Coming to The Bread & Roses Theatre this September is TALK, a new play by Rhys Deans. Inspired by real-life experiences and the need for open conversation, “Talk” features three friends who gather at a local pub. As the night unfolds, they gradually open up to each other, revealing their personal battles with mental health. The play explores the struggles, triumphs, and the ultimate power of friendship to heal and support one another during challenging times. We spoke with creator Rhys Deans and actor Christopher Maxwell about the making and performing the show!
What were some of the biggest challenges you faced while writing and directing “Talk”?
Rhys: I had written this play as a way of coping with nearly losing friends and a loved one who all suffered with mental health issues and suicide. Fortunately, those people are still around and going strong each day. I never thought of “Talk” as a challenge. As a writer because it was therapy for me and a way for me to write how I felt at the time.
In terms of directing, it was a challenge for me on how it should be portrayed. It needed to be authentic and real. It should never be over the top, ludicrous or bizarre. It’s a simple story of three friends, in a pub, and they open up to one another. The actors worked so hard and shared their views and ideas to make it better. When we are in the rehearsal space, we are one team and in this together and for each other.
I wouldn’t say I had any challenges because, fortunately, everything had fallen into place.
How did you prepare for your role in “Talk” and connect with your characters' mental health struggles?
Christopher: For 'Dennis', I found I empathised with a lot of his behaviour and language, having struggled with my own mental health issues of catastrophizing and feelings of hopelessness. I've gone through phases in my life of feeling isolated and alone, and I would internalise that as a fault in myself. This in turn would make me want to be alone and I would become locked in this cycle. I brought a lot of these personal feelings to my preparation and helped me build a connection with Dennis.
The play focuses on the friendship between the three characters. How did you build chemistry and trust among yourselves as actors?
Christopher: I've previously worked on this play as an assistant director and understudy, and was able to work closely with the actors and with Rhys who was directing production. During this time, we bonded over our discussions of mental health and our personal hobbies and interests. For this run; with Lewis reprising his role and Rhys taking on the role of John, I felt like I was reuniting with friends as opposed to joining a new troupe. I feel this has massively improved our chemistry and collaboration.
Rhys: I had written this play as a way of coping with nearly losing friends and a loved one who all suffered with mental health issues and suicide. Fortunately, those people are still around and going strong each day. I never thought of “Talk” as a challenge. As a writer because it was therapy for me and a way for me to write how I felt at the time.
In terms of directing, it was a challenge for me on how it should be portrayed. It needed to be authentic and real. It should never be over the top, ludicrous or bizarre. It’s a simple story of three friends, in a pub, and they open up to one another. The actors worked so hard and shared their views and ideas to make it better. When we are in the rehearsal space, we are one team and in this together and for each other.
I wouldn’t say I had any challenges because, fortunately, everything had fallen into place.
How did you prepare for your role in “Talk” and connect with your characters' mental health struggles?
Christopher: For 'Dennis', I found I empathised with a lot of his behaviour and language, having struggled with my own mental health issues of catastrophizing and feelings of hopelessness. I've gone through phases in my life of feeling isolated and alone, and I would internalise that as a fault in myself. This in turn would make me want to be alone and I would become locked in this cycle. I brought a lot of these personal feelings to my preparation and helped me build a connection with Dennis.
The play focuses on the friendship between the three characters. How did you build chemistry and trust among yourselves as actors?
Christopher: I've previously worked on this play as an assistant director and understudy, and was able to work closely with the actors and with Rhys who was directing production. During this time, we bonded over our discussions of mental health and our personal hobbies and interests. For this run; with Lewis reprising his role and Rhys taking on the role of John, I felt like I was reuniting with friends as opposed to joining a new troupe. I feel this has massively improved our chemistry and collaboration.
Can you share an instance where your off-stage interactions positively influenced your on-stage performance?
Christopher: Not a particular instance, but throughout my time working with Rhys & Lewis we've become close friends and often share jokes and stories outside of rehearsal. Whenever ever there are instances of humour in the play, we often approach it with the intention of making each other genuinely laugh. We've even played around with the text to try and improvised moments to get genuine reactions.
What has been the most rewarding aspect of bringing this story to life on stage?
Rhys: The response. As actors, directors and writers, we all love the positive feedback from the audience in regard to the performances on the stage or how the story was portrayed. However, we were all honoured that we had a number of people approach us and open up to us about their problems, their family members or friends mental health issues and so on.
We also felt proud that we could be ambassadors for mental health causes and speak about it through the art of theatre, hopefully we can do the same at The Bread and Roses Theatre.
How do you hope “Talk” will impact the conversation around mental health, especially among men?
Rhys: I hope people come out watching “Talk” and the first thing they do is check on someone they love or know. I want people to be influenced by this piece and understand that it’s okay to not be okay especially for men. If I have people say that this play was the reason that they went to get help, got someone help or speak up etc. then as a playwright, who I myself has been through it, have done justice and made a difference.
What steps do you believe society can take to better support men in seeking mental health help?
Rhys: We need to start encouraging men to make them understand that having a vulnerable side is not a sign of weakness. Encouraging men, especially younger male, to be aware that we are suffering too. If we can give open dialogue to men and give them the encouragement or opportunity to be open about their problems and never feel that it’s a weak motive, then we, as a society, will be on the right path.
To cope by “being tough” and “getting on with it” does not mean you or anyone has to bottle up issues and problems. It’s dangerous and can be deadly if not addressed or offered help. Sadly, that culture is still around, and it needs to be denounced. I believe that showing you have issues, and are suffering, is brave and showing you are tough because you are not afraid to speak up and show your vulnerable side.
