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.

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.

Durone Stokes plays Jack in Jack and The beanstalk @ Broadway Theatre, Catford …

Jack, his Mum and their cow Caroline live in the Kingdom of Lewishfarm and life is tough; the people are poorer, and the rich are getting richer. Everyone is at the mercy of Giant Egred and his evil cockroach henchman Boris (who, by the way, secretly wants to destroy humanity). Will Jack fulfil his destiny? Will Caroline the Cow become a Tik Tok star? Will Jack’s Mum find love in the audience?

Durone’s theatre credits include Groundhog Day (Old Vic), Lion King (West End), The Playboy Of The West Indies (Birmingham Rep), A Taste Of Honey (Trafalgar Studios, National Theatre Tour), Dreamgirls (Savoy Theatre), and Grand Hotel (Southwark Playhouse).

Please introduce yourself…

Hi, I’m Durone Stokes, I’m an actor and I’m from Brockley, South-East London 

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

Joyful

What was the [inspiration/person/moment in time] that started you on this particular career path? … 

It was genuinely when I went to see a dance school show at the Catford Broadway Theatre as a child and seeing a boy play the Prince in a ballet routine. I wanted to do what he did and so I joined that dance school soon afterwards.

You play the role of Jack in Jack and the Beanstalk at the Broadway Theatre, Catford? How did the role come about?

I heard Catford Broadway Theatre was going to do Jack and the Beanstalk as their first Panto after the theatre’s Grand Re-opening and it being my local theatre I emailed one of the producers of the Panto (Joy Productions) to ask if I could possibly be seen for the role of Jack!

GETTING TO KNOW YOU 

If not this, then what?

A Pastor. I’ve always had the desire to be a pastor since I was a kid.

What’s made you Sad, Mad, Glad this week?

Sad – Seeing a friend talk down about themselves.
Mad – A fly flew into my cup of tea before I’d even taken a sip… I had to make another one.
Glad – Being a part of the Turning on of the Christmas lights in Catford!

What are you watching right now?

Miraculous: Tales of Lady Bug and Cat Noir! I know it’s aimed at a younger audience but I just love it!

What are you reading right now?

I’m learning Spanish at the moment and so I’ve been reading Spanish books my favourite at the moment being “Cuentos de buenas noches para niñas rebeldes”.

What are you listening to right now? 

Always Country Music. I’m loving the artist Luke Combs at the moment.

The last thing you saw on stage? 

I had the pleasure of seeing Amy Webb play Elphaba in Wicked. She was UNBELIEVABLE!

What’s on your bucket list? 

Go to Mexico.

Where’s your happy place?

Journaling with a cup of tea.

Celebrate someone else (who do you rate right now?) 

Griff – British singer – I’m a big fan.

Celebrate yourself …

I recently got to perform in a show at the Old Vic Theatre!

Whose footsteps are you following in?

Will Smith always.

What’s Next? 

I’m looking to start training in Improv.

Where can we find you? 

I’m actually not on social media at the moment.

Where can we see / read / listen to your latest work?

You can come and see me playing Jack in Jack and the Beanstalk at Catford Broadway Theatre
from December 13th – December 31 st .

Baker Mukasa is a musical theatre performer …

He is known for his role in the acclaimed musical Standing At The Sky’s Edge’ and will now star in the Royal Exchange Theatres Brief Encounter as Alec.

Set in a busy railway station, where everyone is simply passing through, Laura and Alec find each other. Falling passionately and wildly in love in a few stolen moments they live and breathe a lifetime of epic emotions, reawakening everything they buried deep inside. Together they find themselves in a bittersweet, hopelessly romantic, elegantly awkward love affair …

Please introduce yourself …

Hi, my name is Baker Mukasa, I am an actor and a singer, born and bred in South London but I am also of Ugandan heritage.

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

Beautifully surprising.

What started you on this particular career path?

