Writer and performer Jules Coyle talks upcoming play ‘Managed Approach’: “I hope audiences leave with a deeper appreciation for empathy”

Following its successful inaugural run at the Edinburgh Fringe, the show will make its London debut in two months, offering audiences a semi-verbatim portrayal of the lives of sex workers, inspired by Holbeck’s temporary red-light district. Guillermo Nazara chats with the author to learn about the piece’s development and how she’s managed to pimp the story up.

How does it feel to be finally bringing the show the London stage?

It feels exciting! From its very conception, this play was always about bringing unheard stories and perspectives to the stage. Having played in Cambridge and at the Edinburgh Fringe, our upcoming London run continues to actualize these intentions. It also feels… gratifying? This is the third calendar year Managed Approach has been performed, and each time, it is always so affirming to see the story resonating with different audiences.

How did the idea for this piece come about?

Managed Approach actually came about from an assignment during my time at university. The initial brief was incredibly broad – “to write a piece of drama”. After giving it some thought, I followed the somewhat cliche advice of ‘write what you know’, settling on bringing a northern story to my southern peers.

Having grown up in Leeds, and been a teenage girl during the Managed Approach, the topic dominated a lot of “serious” early discussions I had with my family and friends. I expected that everybody knew of the scheme… but my university peers had never heard of it. Using this local story became a really interesting prospect to me – especially when the conversation around sex work widened to women’s safety, intergenerational feminism, and communal responsibility. Once the idea entered my mind, something clicked and I knew there was a really compelling story to tell.

In a time where we would expect sexual freedom to be the norm, there continues to be a stigma towards sex workers. Why do you think that’s the case?

I think the stigma stems from a lot of sources. Firstly, judgement is cast from people who deem themselves “above” sex work, wrongfully maligning the work and the people who complete it to something “below” polite society. As a result of this, the taboo nature of sex work restricts open conversations around the topic, further abstracting on-street sex workers into these anonymous, faceless shadows rather than real, living humans. I guess these two problems reinforce each other, with greater stigma comes less conversation, and with less conversation comes greater stigma.

Does the play attempt to break that stigma?

Just like the actual Managed Approach, our play does attempt to break this stigma. Primarily through the verbatim elements, the real testimonies challenge the judgement born, and reinforced, from the silencing of such women. I must note, however, that Managed Approach still considers the central issue with a fair evaluation. Across the play, I wanted to ensure all voices were heard regarding the implementation of red-light districts, both for and against it. Ultimately, however, the play is written to erode this stigma by humanising the women who complete sex work. I hope the play continues to reopen conversations surrounding sex work by placing empathy and humanity at its centre.

Why did you decide to explore this subject through a mother-daughter relationship?

Again, I will have to defer to ‘writing what I know’. I remember having to sit down for difficult discussions with my mother about my own safety during the Approach. These memories served as inspiration for the play’s wider conversation of a mother and daughter’s responsibilities, both to each other and themselves. On a grander level, too, a parent and child’s relationship allows two generations to speak as candidly as possible. The parent prepares their child for the world they grew up in, but the child experiences a new world their parent is somewhat removed from. It’s this evolutionary process that allows the play to explore sex work from numerous angles.

What other themes have you intended to explore throughout the narrative?

The play’s wider themes include: communal responsibility vs. individual responsibility; experience versus optimism; past vs. present. These themes are central to the play’s subject matter, so naturally they are embedded in the play’s narrative itself.

The script also features verbatim excerpts taken from interviews with real-life sex workers. What can you tell us about this research process?

When I began writing the play, it was important to approach the subject with a broad and balanced understanding of the debate surrounding the Managed Approach. Speaking with Holbeck residents and individuals whose work had been directly affected by the policy was invaluable. I didn’t want these conversations to feel like formal interviews, but rather open, honest exchanges – moments of shared reflection. The insights I gained from these interactions, alongside my own experience of growing up in the area, shaped the work in meaningful ways. Beyond their creative impact, those conversations were generous, thoughtful and deeply appreciated, and I remain very grateful to those who shared their time and stories with me.

Have you taken any artistic licenses?

The verbatim excerpts remain unedited in their dialogue. The only artistic license per se is that we have two cast members doubling in their roles. This means two actors portray four women. Beyond this, the verbatim monologues intersperse the drama in their original language, style and tone. It was really important for me as a writer to preserve their original testimonies, committing myself to bringing their voices to the stage as genuinely as possible.

As a writer, what creative challenges have you faced with this piece in particular?

One of the most challenging aspects of writing this piece was shaping the character of the mother, Kate. It’s difficult to create someone who behaves in harmful or complicated ways, and yet still invite an audience to care about her. I remember sharing an early draft of Managed Approach with a friend and she said, “You need to stop being so angry with Kate and so forgiving of Abbie.” Abbie is eighteen in the script, and I began writing Managed Approach at nineteen. At the time, it felt much easier to empathise with a character who felt closer to me. My friend’s comment taught me the importance of approaching every character, especially those who don’t align with your own perspectives, with curiosity and care. This feels particularly vital in a play that engages with controversial subject matter and deeply held opinions. Learning to hold empathy for Kate, even when I disagreed with her choices, helped me in creating a script that resists easy judgement and invites audiences to sit within the complexity.

Has the play evolved in any way between Edinburgh and its upcoming London run?

Yes! It has! By the nature of Fringe Festivals, our original script had to undergo some trimming to fit a shorter time slot. With our upcoming Riverside run, we have gained another fifteen minutes that have proved really valuable to explore some wider themes and plot points. The main narrative remains the same, alongside the verbatim elements, but we are in the process of adapting the script to evolve the production. I work alongside an amazing team of directors too, led by Lily Ellis, who really understand the play; I look forward to incorporating their ideas for the London run.

Are there any messages that you’re trying to convey through this piece?

At its heart, Managed Approach is a really raw, tender piece of drama. From both the central narrative and the verbatim excerpts, I hope audiences leave with a deeper appreciation for empathy… or even simpler, kindness. Though it may sound banal, especially in a conversation that tackles topics like sex work and intergenerational feminism, I think that the play’s foregrounding of kindness, empathy and humanity is what allows it to resonate across so many different audiences.

Why come see Managed Approach?

You should come and see Managed Approach because it’s a deeply important story told in a deeply captivating manner.

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Headshot credit to Yellow Belly Photo. Production pictures credit to Anna Gungaloo.

Managed Approach will play at London’s Riverside Studios from 13 to 25 April. Tickets are available on the following link.

By Guillermo Nazara