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It has been with great delight that I’ve seen most of the recent canon of Lazarus Theatre in London. I’ve revelled in their bold take on the classics, a particular solid Doctor Faustus last year proving this.

Sadly, with the new year came a Hamlet which didn’t work on a lot of levels. Starting off with what looked like an AA meeting, declared as a safe space for the characters to speak their minds. It would have been a quirky idea to have had the Bard stripped back to just this scope, though the chairs are pushed away and a lot of tricks ensue. Michael Hawkey as the lead finds his first professional turn here and though it might not be the most remarkable take, there is youth, charm and some menace. There appears on surface level to be no Gertrude nor Claudius present which might be one of the major reasons why this cock-sure showing may not work as well as it should.

The play maintains a flow as it went on. My major concern was the watery take on the verse and therefore the story. For it appears you may cut Hamlet down to a mere 90 minutes, but you’ve got to own this time and not always worry about fireworks. Director Ricky Dukes should be commended for his Russian Roulette risk taking here, though I did find myself bothered by multiple scenes. Hamlet still gets his Jeffrey Dahmer with Yorick, who’s head is plucked out of a fridge. Video work would show Ophelia’s real-time unending and a Mortal Combat style duel at the final were highlights. Hamlet’s death remained one of the show most disappointing aspects with alas, no ‘flights of angels singing thee to thy rest’.

The hustle of the cast would see some fine performances. Lexine Lee as Ophelia twas more retrospection then mania with with the role. Alex Zur is given little time to shine as Horatio, the rest of the players covering multiple roles and menacing proclamations as the father ghost.

Put simply I would have preferred to watch Mystery Science Theatre do their ribbing on an awful dubbed take on Hamlet on German TV back in the 60s. I’m still faithful for the rebirth of Lazarus once more.

Hamlet continues at the Southwark Playhouse Elephant till 4 Feb 2023.

Hi Diana, great to meet you, what first got you interested in the arts?

As child, I was always into creative writing and storytelling. I wanted to be a song writer (still kind of do) and I would also write short stories. I wrote my first play when I was around 11 or 12 for my church and just loved the idea of entertaining audiences.

Can you tell us about your writing process? Where do your ideas come from?

Ideas come in a variety of ways for me. Either I go looking (which rarely yields results) or I just get flashes of inspiration. It has to be said though, that it is pretty rare for me to find an idea that I fall in love long enough to want to work on but when I do, there is no greater feeling. I often start with finding the world first then, figuring out a premise before populating the world with characters. In terms of process, I now understand the importance of planning and structuring where I can so I try to complete that first before I start scripting.

 Can you describe your writing day? Do you have a process or a minimum word count?

I definitely don’t have word count. On a good day, I’d have been doing some writing in my head the night before so I really try and put that down until there is nothing left in my head or until I have to get on with life duties. I do try and write from the beginning of the story until the end but if there is a scene I am struggling with, I’ll just skip it and focus on one that’s strongest in my mind.

 Your latest play Trouble in Butetown plays at The Donmar Warehouse, London from the 10 February. The production takes place in an area of Cardiff Docks, called Butetown or Tiger Bay during World War Two. The production information describes the area as “home to souls from every corner of the globe” What drew you to this location and period for your play?

I fell in love with the history. It’s strange as, prior to writing about Tiger Bay, I knew very little about its history so I cannot explain what led me to go down that path but I’m glad I did. The more I researched, the more I fell in love with it. As a girl from Peckham in south London, I know a lot of people would be surprised to hear that I would choose to write this story but actually, there are elements of Tiger Bay’s history that I can relate to. I grew up in London, so I understand the world of racially diverse communities first hand. As a Peckham girl, I know what it’s like to grow up in a town that has a negative reputation that is not completely deserved, neither is it completely undeserved (we’re also both experiencing massive gentrification).

I also grew up around people like the characters in my play, salt of the earth types who would take the mick out of you but also have your back if you were ever in trouble. Tiger Bay’s cultural identity is also made up in part, of the West African culture. Being of West African descent myself, I felt I could easily relate. There were many periods I could have set this play in but I chose WW2 as the world of Jim Crow that the black American GIs who arrived in Cardiff suffered under, contrasted very nicely with the diversity and inclusion of Tiger Bay. I also felt that we have seen a ton of WW2 stories depicting the life of white Britain. I don’t believe I have seen anything that depicts the life of British people of colour.

Do you think the plays period and themes will resonate with contemporary audiences?

I think it will. This is a time where people are very open to forgotten histories. I also think that the themes of race and identity are very pertinent today. Essentially, this is a human story and I don’t think they ever really go out of style.

Trouble in Butetown is a recipient of the Theatre Royal Haymarket Writers Award and The George Devine Award. Did winning these awards increase awareness of your work and make commissioning of the production more likely?

Most definitely. The George Devine is a very well regarded theatre award and it was a real privilege to win it. It got the play in front of many venues, the Donmar being one of them and the rest, as they say, is history. The TRHW award was really important as it provided the necessary funds for me to develop the play and also provided support for the production as a whole. I am very grateful to have received both.