This is a career that chooses you, you don’t choose it. As a kid my first love was singing, I always had lots of performance energy and I grew up in a family where if you went to a party you were expected to dance. However, when I was a young kid I didn’t think of acting as a career path it was just something I enjoyed doing. But as I got older I went to a secondary school with amazing performance-based extra-curricular activities and amazingly supportive staff. The more I got involved the more things I did outside of school, like concerts and theatre clubs and the more time I spent doing that the more I realised that I’d be happy to do this as a career because I enjoyed it so much. So, after many clubs and lots of kindness here I am.

Tell us about Brief Encounter and working with director Sarah Frankcom …

It’s brilliant! Sarah is a very generous director who gives you a lot of space to explore, but also has a keen attention to detail. She has managed to bring together a group of ridiculously talented individuals who all have a massive heart and who all have the best interests of the story in mind. There is a feeling of safety when working in her room and that is reflected in the confidence of the work. I’m very grateful to be telling this story, with these people, at this time.

How did you feel when you got the part of Alec?

I was ecstatic when I got the part. I admittedly didn’t know the story very well at the start, however after watching the film and reading the play fell in love with it. The part also came at a time when I was in between jobs, so getting the call whilst I was on a break during a waiting shift really made the day go faster.

GETTING TO KNOW …

What’s your current plan B?

Refer to plan A

What’s made you Sad, Mad, Glad this week?

There are many things that have made me mad and sad this week, there is a lot of suffering in the world right now and it feels like all the people in charge have their political standing at the forefront of all their decisions instead of basic humanity- that makes me very sad and mad.

What made me glad this week, is a glorious bowl of ramen I ate at a restaurant that’s a stones throw away from the theatre!

What are you watching right now?

Modern Family

What are you reading right now?

The Citadel by A.J. Cronin

What are you listening to right now?

Janelle Monae – The Age of Pleasure

The last thing you saw on stage?

Hamilton

What’s on your bucket list?

Many things – to spend a lengthy period of time learning salsa and Spanish in Cuba and to do a concert with an American gospel choir.

Where’s your happy place?

Anywhere that serves a really good flat white.

Celebrate someone else …

Matthew Malone our fantastic MD who is a genius but leads with such love.

Celebrate yourself … (make us proud of you)

I’m proud to be working at the Royal Exchange Theatre. I’m proud to have my first leading role. And I’m proud to have been able to stay joyful even though the world isn’t always.

Whose footsteps are you following in?

My favourite quote is ‘I come as 1 but I stand as 10,000’ so I guess I’m following in the footsteps of all the people who have paved the way for me to get to where I am / my mum!

What’s Next?

I’m doing Standing At The Sky’s Edge next year.

Where can we find you?

Insta @bakertm / X @bakertyson

Where can we see you next?

Baker Mukasa stars in Brief Encounter at the Royal Exchange Theatre, Manchester, runs from 2 Dec – 13 Jan 2024.

For more information visit the Royal Exchange

‘High Times and Dirty Monsters,’ is the new hip-hop show by Liverpool-based 20 Stories High. 

In collaboration with national partners, the production features Deaf, disabled, and neurodivergent artists, providing a glimpse into the experiences of being young and disabled in 2023. From heavy beats and stunning visuals to integrated British Sign Language (BSL), creative captioning, and audio description, High Times and Dirty Monsters aims to offer a diverse and inclusive experience. 

We spoke to some of the cast and crew involved in bringing this groundbreaking production to life …

JAYDEN REID TALKS … HIGH TIMES AND DIRTY MONSTERS

‘High Times and Dirty Monsters’ to me, is a breakthrough story for the people around us, the crowd and the government, as it speaks about so many things including the political state, friendship, family and the system. This show helped me understand not just Jamal’s story of depression and anxiety but of others and the struggles that each character faced. Especially after countless conversations with many young people who were all a foundational part of the show.

Read the full interview here.

