Writer and performer Matthew Seager talks the return of ‘In Other Words’: “It’s possible to leave the theatre with a smile on your face and tears in your eyes”

Following its worldwide success with several 5-star-rated international productions, the show returns to the London scene for one week only to conclude its latest UK tour. Guillermo Nazara chats with its author and co-lead, to learn more about the development of this piece exploring the power of music on people with dementia and how its poignant narrative will strike a chord with its audience.

After such an international journey, how does it feel to be bringing the show back to the London stage?

It’s been absolutely incredible. We’ve been touring this show since March, and we’re currently at the Lyth Arts Centre, which is the most Northerly mainland arts centre in the UK by John O. Groats. To be coming to London for a week feels perfect. I can’t wait to show audiences what we’ve made.

How did the idea for this play come about?

I was facilitating some sensory stimulation workshops in a dementia care home in my last year at university more than ten years ago now. We decided to play Frank Sinatra’s My Way to the residents living with dementia and placed some song sheets on the table on the off chance they were able to sing along. When I pressed play on the CD player it seemed, almost as if by magic, nearly every resident stood and sang along from memory, as if possessed by the music. It was an incredibly moving moment for me.

As a writer, what are the challenges of exploring such a stirring and sensitive topic?

I think mostly it’s about trying to be truthful and accurate to what is such a complex topic and something that has affected so many people. I feel driven by the fear of getting it wrong in some ways, but the reaction seems to consistently be so positive that I feel motivated to keep telling the story for as long as possible.  

Emotive topics could easily veer into the melodramatic. How did you manage to keep the material truthful?

Both as a performer and writer, I hope that the answer lies in not reaching for anything or trying to ‘make’ an audience emotional. As long as we’re trying to tell the story authentically and trust the material, then hopefully that helps.

What’s been the piece’s development process like? Did you do any kind of research?

I’ve worked and performed in care homes quite a lot over the past decade and that has always proved incredibly fulfilling and useful for this process. There’s also a huge amount of reading and watching that’s readily available in the form of books and articles as well as documentaries.

The play has been performed through several productions across the world now. Have you taken the opportunity to make any changes throughout this time?

Yes, it’s been an incredible experience to go and watch productions of the play all over the world. Our script changes slightly during each rehearsal process. We’ve had four incredible performers play Jane – and as the play is a two hander, that means the piece feels new each time.

As an actor, what challenges do you find in performing your own material?

It can be quite difficult to switch off your critical writer brain when you’re rehearsing a scene sometimes. However, what’s amazing about this process is that we have a phenomenal director, Andy Routledge, who I trust wholeheartedly – that is invaluable. Also, Lydia White, who is playing Jane, is a phenomenal actress – so it’s a joy to perform with her.

And in this role, in particular?

With this role, the biggest challenges for me have been trying to accurately portray a gradual decline of someone living with dementia physically and vocally, as well as emotionally. For me, that’s where the research has proven essential and has allowed me to always have an image or memory to draw on ground me in a particular moment.

Is there any message you’re trying to convey through this piece, both as an author and a performer?

This play is about dementia and how transformative a tool music can be, and that message needs to be at the forefront of what we’re trying to convey. However, it’s also about being in love and wanting to care for those that are close to us. I think that is something universal that we can all connect to.

Why come see In Other Words?

I’m so proud of the show and everyone involved. Hopefully, In Other Words is a chance to enjoy an engaging and moving night at the theatre, as well as shining a light on the power of music in dementia care. As I said, it’s also a play about being in love. I think it’s possible to leave the theatre with a smile on your face and tears in your eyes.

In Other Words will play at London’s Arcola Theatre from 19 to 24 May. Tickets are available on the following link.

By Guillermo Nazara