I grew up singing at church, from a very early age and I took part in Sunday School plays and this is when I realised that I could sing and act.

Telling your nearest and dearest that you were going to be a performer was like?
Very easy as they always knew that I could sing.  They encouraged me to pursue this and have been to see every show I have been in.

Growing up in Walthamstow and wanting a career in the arts … was your environment an inspiration or a hindrance and how did you utilise it either way?
The environment was an inspiration because I was so active in church that it built up my skills. Free access to music, drama and instruments at church meant that I could grow.

The first production that challenged your decision to be a performer?
The Lion King was my first West End job. I was a swing and cover Shenzi, and it was a challenge. There were days when I felt overwhelmed, but I had a supportive cast and I kept going. I was glad that it was hard because once I settled in it was joyous.

The first production that solidified that you were on the right career path?
The Lion King at The Lyceum confirmed that I loved doing this and wanted to pursue this career. 

What is The Big Life about from your perspective?
The show looks at the lives of Caribbean men and women who travel to the UK when they are invited by the British Government, to help rebuild the country. They arrive with optimism and anticipation for the lives they can create. The men meet on the boat and decide to make a pact to focus on their dreams and avoid all vices for 3 years in order to succeed. However, when they encounter 4 women, it challenges their strength to keep the pact. The action is overseen and commented on by the wonderful actress and writer Tameka Empson and the audience is included in the commentary. This show is about getting a perspective of the Windrush generation and all that they encountered. This show means so much to me because my Mum came here in the 70s and served the NHS for just under 40 years. I want to honour her and all those West Indians who helped to build this country.

And … Zuleika your character – what are her hopes, dreams, goals and position in this musical?
Zulieka Mildred Edwards had huge dreams when she first arrived in the UK, but she is divorced, struggling to run her B&B and she longs to return to Trinidad to see her sick father but she cannot afford it. She dreams of being reunited with her father, being free of this financial burden and enjoying life. She is not looking for love, but she is very happy to find ‘sisters’ with her lodgers. 

How did you get to know Zulieka and understand how to portray her?
She is based on my Grandma, Mum and Aunts. I gave her the middle name ‘Mildred’ after my Grandma who passed away last July and ‘Edwards’ is the surname of my Great Grandma. I know so many women who have shaped my portrayal of Zulieka. I am familiar with her faith, fortitude and resilience. As soon as I read the script, I knew her and could not wait to embody her. 

You’ve worked on so many significant productions what’s special/different about The Big Life …?
This is the first time in my almost 20-year career that I have been Trinidadian and have been able to honour and display my heritage and culture. Being able to tap into our heritage is what makes it one of the most special productions I have been part of and a genuine honour.

Speaking of your impressive back career – Hamilton, We Will Rock You, Sister Act, Memphis, The Bodyguard and The Girl from The North Country – are you satisfied with your career trajectory – I can’t imagine it’s been easy … but … 
I am so satisfied and blessed. It may sound like a cliché, but I believe that every job has helped me grow, develop and meet amazing people. There are lots of things that I still want to do, but when I look back I still pinch myself. I am looking forward to the projects that await me.

Highs, lows, solutions …
Like every other production I have done, you wish for a little more time, but I think this is about pre-show nerves and anticipation. I really wanted the accent to be rich and authentic, so I had to get over this obstacle by trusting that it would flow and I would not let my family or Trinidad down.

Without spoilers what’s a scene you’re most proud of?
Although it is extremely small, I love when all eight of us are on stage together. These actors are my family and when we are all together there is bound to be a lot of laughs.

GETTING TO KNOW YOU

If not this, then what?
A teacher. Voice studies and Vocal tutoring.

What’s made you Sad, Mad, Glad this week?
I am glad that I can spend time with my family.

What are you watching right now?
I am watching The Chosen on Netflix. It is incredible.

What are you reading right now?
I am reading Windrush Child by Benjamin Zephaniah

What are you listening to right now? 
I am listening to a lot of Calypso and Soca at the moment like, Lord Kitchener, The Mighty Sparrow, Scrunter and Baron. 

The last thing you saw on stage? 
The Little Big Things.

What’s on your bucket list? 
See the Northern Lights.

Where’s your happy place?
Church – specifically singing with a congregation. 

Celebrate someone else …
My whole cast – I need to celebrate them.

Celebrate yourself …
I am very happy about a voice-over job that has been released on Netflix. It is called Dee & Friends and I voice the character of Miss Emerald. Also, I made my screen debut last year appearing in The Marvels with a small singing role. I am very grateful.