JOSÉPHINE-FRANSILJA BROOKMAN TALKS … HIGH TIME AND DIRTY MONSTERS

There’s something especially challenging about living with neurodivergence and mental health conditions. You feel othered in your life experiences and the fact you live in a neurotypical world and experience complex emotional situations that you often feel too ashamed or frightened to share for fear of being too much to handle. I feel inordinately blessed that I have close friends and family in my life who I know support me but I know a lot of people aren’t in that position.  

Read the full interview here.

CHOREOGRAPHER CHRIS FONSECA TALKS … HIGH TIMES AND DIRTY MONSTERS

Jamal’s story is touching and relatable to my personal experience as a black deaf man; navigating and unravelling the complexities of identity. The inner voice of my younger self wished to hear a story like this back then. And Kat’s story, The speech was powerful and heartfelt, making it completely relatable. I won’t say more. I’ll leave you to watch the play.

Read the full interview here.

High Times and Dirty Monsters tours until November 25th. Find out more here.

‘High Times and Dirty Monsters,’ is the new hip-hop show by Liverpool-based 20 Stories High.

In collaboration with national partners, the production features Deaf, disabled, and neurodivergent artists, providing a glimpse into the experiences of being young and disabled in 2023. From heavy beats and stunning visuals to integrated British Sign Language (BSL), creative captioning, and audio description, High Times and Dirty Monsters aims to offer a diverse and inclusive experience.

We spoke to some of the cast and crew involved in bringing this groundbreaking production to life …

Please introduce yourself …

My name is Chris Fonseca, and I am a dance artist, choreographer & teacher. Angolan heritage – born and raised in the heart of South East London.

Why High Times and Dirty Monsters?

I greatly admire the incredible work of 20 Stories High. When I was offered the amazing opportunity by Keith and Leanne to participate, being part of a creative team to collaborate on something I knew would be magical and ojn such a significant topic, I was thrilled to take on the role of choreographer.

What does the story of High Times and Dirty Monsters mean to you personally?

High times and Dirty Monsters is a crucial topic that amplifies the voices of young deaf, disabled, and neurodivergent individuals who have been unseen, unheard, and undervalued by society and the system. To acknowledge the obstacles they have encountered and to educate and empower the younger generation, with the hope of changing the narrative.

Tell us about a challenging moment during this project that you had to dig deep to get through?

Finding a definition of creative language that combines multiple layers to integrate the creative process of BSL integrated, movement, and audio description within a limited time frame was an interesting challenge. Kudos to the incredibly talented team for embracing the experience and persisting towards the finish line successfully. Throughout the process, I have gained more knowledge about disabilities and neurodiversity, which will enhance the process for future projects.

Tell us a memorable moment?

Press night. It was filled with intense emotions and created an incredible atmosphere. The exceptionally talented cast and creative team truly brought the show to life. It was a major honour to witness the journey of transforming the rehearsal period into an extraordinary stage performance. This has been the proudest experience.

What best defines what you love about this project?

Jamal’s story is touching and relatable to my personal experience as a black deaf man; navigating and unravelling the complexities of identity. The inner voice of my younger self wished to hear a story like this back then. And Kat’s story, The speech was powerful and heartfelt, making it completely relatable. I won’t say more. I’ll leave you to watch the play.

What’s next?

Working with a dramaturg to bring Follow the Signs 2.0 back in 2024, bigger and better. I’m thrilled that the show has a future life after being successfully commissioned by Soho Theatre. Keep your eyes peeled.

How do we keep up to date with you and your work?

Website: www.Chrisfonseca.com, Instagram, Facebook and YouTube: @itschrisfonseca. Join me on this journey to gain insight into my discoveries, explorations, and majestic creativity.

High Times and Dirty Monsters tours until November 25th. Find out more here.

‘High Times and Dirty Monsters,’ is the new hip-hop show by Liverpool-based 20 Stories High.

In collaboration with national partners, the production features Deaf, disabled, and neurodivergent artists, providing a glimpse into the experiences of being young and disabled in 2023. From heavy beats and stunning visuals to integrated British Sign Language (BSL), creative captioning, and audio description, High Times and Dirty Monsters aims to offer a diverse and inclusive experience.

