Home From Home

 



I read this morning that the big Game of Thrones production got a four-star review. The writer of the review explained their position at the end of the article, saying that if you were a fan of the TV series it was a five, and if you were new to the world of Game of Thrones it was a three-star.


I sat with that a while.


My boys are fans and one of them has tickets in a few weeks’ time. I have yet to see an episode.


Anyways, I wanted to share with you a few words about my recent experience at the Edinburgh Fringe Festival.


I spent some time over the hot summer days making the work with Nathan Jonathan, who was brave enough to tear down the work he had written before and build it back up, brick by brick. He was searching for a director who had the experience of living in the North of England, understood the complexities of Black British and working-class experiences, as well as being willing to dive into the joy, pain and impact of the question: what makes a man?

In that search he found me at the end of a much-needed sabbatical, building back my life after the foundations of my marriage had ended.

When people ask me where I’m from in relation to where I reside, these days I say the United Kingdom. It’s easier that way. Home has become a broader answer for me recently and I have been blessed to call all nations my home whilst making the work I make. Finding Home from Home has been my saving grace.


I share this with you to say it out loud to those of you who haven’t clocked my new life, but also to give you some context for the circumstances that some of us are working in.


Everyone who has ever worked with me knows I chat about inner circles and information being shared — if at all — at the right time and in the right place. If news is awful or joyful enough, it will carry like the wind on a wave on the sea. And we live in nations surrounded by the sea.


Protect your peace in these choppy-water times. I continue to protect mine.


Back to the Edinburgh Fringe Festival.


Myself and Nathan Jonathan arrived in Edinburgh prior to the opening. This meant we had arrived at the fresh-paint, pick-up-your-passes, bounce-in-your-step stage of the Fringe. Every nook and cranny and doorway appeared to be sharing a production. Even in the comedy camps, this is no joke. To be a Black and Brown-led production means you constantly walk into spaces every day where you are one of none. At first I met more international Black artists — Black people from America and Zambia — than I did Black British people. If it hadn’t been for Fringe of Colour hosting an event to touch base and check in with each other, I would have struggled to see us. And as for the working-class experience… rare. Which is not surprising, given what it takes to arrive at the Fringe ready.

You might as well be planning to take a rocket to the moon.


To be a director amongst all of this is not easy. You are keeping the ship steady whilst checking the horizon for shark-infested waters and a friendly shoreline to dock. Getting crew and cast box-fresh ready to open a show requires thread-and-needle focus, even if you’re hearing screaming from the other theatre rooms.


Listen, we opened at the Anatomy Theatre at Summerhall Arts — one of the most prestigious stages — at 7.15pm.
Indulge me with my analogies.


A play with the question: what makes a man?


I enjoyed watching trails of men walk in, either on their own or with their mates. Couples. Women with their friends. Fellow artists. Some came with their pints and reached for their hankies too.


All are, of course, welcome.


The reviewers came.


One came to the first preview. I know because they asked me about my notebook and if I was reviewing. I said no, I was directing and would be sharing my notes after the show’s preview. I then asked about their role.
They said they were reviewing the show. I quipped, “Well, OK then, I’ll leave that with you.” And so said, so done.


When making your art, you have to believe. And then, when you put it in front of an audience, you adjust accordingly — to the betterment, not the detriment, of the work. You breathe life into the work with every beat and breath and rhythm. If done well, then each sharing will land according to who was in the room. Who will Nathan look in the eye, have a laugh with, or even have a little cry with by the end of that evening’s sharing? What will they each experience and think?


And so, back to the point I was making from the start about the reviews…


We had a couple of three stars, which are not to be sniffed at. However, after the hard graft, they felt a little on the side of harsh. Our team hunkered down and kept buoyant nonetheless, thanks to our producer Ben, who is the most experienced of us all when it comes to Edinburgh Fringe Festival life.


Whilst this was going on, our friends over at Afronauts, playing at Underbelly George Square, had a Guardian article about their amazing production. It’s a story of a Zambian space programme told using outrageous circus skills and heart. The comment section was hijacked by keyboard racists who decided to share their thoughts on Black people in space, African nations’ audacity and personal comments about the company themselves. This at the same time as the show was gaining five stars and audiences were sharing high-praise feedback. The Company bounced back hard with joke clap backs sent from their social media account, and got on with the show they came to deliver. Inspiring and wonderful to see.


I’m happy to report that we also now have a five-star review, alongside audience members who have kindly taken the time to share how much they loved the show and encourage others to come and see for themselves.


I sat with that a while. Cheered a big cheer then moved on. 


I’m very glad for Nathan and the team — including myself, of course. Whatever the circumstances that we make the work in, we are here to create art that lives and breathes. And for theatre, this must be for and with audiences.

This production is made for people to feel, hear, see and experience the story. Made with love and realness intertwined. In rehearsals we chalked up faces on the surrounding chalkboard, imagining you here with us. It’s wonderful to finally see you take a seat and sit with us for a while.
 

Thank you to all who have joined in the journey of this work.


Let’s see what happens for the rest of our time here.


There are only a few more shows to catch, if you can, until Sunday 16th August.


Tickets on sale via Summerhall Arts.
​
festival.summerhallarts.co.uk/events/theyre-just-small-town-northern-lads/

Congratulations, Team!

Final thought shared...While on the bus on my way in from my digs, an elderly white Scottish woman bid me good morning. On leaving the bus, she bade me farewell. I said,"Take care",and she replied "Glad to see you". 

A heartfelt moment amongst it all. Glad to see you too.

Photograph Credit (c) Toby Trees 

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