Consider contributing to this EPIC show by Madeline Gould. This is The Thelmas’s Edinburgh debut and we couldn’t be prouder to be releasing this incredibly dark and funny play.
Santi and Naz have been sahelis (best friends) from birth. It is 1947 and India is on the brink of Partition. Families are being torn apart, social unrest and violence are spreading, but the girls are more interested in playing marbles, competing to see who can make the best rope swing, and spying on Rahul at the local nimbu stall. When Naz is betrothed to Nadeem, a tailor in Rawalpindi, circumstances threaten to separate the girls forever; will it be sanctuary or saheli? How far will they go to avoid the inevitable?
The piece is experiment in collaborative creation
Santi & Naz premiered (work-in-progress sharing) at
Derby Theatre’s In Good Company Scratch That Itch, June 2017 and then
Scratch at the Jack at Brockley Jack Studio Theatre
Development of the piece continues.
After a month of R&D at Park Theatre, as part of Script Accelerator the Coconut team are headed to New Diorama to continue exploration of the text and character journeys.
Here is some feedback from the 2 performances of a 20 minute extract of work-in-progress:
“The writer really has potential and I like her organic political wit and natural comedy….The script has a good premise, I think it really needs to look at the structure of how to tell that story. And maybe go for the comedy and ridiculousness a bit more.”
“This is great – funny, characters you want to spend time with, moving towards a troubling end”
More feedback to come!
Rumi : Sukh Kaur Ojla
Simon: Karl Sedgwick
Rumi is a coconut. That’s a term for someone who is brown on the outside and white on the inside. She’s looking for her one true love, and hopes that he might be a coconut too. After a disastrous halal speed dating event Rumi meets Simon, who might not be brown, but he’s more than willing to get on board with brown stuff. Plus he’s super cute, so they are soon married.
Rumi continues to be proud of her pseudo Muslim husband who loves curry and greets her grandparents in the traditional way. But then he starts hanging out with the Immam when she’s not there and he’s commenting on what she wears, and how much she drinks. When Simon asks to be known as Syeed alarm bells start to ring for Rumi. Simon, sorry Syeed, starts spending more and more time away from home, taking secret phone calls at inappropriate moments. He says he’s going to the Mosque to pray, Rumi thinks he’s having an affair.
When Syeed’s face appears on Rumi’s television she realises she is just another Jihadi wife, the exact opposite of all that she’d wanted. Rumi is left to pick up the pieces of her marriage, her reputation and attempts to explore exactly what drove Simon to such extremes.
Sukh Ojla as Rumi in the original monologue at Tristan Bates Theatre, August 2014
We are looking to partner with organisations who are focused on the themes of the play- radicalisation and extremism. The play will have an accompanying educational programme and workshop.
Devising is a strange theatrical technique. As an ensemble, you either get it, or you don’t. I’m really happy to say that Hyphenated gets it. Amy Clare Tasker and I have the dream-team writer-director working relationship! She consults me on her plans for our devising sessions and we script together, whilst respecting my artistic role. If all working relationships were like this, I’d never create anything alone!
We’re now on the RichMix website and you can buy tickets for what we’re calling a platform performance. A polished presentation of work-in-progress. Come, give us feedback.
The production is currently in development after feedback from the initial run.
A friend of mine sent me an interview with Tom Stoppard, published in the Paris Review. He’s a great playwright and it’s a very interesting interview. But I just wanted to share this, my favourite bit. I’ve discovered a lot about my writing process through taking part in #29playslater
What is the most difficult aspect of playwriting?
And the easiest?
What about the curtain lines? Do they come first and then you work your way towards them, or do they arrive in the natural progression of writing the dialogue?
Curtain lines tend to be produced under the pressure of the preceding two or three acts, and usually they seem so dead right, to me anyway, that it really is as if they were in the DNA, unique and inevitable.
Exploring Shakespeare and Modern Theatre in the UK
During April 2015 I accompanied a group of 26 students and chaperones from Mater Dei High School on a trip to Stratford-Upon-Avon and London. Students toured a number of historical sites and theatres, and took workshops with Shakespeare’s Birthplace Trust, National Theatre, and independent theatre practitioners.
I learnt that you can inspire young people to be excited about Shakespeare, and through that, rekindled my own passion for the Bard. The themes of his plays are so relevant to the societies we live in and watching students make those connections is empowering; not only for them, but also as a practitioner.
I enjoy watching people experience London and seeing my great city through a fresh pair of eyes. I told the students to look down side streets, to observe people as they walk, eat and talk. Seeing their excitement is like falling in love all over again. There isn’t a feeling in the world like walking along one of the bridges at night and I’m so glad I got to share that with others.
Below are some videos highlights-