Whose footsteps are you following in?
My Mum – she is amazing 

What’s Next? 
A holiday!

Where can we find you? 
I am on all socials as @1RachelJohn (Instagram, X, Facebook, YouTube).

Where can we see find your latest work?
You can hear my debut album From My Lips To God’s Ear on Spotify and iTunes

The Big Life: The Ska Musical runs until Saturday 30th March @ Theatre Royal Stratford East

John Rwothomack is a Ugandan born, London trained, and Sheffield bred and based actor and director.

Set in five prisons across five decades, Lines explores the threads that tie a group of seemingly disconnected individuals in Uganda, Palestine and the UK. It looks through the bars of post-colonial life as told through stories in these diverging yet parallel worlds.

We spoke to John about performing in and writing Lines…

Please introduce yourself …
Born in Entebbe, Southern Uganda to Northern parents, and moved to Sheffield age 11. I belong to both Uganda and Sheffield, but in a sporting competition, I will wear the black, yellow and red.

Describe your life right now in a word or one sentence …
Transition. I feel I have just finished building the foundation for the next chapter.

What started you on the path to becoming a writer, actor and director?
In some respects I have always been all three but without knowing. I trained as an actor, so it’s fair to say that is what opened the door to other avenues. When I look back to my process as an actor, even as a teenager in an amateur drama group, the approach to bringing a character to life has always been dramaturgical.

The writer in me has always been hidden in there somewhere and came out thanks to Paul Sirett, who I pitched the idea of Far Gone to after directing his Bad Blood Blues. His reply was that I was the only person who could possibly write Far Gone. I hadn’t seen myself as a playwright, but accepted the challenge and in six months I had written a play. A lot of the work I make comes out of necessity, my personal feelings and need to tell a story.

Paul’s Bad Blood Blues looks at how Western Pharma companies take advantage of African countries. It’s a play I really believed in and wanted to be in as an actor, but then realised that for it to be staged I needed to produce it, and to do so meant directing it, I hadn’t directed before but the need was there.

Tell us about Lines and working with  co-writer and fellow performer Fidaa Zidan …
Lines is one of those plays that I truly believe will change me personally and professionally. The play is a very personal one for both Fidaa and myself. It stems from our meeting in 2019 at Kampala International Theatre Festival, where we both had solo shows with very similar structures of storytelling and themes. Alexander Aron, the Remote Theatre (New York) producer, liked both our work and thought Fidaa and I should do something together. Through Zoom conversations, Lines became a play looking at the relationship between Uganda, Palestine and the UK, with our personal stories at the centre. Lebanese-based Junaid Sheridan then joined us both as a dramaturge and director. Making theatre like this is exciting, where multiple languages of storytelling come together to create one thing. Fidaa being Palestinian, Junaid Lebanese, Alex from New York and myself of Ugandan heritage but with British theatre training, we are inevitably bound to make a piece of theatre that’s new and has its own identity. We hope you like it.

What was the importance of telling this story and what does it mean to you personally?
All my work as a creator is constantly challenging Britain’s colonial past and how it’s affected both the colonies and Britain itself. Good or bad, Britain is so multicultural because of its history. This history has some seriously ugly moments, which have been deliberately omitted or hidden. This is a mistake. If we are educated fully and understand our similarities and differences, and how this colonial past affects us all, I truly believe we will be less discriminative as a society. Lines draws on the commonality of two people from two parts of the world that might seem to have nothing in common. Personally, it’s in these differences that we can find similarities and begin to understand each other.

Highs, lows, solutions …
The team is made up of people from all over the world, all in different time zones. We had to initially work remotely. To be on Zoom for a meeting is one, but to be there for over 6hrs trying to write, collate ideas, formulate structures of a play, that’s a whole different challenge, but without pushing through we would not have found the core themes and subject of the play. The other exciting challenge was bringing multiple languages and styles of storytelling together to make one project. Of course we were going to have cases of miscommunication and misunderstanding, but it’s in these differences that I believe we’ve managed to create a show that’s hopefully accessible to multiple
audiences across the world.