We spoke to some of the cast and crew involved in bringing this groundbreaking production to life …

Please introduce yourself …

My name is Jayden Reid. I am a young Deaf Black actor and dancer, I was born and raised between London and Newbury. I attended Mary Hare School boarding school (a school for Deaf children and young people). I discovered my love of acting at school, and decided to do Performing arts and since then have developed a huge passion for it whilst I navigated a mix of emotions and identity being raised in a hearing world.

Why High Times and Dirty Monsters?

High Times and Dirty Monsters came to me through my agent. I’ve worked for TV before, so I wanted to try out theatre. I think my biggest challenge was learning lines. Growing up I had always feared theatre but when I heard that the idea was a hard-hitting show about disability and neurodivergence I went for it. Especially as I’ve personally faced barriers and difficulties because of my Deafness. I wanted this show to have an impact on not just the audience, but to the government and to those who don’t understand the importance of inclusion.

Tell us about your character and what their goal is in this project … 

My character Jamal is a Deaf man who has a child at a young age whilst suffering from depression and anxiety. He often thinks he’s “not good enough dad” to Angel, his daughter with his girlfriend Maya. His goal is to build a happy relationship between himself and the family he and Maya have created.

Tell us about working with your fellow cast …

The cast are full of absolute amazing people. I enjoyed every moment of being with them – the pranks, the games and the talks we all have. Billy, Joséphina, Maisy, Grace and Chandu are all lovely people and are easy to work with. We had conversations about what we each needed so we could all be fully accessible and understanding. I never once felt excluded.

What does the story of  High Times and Dirty Monsters mean to you personally?

High times and Dirty Monsters to me, is a breakthrough story to the people around us, the crowd and the government, as it speaks about so many things including the political state, friendship, family and the system. This show helped me understand not just about Jamal’s story of depression and anxiety but of others and the struggles that each character faced. Especially after countless conversations with many young people who were all a foundational part of the show.

Tell us about a challenging moment during this project that you had to dig deep to get through it?

The challenges were trying to not include too much of our personal life into our monologues. During our rehearsals we had to figure out the fine line between our reality and a story that is being told by us. Sometimes the subject could get touchy for us and it was definitely figuring out how to communicate that. But thankfully it went smoothly as we always supported each other and made sure that we all felt comfortable.

Tell us a memorable moment?

On the day when we had a first full run through, the nerves and the excitement were all over the place. It was the day I felt that I needed to show what I could do as an actor. We had all worked on our parts separately, sometimes only seeing a part of the development of each other’s stories. The run through was the very first time we saw it all together. It was definitely exciting hearing everyone’s stories and watching them was just simply art. It was such a pleasure to be working with everyone in the room.

What best defines what you love about this project?

I actually love Jamal’s story and the character himself because a part of me felt happier and more at peace knowing that a fraction of my personal story is being told to the audience. I feel attached to this project because of how truthful and transparent it is. I feel that without High Times and Dirty Monsters, there’ll still be things that I don’t understand within neurodiversity and disability.

High Times and Dirty Monsters tours throughout October and November being in so many different places in such a short time, do you have any rituals that you do to maintain a sense of self or a sense of home that you take with you?

I like to get to the accommodation, have a nice meal out and see the city I’ll be performing in. I like to explore and feel the environment and energy of the place and then use that energy to perform. I also like to sit down and think about my future goals and ambitions to manifest it as much as I can and then prepare for the days to come.

Considering your career evolution, where does this project sit on your checklist?

My career goal is to encourage more Deaf people into the world of arts. I find that within the Deaf community not a lot of Deaf people are confident to barge into a world of creativity. With this show, I want to inspire young Deaf children and adults to connect with one another. With this show, I put in a lot of work to make sure I do the best I could, to show the most I can, to take pride in who I am and show many people that Deaf can do it.

What’s next?

I hope to get more jobs on screen and in theatre. I’m always looking to try out new things and experiment many different roles to build myself as a person as well as an actor.

How do we keep up to date with you and your work?

