We chatted to the actor about starring in Lanre Malaolu’s Now, I See at Stratford East.
What is it like working with Lanre again? Amazing, unforgettable. I said yes without seeing the script because I knew that whatever he embarks on he comes with a lot of love, hard work and truth. It’s for a reason, it’s for somebody, he’s not making something just to scratch his ego. He’s opening his heart, about how he is feeling, where he’s at, things he’s experienced in his life and the things that he wants to unearth about other people’s lives, but he’s doing it for the culture, for a cause, to affect somebody or to allow an audience to be seen. A way for him to let these characters, and I guess his spirit, and his vision, be seen as well. Working with him is always interesting, always multi-dimensional in terms of obviously, the physical nature, kind of circuits, the
technical ability to be stretched as an actor is always a welcome challenge. So I’m always up for the ride. I’d do it again in a heartbeat. He is an incredible artist.
Can you tell us a bit about Now, I See? It’s about brothers that aren’t connected, hopefully reconnecting, and it’s about healing, going deeper, stillness and family and actually checking in with yourself and with your family. And with your spirit, I guess. Seeing where you’re at, what you’re holding, what you’re hiding. Are you able to release things that just aren’t good for you anymore? To find new openings and pathways and doors. So it’s about discovery and healing.
How does it relate to your previous show together? It’s about black men, first of all, which is the screaming thing. It’s about black men, sharing, connecting, finding a safe space to explore. But this one’s different, it’s a bit more personal, it’s straighter, more linear storytelling in some ways, without giving too much away. Whereas I felt Samskara was a little bit more abstract in some ways.
The fact that is brothers talking, black men, black souls, and just people in general, it’s not even about being black really, it’s about anybody really connecting, and exploring how they’re feeling and the things that they hold on to. Like book, The Body Keeps the Score, I think a lot of his work is really about release. Lanre’s work, even though it does deal with hard issues, there’s a lot of love, there’s a lot of joy, there’s a lot of coming together, and feeling held. I think his work shows that the characters and the stories, wherever it goes, you will be held at the end. And I think also for the actors and the audiences, there is a sense that, yes, we’re going to be honest, we’re going to open up wounds, we’re going to open up doors, good and bad, laugh and cry together. But there’s a sense of healing and his work as well. You feel safe, exploring these hard issues, and these beautiful subjects. There’s a lot of joy and life with his work. And it’s a joy to be a part of.
How are rehearsals going so far? I mean, we’re in the thick of it. It’s going well, with gelling and we’re laughing, the spontaneity is crazy, the way we are able to jump up and from a small idea within fifteen minutes, come up with this beautiful, intricate piece – movement wis – and then exploring text and movement all at the same time. It feels very organic, it feels very free. It’s a beautiful space filled with amazing, creative people. There’s a sense of play, a lot of play a lot of love, a lot of joy. And it’s a joy to be in that space. It’s definitely the most creative, artistic space that I’ve been in. Also a place that you as a person, as an artist, can feel safe and held, to explore and to be vulnerable and to be open. So it’s a beautiful space. It doesn’t feel like work at all. I recommend
all people should work in this way, using your mind, body, soul, movement. It’s really healing just making the work, let alone hopefully once you put it up for an audience to receive. I feel very lucky to be a part of that.
What are you looking forward to most in this production? You know what, it’s hard to tell because every other page there’s something new, there’s something profound being written on a page or something that we’ve created physically. So I’m interested in seeing how we flow in between different sequences and how it all kind of gels together, and moulds all into one. It’s a bit of a mystery, but there’s been so many amazing moments. I’m interested to see how we how we pull it off. Having a glimpse, where I’m able to kind of step aside and see other people’s beautiful work shine as well and just to sit back and just to be like, “Wow, look what we made in such an organic way!” We’ve still got a bit to go, we’re not there yet, but I can’t wait until that day comes.
What do you hope people take away from it? I hope they feel seen. I feel anyone regardless of race, age, where you’re at in life, whatever, this play is for everybody. It allows you to feel seen for a minute, to seem held. And more importantly, if you’ve got
siblings or any family members, pick up the phone, take an extra minute to really check in on how people doing. That would be an amazing thing – to check in with yourself and check in with family members. How amazing if art can can really have an impact on yourself and your loved ones around you. That would be the biggest honour.
More specifically, even though the play is for everybody, for specifically black men, to
see themselves on stage in that way. And some of the things that are said and expressed and to have those images, those words that music that linger in your body and ask those questions, not even have those answers, but to be in that space, particularly if there are people that are struggling, or not had time to question themselves for some of those questions before. Or see the beauty in themselves and
knowing that it’s okay to be whoever they are. They will also be an incredible honour, even if just one person throughout the whole run has a real moment to reflect how they’re doing, how they’re feeling and take another step in the right direction in their life. That would be amazing. That’s what we’re doing it for, for everybody. But it’s amazing that this play, Now I See sees everybody, and to know that they have value and your fears and wherever you’re at and your voice has value. That’s all we can ask for really.
By Emma Clarendon
Now, I See continues to play at Stratford East until the 1st June. You can catch up with our review here.