Night is not the only darkness. Nick takes a breath as he tries to remember.
Fragments of a forgotten journey flicker in front of his eyes. It is night, November 1978. He is four years old. He is holding his mother’s hand as they wait on the escarpment. They are leaving Kampala. Buying safe passage and silence with all they have, they travel by matatu and the conductor asks no questions.
Their companions are the missing, lost and displaced. Those who have suffered eight long years under the rule of Idi Amin.
fueltheatre.com / @FuelTheatre
Dates & Times
Tue 12 – Wed 13 Feb, 8pm
Tickets
Full price £15
Standard concession £12
Under 30s / Student £10
Other concession £5
What was the inspiration for this performance?
The poem “Stone” in my debut poetry collection Kingdom of Gravity (Pepaltree Press) was the inspiration for the play.
Is performance still a good space for the public discussion of ideas?
Performance is a necessary space for public discussion. Performance is not outside of human existence, it is part of it. It is an opportunity to express the human story in intimate ways
How did you become interested in making performance?
I think the minute you decide to become an artist in any form you realise that part of the cycle of creation is performance. For the playwright the outcome is the performance, in the same way that that the film is the outcome for the scriptwriter. I started to perform when I joined the Weekend Arts College in Camden West London.
Is there any particular approach to the making of the show?
The approach was to open the audience up to the migrant story. The question that director Roy Alexander-Weise and producer Kate McGrath kept on the table was When did I become the other?
What do you hope that the audience will experience?
I hope that the audience will have a more sympathetic view to the immigrant story, one that isn’t manipulated by a political agenda or social bias.
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