Instagram – realvib3s where I post on stories about my life and the jobs I do.

High Times and Dirty Monsters tours until November 25th. Find out more here.

‘High Times and Dirty Monsters,’ is the new hip-hop show by Liverpool-based 20 Stories High.

In collaboration with national partners, the production features Deaf, disabled, and neurodivergent artists, providing a glimpse into the experiences of being young and disabled in 2023. From heavy beats and stunning visuals to integrated British Sign Language (BSL), creative captioning, and audio description, High Times and Dirty Monsters aims to offer a diverse and inclusive experience.

We spoke to some of the cast and crew involved in bringing this groundbreaking production to life …

Please introduce yourself …

My name is Joséphine-Fransilja Brookman. I’m a Ghanaian and Finnish actor, singer, songwriter, poet and writer currently based in South London. I’m especially interested in the blending of Ghanaian and Finnish culture to tell story through different mediums. I graduated from Bristol Old Vic Theatre School last year and have since worked on Film4’s MO <3 KYRA and my own theatre show A Pigment of Your Imagination which featured at The Pleasance Theatre in Islington. I’m currently playing Sasha in High Time And Dirty Monsters, written and directed by Keith Saha.  

Why High Times and Dirty Monsters?

I knew very little about High Times And Dirty Monsters going into the audition. I had been told it was a “new piece of gig theatre exploring the good times, heartbreaks, and systemic oppressions of Deaf, Disabled, and Neurodivergent young adults in the UK” but I knew nothing else about my character Sasha. Because of this, I went in to the audition with nothing but curiosity, my lip gloss, my pink Moomin water bottle, one of my favourite monologues (Kristian’s Monologue to Julie in Polly Stenham’s adaptation of Miss Julie) and a song; Yebba’s, My Mind. 

From the minute I met the director Keith Saha, Assistant Director Sonny Nwachukwu and our producer Leanne Jones I knew I needed to work with this team. They were so kind, vibrant, excited, honest and interesting I knew that would translate to what the project would be like. Later when I met the character Sasha, I felt such an affinity for her. As a neurodivergent person, who has recently returned home after three years of university, to realise the landscape of my life, my home and my relationships had changed completely, I felt like I understood her and that a part of her story existed in me. This ignited a burning desire in me to help her story come to life.

I knew other people would understand and connect with her and I believe that’s why I was so drawn to this in the first place. Not only am I representing myself and being given a voice to weave my history into the beautiful tapestry that is this show – I’ve also been bestowed with the privilege of hopefully empowering others to come forward and share their experiences too. I steadfastly believe that’s what art is for.  

Tell us about Sasha and what her goal is in this project … 

Sasha is a bubbly unwavering self-proclaimed optimist who is currently crashing at her childhood friend’s home after being kicked out of her aunty’s place. I think her goal in the show is to remain positive and evade the pain and grief she holds, as well as finding a home. I believe her definition of home, like many of us, is kind of nebulous. At some points home is her friend’s pink fluffy sofa, at others it’s an embrace and also literally a place that she has ownership of and feels safe in.  

Tell us about working with your fellow cast …

This team is a dream. So many emotions are involved in making theatre, there’s so much joy and breakthroughs but it can also be challenging when you are so passionate and have your own emotional stakes in the piece. As a collective we’re all trying our hardest to capture and artistically define the human condition and that’s not possible alone. Whether it be Miriam Nabarro’s beautiful use of colour to explore emotions and characters aura or Tony Gayle and Grace Savage’s beautiful soundscapes to create the inner and outer world of not only our characters but everyone on this team. Everyone is working at such a virtuoso level of creativity and has such a genuine love and vested interest in the work but also each other. It’s been so special to be involved. I have to give a special shout out to our access worker Donna Coleman, she is an angel. I really feel that the reason I can be vulnerable in the room and get to the places I need to go emotionally is because of how much we are all looked after and out for. Whether it be sports tape, a shoulder to lean on or a good luck beatbox in the wings – she’s there.  

