Writer Manjeet Mann talks upcoming play ‘Run, Rebel’: “I had to leave my young readers with hope (on the page and on the stage)”

The best-selling teenage novel gets ready to tread the boards this Autumn season, through this new adaptation by the Pilot Theatre Company – set to open in London before embarking on a national tour. Guillermo Nazara chats with both book and play’s creator, to learn all the fun facts about this work of fiction founded on personal truth.

How did the idea for this story come about?

Run, Rebel is a deeply personal story. Not one hundred percent autobiographical but there is a lot of me in there. It is partly inspired by my own experiences growing up: the people, the places and the stories I was told, and it is partly inspired by my work in the community through my organisation Run The World. Run The World works to empower women and girls through running and storytelling. I started writing Run, Rebel around the same time as I set up the organisation and seeing the women grow in confidence with every running session and hearing their brave, life changing stories, gave me the confidence to dig deep and share a familiar yet untold story.

Domestic violence, inherited trauma, the need to break free… The plot parts from a very dramatic background, but is it supposed to bring out that vibe in the end?

When writing the book my editor at Penguin often gave me the note that there needed to be hope in the end. She was constantly telling me that my writing was too dark and I had to find the lightness which is important for the young adult audience. I had to leave my young readers with hope (on the page and on the stage). So, yes if the vibe you are talking about is one of lightness and overcoming and better days ahead then, yes that was intended. Also, it’s important to note for young and older readers, and audiences in the theatre, that we can all go through hardships, and life can seem relentless and dark at times but there is always hope; there is always light at the end of the tunnel; the dark times will always pass. If you don’t believe that, what chance do we have?!

How universal do you think these themes are to young adults?

Totally universal. The themes in Run, Rebel range from hope, love, resilience, friendship to rebellion, bullying, domestic violence, addiction, poverty and empowerment particularly female empowerment. These are universal themes. It’s important not to get caught up in the fact that it’s a story of a South Asian girl. What Amber goes through transcends her ethnic background and ultimately it’s a story about fighting for the life that you want to live and that is surely the most universal theme of all.

First a novel, now a play. What prompted you to bring it to the stage?

I always hoped it would find its way to the stage. As an actress, I imagine everything I write having life in another form whether that be on stage or screen. I was lucky in a sense that quite a few people told me how they could see it working on stage, one of those people was my good friend and theatre director Tessa Walker.  She spoke about how empowering the story is and how powerful it would be to bring it to the stage. We had worked together before so decided to get some actors together and do a week of R&D to see if it would work and the rest, as they say, is history…

What’s the adaptation process been like? Have you found any particular challenges?

I think the biggest challenge for me was realising that what works on the page doesn’t necessarily work on the stage. I naively thought it was going to be an easy process, as I’d written the book. Tessa was instrumental in helping shape the adaptation as not only is she a fantastic director but she’s also a brilliant dramaturg. Together we pulled out all themes and beats of each section and stuck to the ‘anatomy of a revolution’ as a framing device (as it is in the book) which helped in giving me something I could hold onto when writing the adaptation.

How different will this version be in comparison to the original material?

It’s definitely true to the book. I had die-hard fans of the book come to see the show on tour last Spring and they were very happy that they recognised the story on stage. Having said that, some smaller characters from the book are given more time and space on stage. It felt important to flesh out some of the subtext in the book and actually give those characters an arc.

Has the stage adaptation given you the opportunity to explore any themes in a different or deeper way opposite to the book?

I think some themes were more challenging to portray on stage. Notably, the theme of domestic violence. It’s one thing to write about that but when you have to potentially show it that’s a whole different thing. We explored this theme in so many ways. We were certain we didn’t want to show it realistically on stage as I don’t think anyone wants to see that as it’s traumatic enough, so the challenge was to not shy away from it but how to explore it and show the terror of it without seeing it physically happen. I think what Tessa came up with in the end was inventive yet still holds true to the horror of the situation.

What’s the ultimate message that you’re trying to convey with this piece?

I wanted to write for my teenage self. The teenager who felt quite isolated and voiceless, and therefore the adult me, is passionate about empowering women and girls any way I can. I hope that those who read this book will hear it as a rallying call for anyone who has ever felt powerless. Amber is a strong and complex character who wants to live her life on her own terms, and I think that is something we can all get behind. Amber’s story is as relevant today as it was when I was growing up and I hope that the story, struggle and resilience of Amber and her mother, has an impact on audiences.

Why come see Run, Rebel?

It’s  a powerful, poetic and dynamic piece of theatre. What’s not to love about that!

Run Rebel will play at London’s Theatre Peckham from 26 September to 4 October, before going on tour until 9 November. Tickets are available on the following link.

By Guillermo Nazara