 There are a range of organisations supporting UK based writers. I wonder if you feel the current support network and career opportunities feel ‘healthy’ to you? Is it possible to sustain a career as a writer in the UK and if not what would help?

That’s a pretty tough one for me to answer as historically, I never wrote fast enough to make a consistent living as a writer. I have however found that there has often been support when I needed it most, I am thinking of amazing organisations like The Peggy Ramsey Fund or the Fleabag fund. I think there can always be more support for writers especially due to the precarious nature of our jobs.

If you were able to fund an area of the arts what would this be and why?

I would probably say that I would fund new writing from under represented voices. In order for this industry to remain fresh and vibrant, we need a diversity of voices.

 What currently inspires you about the arts in the UK?

The landscape has changed so drastically since I started on this journey. There is a real appetite for new stories and there does seem to be a willingness from a lot of organisations to support new talent. It does feel like it’s all for the taking now.

 What was the last really great thing that you experienced that you would like to share with our readers?

My daughter turning three years old. She is the love of my life and to be surrounded by all our friends and family meant the world to me.

You can find out more about Trouble in Butetown and book tickets here

Interviewed by Guy O’Donnell, Director Get the Chance

Hi Nyla great to meet you, what got you interested in the arts?

For as long as I remember I have always had a love for performing. My parents said that they would watch me with my teddies in the garden pretending I was in another world and talking to myself, I was always creating stories and living in my own imagination. I also attended a very creative church growing up and from the age of 6-12 I was involved in productions, always singing, dancing and acting.

 You are the Creative Arts Development Officer for G Expressions based in Newport, the organisation “works to support young people aged 10-25 to dance develop and achieve their dreams. Through dance, theatre, and leadership activities , giving young people the confidence, tools and skills to achieve their goals.” How did you come to be involved in the organisation and why is its work important?

My family members run the organisation and since it began in 2010 I have always been involved in some shape or form. I was a young mum, therefore my children were my priority and my personal dreams of performing were put to the side but I assisted with G-Expressions on projects and would help out with dance at their previous studio ‘Bella Bella’. When they started doing theatre shows in 2014 I was keen to help out and began shadowing and assisting the writer and director of the shows, which happened to be Alexandria Riley.

I then made my debut as a starring role in their production of ‘Sisters Acting up’ and felt such a buzz, even being at the age of 28 it was an amazing feeling and seeing how G-Expressions facilitate all their service users and staff, giving them a platform to achieve their dreams was such a great feeling. I then became an assistant director on their last show ‘Hard Knock Life’ and also got my job as Creative Arts Development Officer.

Being able to support young people in exploring their creative gifts is like a dream job for me. Giving them a safe place where they don’t feel judged and can be who they want to be, with the encouragement and guidance to do so gives them confidence and self-belief to reach their full potential.

You have written and are currently working on a new live production for G Expressions called Urban School of Arts. The production is described as “An original story filled with dance and drama about young people surviving their journey through performing arts school, all in hopes of pursuing their dreams of becoming artists” Can you tell us more about the creative process for the production and your intentions for it?

I began writing the story line during the Pandemic, after discussions with young people during a podcast I had set up through G-Expressions called ‘Say it How it is’. It was a great opportunity for young people to talk about different topics that they felt they were affected by and allowed them to talk openly and honestly, as most had said that they don’t feel listened to or even understood by authorities and adults. The stories came from real life topics and made me want to raise awareness about these topics that young people face, to help them talk more about it but to also give them a platform to express themselves in a creative way where they can be heard. I always wanted it to be an original as in the past we have used music that people know but have always had the issues of copyright, but I felt that we were in a place where we could offer more opportunities for artists to be recognised for their talents. I worked with some local young artists who love to write and produce and we managed to get funding from the High Sheriff to bring in a professional producer and work in the studio to record these songs. We now have a soundtrack alongside the show and I would love to see this tour and possibly see other drama schools put it on, who knows?

Urban School of Arts can be seen at The Riverfront Theatre, Newport from 03-04 Feb, tickets can be booked here

Much of your work takes place in Newport and is supported by The University of South Wales and The Riverfront Theatre, what more can be done to create opportunities for young creatives based in Newport?

We need more funding and buildings, it’s a simple answer really. G-Expressions are fortunate to have such a great partnership with USW and are now building on their relationship with The Riverfront Theatre and I am hoping that more opportunities come from this show. Access for young people interested in the arts is difficult, especially the young people we work with who don’t have the right backgrounds or finances. There needs to be more training and projects for them to be involved in.

If you were able to fund an area of the arts what would this be and why?

Training and development for artists who are new and need that bit of support. For myself, giving opportunities is so important.

 What currently inspires you about the arts in the UK?

People who are doing things their way and making their mark. I feel that there is so much talent out there that people don’t know about, but they are creeping through the gaps and slowly getting noticed. I am inspired by those who don’t quit, those theatre groups and artists who are doing what they love despite the challenges they face is inspiring.

What was the last really great thing that you experienced that you would like to share with our readers?

‘The Making of a Monster’- Connor Allen’s raw talent and vulnerability to be brave and so in your face was a true example of an all-round creative. It was a brilliant show that I hope continues and is recognised for its genius way of writing and performance.