Writer Richard Adetunji talks new play ‘Ego’s Killing the Mandem’: “When talking about the challenges of young black boys nowadays, we don’t want it to be all doom and gloom”

For one more year, Creative Acting Studio offers emerging writers the opportunity to shine under its spotlight, presenting a showcase of new work with a special focus on underheard voices. Guillermo Nazara chats with one of the selectees to learn more about their piece and the challenges faced by up-and-coming talent nowadays.

How does it feel to have your work produced as part of this initiative?

It’s a wonderful opportunity and I’m grateful for the support of Collective Fringe to bring this story to life. 

How would you describe the current situation for emerging playwrights?

There are a number of really exciting playwrights that I admire, some who I’m fortunate enough to call friends and peers. I think the stories that we’re trying to tell are bolder and push the boundaries of form more than ever before. The challenge can sometimes be convincing theatres to take the risk to stage such stories. 

Do you think there’s a thicker glass ceiling to break for newer generations of writers nowadays?

Yes and no. In one sense, with the cuts to funding for the arts, I think theatres feel a little more risk averse when programming new writing. On the other hand, I feel like a number of dedicated spaces are still finding great joy in finding new voices, and the barrier to entry to staging your work feels lower. I had a friend stage a wonderful reading of their play in his garden last month, and there are a number of smaller venues for hire around London. I’m seeing so many friends take autonomy over their work and just get some actors together and put their work on themselves.

How did the idea for your play come about?

The idea for the play was birthed in a conversation we were having as Trybe House Theatre (a theatre company for young black boys using theatre as a form of self-expression). We were looking at the themes of Homer’s Odyssey and debating how they related to our everyday lives as young black Londoners. We developed a short response piece which we performed at the National Theatre in partnership with National Theatre Public Acts, and that piece contained a short 5-7 minute snippet of what is now Ego’s Killing The Mandem.

The piece questions grief, ego, and systemic bias as its key themes. How are those explored through the narrative?

Mainly by following the life of one of the protagonists. We follow his daily life alongside Ego’s court case and see the world through his eyes. We learn about his desires, his ambitions, his fears, and how his relationships with those around him. 

Are there any other major themes you’ve covered?

While those are the main themes, I’d say we also explored themes of brotherhood, black-boy joy, and mental health.

What particular challenges have you faced during the creation of this piece?

It’s been challenging at times to make the piece feel hopeful. The play has gone through a few iterations where the ending has changed a few times, and I’m still not completely sure it’s in the right place. When talking about the challenges of young black boys nowadays, we don’t want it to be all doom and gloom. After all, despite the challenges faced, the biggest adjective I’d used to describe black boys is joyful. So, in all the re-drafts, it was a question of how can we add more joy, something I think there’s probably more space to still do.

Are there any highlights in the play you would like to flag?

I really hope audiences will resonate with the music in the show. We’ve used music from a number of prominent UK Black male artists from different generations, and I hope that contributes to the ‘feel‘ of the show.

What are the prospects for the piece after the showcase?

We’d love to gain some feedback from audience members and continue refining the script. Ideally, we’d also love to transfer to a bigger theatre space, with a longer run, and be able to bring all our ideas around set, costume, lighting, etc. to life in its totality.

Why come see Ego’s Killing The Mandem?

Come and see Ego’s Killing the Mandem to take a peak into the lives of young black men and boys. It’s guaranteed to be a show that will have you laughing one moment and pensive the next. Unfortunately, it’s already sold out, so if you weren’t able to get a ticket, I implore you to keep an eye out for when its back and inevitably bigger and better! 

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Collective Fringe runs from Wednesday 21st to Sunday 25th January 2026 at Collective Acting Studio. Further information is available on the following link.

By Guillermo Nazara