Writers Magero and Anyebe Goodwin talk upcoming ‘TRIPLE BILL: EVERYWHERE’: “Humanity doesn’t have a skin colour, a country or an accent”

The Birmingham Rep hosts this one-night-only event by the tiata fahodz company, giving voice and spotlight to British African writers through stories that reflect the current trials and tribulations of the community. Guillermo Nazara chats with two of the authors, to learn more about this new set of pieces aiming to bring theatre to new audiences and beyond the stage.

How does it feel to be bringing this new set of stories to the stage all across the country?

M: I feel honoured to be one of the writers for Triple Bill: Everywhere. I’m intrigued to see the response as they take the stage across the country, because all three stories represent a unique perspective which I’m sure will permeate food for thought for the audiences to leave with. 

A: It feels great to be part of a triple bill of writers bringing new stories to stage across the country. I hope they resonate with the audiences who see them. 

What prompted you to write your play in particular? 

M: I wanted to write a play that examined sibling relationships and how easily internal scars or traumas can be hidden from the people who often believe they know us best. Much of the inspiration came from lived experience and discussions with my nearest and dearest, but also through the belief that even through our darkest times, there is room for light if we are willing to let it in. That being broken and rebuilt can be even more beautiful than always having it together. 

AG: My prompt was a mixture of personal experience and seeing the experiences that other people had, and realising how unknown it was to the wider public. Realising that this was the experience most people had, and wondering why. I wanted to highlight the effect and toll it takes. 

The company’s aim is to bring theatre to new audiences while also developing local connections. How will these plays achieve that goal?

M: I believe these plays will encourage audiences to look internally and challenge potential misconceptions they may have held prior to seeing them but also find their own voices within the stories. I hope that these plays are catalysts for open discussions about the related themes between people whose experiences may differ throughout the country. I hope it provides an opportunity for audiences to hear and be heard. 

AG: These plays will achieve that goal, as they are plays that people up and down the country will be able to relate to in one way or another. I believe they will start and continue ongoing conversations and allow people to explore and interrogate these topics.

What themes will be explored through these pieces? As a playwright, what has been your approach to those?

M: Vulnerability and strength are intertwined within all the stories. There is a common theme of people wanting to connect with different levels of optimism as to the possibilities of doing so. Love and home are recurring themes throughout. My approach has been to question each of the character’s reasons for their actions or mannerisms which trace back to underlying factors often beginning from childhood. We tend to view our adult lives as exclusive, forgetting they are but sequels to whatever childhood we first lived. Being honest with myself definitely helped when tackling these themes. 

AG: Home, connection, belonging, and safety. These themes will be explored. Humanity at its core, and what makes us connect and disconnect from each other. It will explore how some people are othered even at their most vulnerable moments. It explores why and when their fundamental rights are being questioned. It also explores connection and love – in all contexts. 

My approach has always been to interrogate what the heart of the story is, and has changed through the process of writing and creating. Funnily enough my play is called ‘Approach’. 

The plays are described as experimenting with storytelling techniques while also bringing underrepresented roles under the spotlight. Can you tell us more about these characteristics?

BOTH: The characters are characters you’ve seen and know. Just like everyone else, they want home, love, connection, safety, and happiness. Like anyone else wants all these things despite their situations. For some that don’t know these people, their characters show resilience, faith, belief, and love. 

The pieces are meant to give a voice to British African stories. Yet, how will they resonate with general audiences?

BOTH: Humanity. They will resonate with audiences because humanity doesn’t have a skin colour, a country or an accent. These are stories that have been witnessed by British Africans of the Diaspora, but will resonate with general audiences. 

Have you found any specific challenges from a creative perspective?

M: In the early stages of writing Y-Tephra, I found it quite difficult to keep the poetry within specific time limits as I’m so used to getting lost in writing poetry. But when writing a thirty minute play, you need to be mindful that you’re using the time wisely and building the narrative authentically. Editing the poetry was bittersweet for me, but in the end I learned that less can definitely be more.

AG: How to keep the story clear and the direction of the story, especially when writing a half an hour play. It was originally a two-hander but then developed into a one man show. So playing with form was a challenge.

Why come see TRIPLE BILL: EVERYWHERE?

M: It’s an opportunity to see three plays that tell their own unique stories but also complement each other thematically. From the futuristic set design to the incredibly talented cast and creative team, Triple Bill: Everywhere has so much to unpack. 

AG: It will be a night to see heartwarming plays that explore humanity and connection from all angles. The cast are amazing, the creative team are all phenomenal at what they do and have come together to bring these stories to life.

TRIPLE BILL: EVERYWHERE will play at the Birmingham Rep on 27 May for one night only, before touring across the UK. Tickets are available on the following link.

By Guillermo Nazara