What does the story of High Times and Dirty Monsters mean to you personally?

In terms of Sasha’s story I think I connect with her real sense of dependency on technology as a means of connection. With social media you can scroll yourself into oblivion trying to quiet the discordant hum of loneliness, but you have moments where you have no other choice but silence and solitude and the longer you go without it the more frightening the concept of being left with your thoughts seems. Like Sasha I love the buzz of people’s lives whizzing into each other’s but I also love solitude. I need respite and sometimes I need to lie down and recharge in a quiet room but I often find myself, like Sasha, denying myself that right. For fear of staying alone, scared of not having people to return to, scared of where my mind could go when there’s no one else and nothing else to occupy it with but myself. It’s definitely a collective, societal experience especially for my generation, as some of us have been using phones since the age of 5.

There’s something especially challenging about living with neurodivergence and mental health conditions. You feel othered in your life experiences and the fact you live in a neurotypical world and experience complex emotional situations that you often feel too ashamed or frightened to share for fear of being too much to handle. I feel inordinately blessed that I have close friends and family in my life who I know support me but I know a lot of people aren’t in that position.  

Tell us about a challenging moment during this project that you had to dig deep to get through it?

As an actor and an artist you’re constantly putting yourself forward, baring yourself and it can become quite easy to bleed from self-awareness into self-criticism. I had this wonderful acting teacher called Jack Price and he taught me the mantra “I’m working right now, I’ll speak to you later” to say to myself whenever doubt gets in the way and it definitely works. I think in the beginning I really struggled with this, as a Black, queer girl I don’t exist in a vacuum, you meet a lot of people that want you to be smaller and to be quiet and to be an actor often means to do the opposite of that! I wouldn’t want to pause or hold a moment for fear of taking up people’s time. Keith, our amazing director was so affirming in that all of us are here for a reason and we can’t deny people of a story we’ve promised to tell them. Feeling free enough to take space and be seen was an amazing breakthrough (especially, as you’ll see with such a jubilant high-octane character like Sasha).

Tell us a memorable moment on set?

A memorable moment for me was the first meet and greet before our table read. I’d geared myself up to talk to about twenty people but ended up face to face without about 70. Shock of a lifetime. But definitely a pleasant one.

What best defines what you love about this project?

Ooh, this is a tough one without doing a Tom Holland and giving spoilers. I think our little scene transitions, us setting up the stage for each character’s individual stories. It just represents the show and us well, it’s fun and has a real teamwork makes the dreamwork vibe.   

High Times and Dirty Monsters tours throughout October and November being in so many different places in such a short time, do you have any rituals that you do to maintain a sense of self or a sense of home that you take with you?

I take my pink bonnet and my pink silk pillowcase with me to every show (I’m a Leo I need to protect the mane). Just before every show I play We’re Blessed by Fred Hammond (you can usually hear me belting the breakdown in the corridors of the dressing room) and Pray Our Father and The Hail Mary. Post show, I fall asleep to Hozier’s Wasteland Baby album every night – need to hear that mellifluous voice to have a good night’s sleep.   

Considering your career evolution, where does this project sit on your checklist? 

Honestly this is a big goal and a big dream for me. Working in a job I love is a blessing to me. I’ve always wanted to tour, traveling with a show, feeling the audience reactions change depending on where you go, and moving around the country with people I have grown to love is a big bucket list item for me. I do have my own Pinterest board of goals and I love a mood board but in terms of checklists there’s the adage we plan and God laughs. I try not to hold on to anything with too tight a grip, but I love theatre, it’s what at this point in time, I want to do for the rest of my life and this show is a beautiful and cacophonous beginning. 

What’s next?

God provides. Life is next – might be naive but I’m too excited and thankful for the here and now to think about what comes next. 

How do we keep up to date with you and your work?

My Instagram is JozyFransilja. I mostly document what I’m up to, what I’m listening to and occasionally a cheeky preview of one of my own songs.

High Times and Dirty Monsters tours until November 25th. Find out more here.