Christopher: Not a particular instance, but throughout my time working with Rhys & Lewis we've become close friends and often share jokes and stories outside of rehearsal. Whenever ever there are instances of humour in the play, we often approach it with the intention of making each other genuinely laugh. We've even played around with the text to try and improvised moments to get genuine reactions.
What has been the most rewarding aspect of bringing this story to life on stage?
Rhys: The response. As actors, directors and writers, we all love the positive feedback from the audience in regard to the performances on the stage or how the story was portrayed. However, we were all honoured that we had a number of people approach us and open up to us about their problems, their family members or friends mental health issues and so on.
We also felt proud that we could be ambassadors for mental health causes and speak about it through the art of theatre, hopefully we can do the same at The Bread and Roses Theatre.
How do you hope “Talk” will impact the conversation around mental health, especially among men?
Rhys: I hope people come out watching “Talk” and the first thing they do is check on someone they love or know. I want people to be influenced by this piece and understand that it’s okay to not be okay especially for men. If I have people say that this play was the reason that they went to get help, got someone help or speak up etc. then as a playwright, who I myself has been through it, have done justice and made a difference.
What steps do you believe society can take to better support men in seeking mental health help?
Rhys: We need to start encouraging men to make them understand that having a vulnerable side is not a sign of weakness. Encouraging men, especially younger male, to be aware that we are suffering too. If we can give open dialogue to men and give them the encouragement or opportunity to be open about their problems and never feel that it’s a weak motive, then we, as a society, will be on the right path.
To cope by “being tough” and “getting on with it” does not mean you or anyone has to bottle up issues and problems. It’s dangerous and can be deadly if not addressed or offered help. Sadly, that culture is still around, and it needs to be denounced. I believe that showing you have issues, and are suffering, is brave and showing you are tough because you are not afraid to speak up and show your vulnerable side.
What kind of reactions or feedback have you received from audiences who have seen “Talk”?
Christopher: We've had a lot of positive feedback from the first run, but a great piece of advice and feedback was how to utilise this play as a conversation starter for mental health awareness, and not just a play about mental health. We're hoping to utilise the advice and ideas in this and future productions.
How do you hope the play will resonate with people who may be dealing with their own mental health challenges?
Christopher: As well as hoping audiences feel inspired to open up about their mental health, I hope the show can show people the value of friendship and being around friends. The time spent with friends, family, colleagues, etc. can be extremely important. Loneliness can be a massive factor on people's mental health, and I hope 'Talk' can show people that a night out with friends is always worth having.
Talk reminds me that we all have personal struggles, but together we can help each other out. We may have individual needs, but we don't need to solve them individually. If you're struggling, reach out. And if you see someone struggling, help them out.
How did you balance the emotional depth of the play with moments of levity or hope?
That’s a really good question. There were so many ways I could have written this play. I could’ve gone one direction and vice versa. However, as human beings, we can’t go through life thinking that every day is going to be a bad day. I couldn’t write this play, from start to end, just portraying characters as individuals that have no hope at all. That’s not what we do. We as human beings try to find ways of coping through problems and one of them is having hope.
Life isn’t always dark. Many people suffer with mental health in various ways. My way of coping with mental health issues, and possibly other people too, is by using humour. My family always tried to find a light of serious matters to make sure that it isn’t all bad.
What are your long-term goals for “Talk” and its message about mental health?
The long-term plan is to have the play be performed across the country. The message within “Talk” is enough for people to sit and listen. It needs to be seen across every corner of British theatre and dare I say outside of Britian.
You can catch TALK on 8th & 9th September 2024 at The Bread & Roses Theatre: https://app.lineupnow.com/event/talk
Christopher: We've had a lot of positive feedback from the first run, but a great piece of advice and feedback was how to utilise this play as a conversation starter for mental health awareness, and not just a play about mental health. We're hoping to utilise the advice and ideas in this and future productions.
How do you hope the play will resonate with people who may be dealing with their own mental health challenges?
Christopher: As well as hoping audiences feel inspired to open up about their mental health, I hope the show can show people the value of friendship and being around friends. The time spent with friends, family, colleagues, etc. can be extremely important. Loneliness can be a massive factor on people's mental health, and I hope 'Talk' can show people that a night out with friends is always worth having.
Talk reminds me that we all have personal struggles, but together we can help each other out. We may have individual needs, but we don't need to solve them individually. If you're struggling, reach out. And if you see someone struggling, help them out.
How did you balance the emotional depth of the play with moments of levity or hope?
That’s a really good question. There were so many ways I could have written this play. I could’ve gone one direction and vice versa. However, as human beings, we can’t go through life thinking that every day is going to be a bad day. I couldn’t write this play, from start to end, just portraying characters as individuals that have no hope at all. That’s not what we do. We as human beings try to find ways of coping through problems and one of them is having hope.
Life isn’t always dark. Many people suffer with mental health in various ways. My way of coping with mental health issues, and possibly other people too, is by using humour. My family always tried to find a light of serious matters to make sure that it isn’t all bad.
What are your long-term goals for “Talk” and its message about mental health?
The long-term plan is to have the play be performed across the country. The message within “Talk” is enough for people to sit and listen. It needs to be seen across every corner of British theatre and dare I say outside of Britian.
You can catch TALK on 8th & 9th September 2024 at The Bread & Roses Theatre: https://app.lineupnow.com/event/talk
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