You sit on the board of governors for the Migration Matters Festival? Can you tell us more about the festival and your involvement and how it serves the artistic community?
Migration Matters Festival is one of the projects I’m most proud to be a part of. The festival’s main aim is to celebrate the fact that the community in Sheffield is made up of people from different parts if the world, particularly in providing a platform to artists who have been displaced and forced to migrate. We do this by programming a variety of artistic work including theatre, music, poetry, dance, workshops, exhibitions and so on. We program both international, national and community artists. From programming internationally celebrated artists that would never otherwise come to Sheffield like Seun Kuti, Sauti Sol, Lowkey or Les Amazones D’Afrique to giving opportunities to community members in Sheffield, making sure that tickets are either free or affordable so that those most financially vulnerable can access this unique and essential festival. We’ve been at it for eight years and every year feels new and vibrant.

GETTING TO KNOW YOU …

What’s your current plan B?
No such thing. I do picture myself sitting on a farm at some point in life.

What’s made you Sad, Mad, Glad this week?
Sad, our director received video messages of Lebanon being bombed during rehearsals. Mad, politicians never cease to fail in this arena. Glad, the new formula Mercedes car. I know.

What are you watching right now?
The Office – US of course.

What are you reading right now?
The Lantern Meet of Poets, a poetry Anthology by Uganda poets.

What are you listening to right now?
Koji Radical, Burna Boy, Asaka, Damien Marley. Nina Simone.

The last thing you saw on stage?
Brief Encounter at The Royal Exchange, Manchester. Baker Mukasa is unstoppable.

What’s on your bucket list?
Building a theatre from scratch. VIP at a Formula1 Race.

Where’s your happy place?
Anywhere my mother is. Ugandan sunshine and fruits.

Celebrate someone else …
Lee Affen. Legendary sound designer and storyteller, the way he works with sound and music to bring the
story to life is simply extraordinary. Love love working with him.

Whose footsteps are you following in?
I am inspired by a lot of artists.

What’s Next?
Far Gone international tour. Never Look Back production. Writing some new work.

Where can we find you?
@jrwothomack / jrwothomack.com

Where can we see you next?
Lines – Starting at The Crucible, touring the UK and closing in New York.

Lines runs until Saturday 9th March @ the Play House, Sheffield Theatre.

Theatre highlights this March include Red Pitch at West End’s Soho Place

You can also catch Power of Sail starring Giles Terera and Michael Ahomka-Lindsay joins the cast of Cabaret.

Romeo & Juliet from Conrad Murray and Lakeisha Lynch-Stevens

A remixed tale of star-crossed lovers. How much would you risk for the person you love?

Forced apart by generations of hatred, young eyes meet across a South London dancefloor on a fateful night that will change their lives forever. Shakespeare’s most famous story is re-told through rap, rhythms, and beautiful harmonies. It’s ‘Romeo and Juliet’, but as you’ve never heard it before.

Put down your swords and pick up your mics, after all, the course of true love never did run smooth.

Romeo & Juliet runs at Polka Theatre from Saturday 2nd March – Sunday 14th April 2024

Oedipus Electronica @ Brixton House

An electrifying re-imagining of the ultimate love triangle. Mother. Father. Son.

Jo is a playwright struggling with a commission deadline and the threat of an emergency hysterectomy. Over 24 mind-bending hours, she feverishly writes her own Oedipus, the most explosive of Greek myths, and exorcises her long-buried grief for the child that didn’t live.

Oedipus Electronica runs at Brixton House from Wednesday 6th March – Saturday 9th March

Red Pitch written by Tyrell Williams

What happens when your football pitch, a place you’ve laughed, fought, and forged friendships is threatened by impending demolition? Can three lifelong friends continue to dream of stardom, or will their goals be torn down alongside their home?

Red Pitch runs at West End’s Soho Place from Friday 15th March – Saturday 4th May

Power of Sail starring Giles Terera

Explores the tenuous relationship between hate and freedom of speech through the lens of a Harvard University symposium, where a white nationalist has been invited to attend.

Power of Sail runs at the Menier Chocolate Factory from Wednesday 20th March – Saturday 18th May

Cabaret with Michael Ahomka-Lindsay

In a time when the world is changing forever, there is one place where everyone can be free…

Welcome to the Kit Kat Club. Home to an intimate and electrifying new production of CABARET. This is Berlin. Relax. Loosen up. Be yourself.

Michael Ahomka-Lindsay joins the cast of Cabaret from 11th march @ West End’s Kit Kat Club @ Playhouse Theatre

A Mirror starring Samuel Adewunmi

Would the congregation please stand and swear the Oath of Allegiance.

When creativity and corruption collide, who decides what is art and what is truth?

The Mirror runs at Trafalgar Theatre runs until Saturday 20th April 2024