I’ve always held a fascination with Australia. As a kid in the eighties, I was entranced by Tazmania spinning and snarling across my TV screen. A Tasmanian devil? What the hell is that? It sounded so otherworldly. When I was a teenager, I came across Peter Weir’s classic 1975 mystery film Picnic At Hanging Rock, which cast the Australian outback as a tantalisingly strange and unknowable place. Later, Wolf Creek (2005) made it seem incredibly bleak and dangerous indeed. At the same time, the grim historical blanks were slowly being filled in by movies like The Proposition (2005) and novels like Matthew Kneale’s English Passengers. Australia’s history was being revealed to me as a bloody and chaotic one. 
            This all took a backseat until I lived in Australia from 2012 – 2014 and the fascination with this weird, terrifying, gorgeous country was rekindled. Whilst there, it seemed important to learn what I could. There is too much history to delve into in any detail here. Many words have been written about Australian history and culture by people far wiser than myself. But learning of British colonisation, aboriginal genocide, the Frontier Wars, the Stolen Generation, the grim pride of Australia Day, and those both aboriginal and non-aboriginal who are standing up to make themselves heard above the din of nationalism, made me realise that the horrors of the past still writhe under the sunbathers and surfers; the consequences still have impact today; and that most British people know very little about it all.

​It’s easy to forget how mad the notion of building a British prison colony on the other side of the world was. Here were politicians, who had never visited the place, making a decision to send soldiers and prisoners on a months-long voyage to set up a permanent colony in the virtual unknown. There was no certainty of workable farmland, no knowledge of the aboriginal people of which there had only been the briefest contact previously. The colony was starving in its initial years and almost entirely dependent on supplies being sent from the mother country. Convicts were punished savagely for minor infractions. The colonisers spread smallpox amongst the indigenous population, killing them in vast numbers, and kidnapped their children to try and learn about their culture. The new arrivals were possessed with a sort of deluded entitlement that would, eventually, create all-out war with aboriginal populations throughout the land.
            It’s in the midst of this chaos that Rogues So Banished is set. While I hope the play is certainly anti-colonial, I didn’t want it to express any political certainty as I wanted to explore the period’s moral quagmires and complex dynamics of power. The convict perspective was a particularly rich intersection for this. Isolated on the other side of the world, under the constant threat of flogging, execution or starvation, resentment bred for the perceived freedom of the aboriginal people. In Rogues So Banished, it’s difficult not to sympathise with the characters stuck within such a wretched system of subjugation, and yet they are willing to commit horrific acts. This troubling lens seemed a perfect one to witness the insanity and brutality of colonisation through.

Why did you choose to centre the show around sex education, and what are the primary messages you want to convey to your audience?
Sex education is universal. Most of us will experience sex in our lifetime but we don’t talk about it. It’s taboo. That is insane to me. It’s all about asking the questions and sharing experiences and therefore to feel we are not alone. We might not always have the answers, but that’s OK! The asking is actually the important part. ‘Like children asking what is consent.’ Is a line near the end of the play. I think if we were to tackle this subject at a younger age it would eliminate a lot of the blame we place on ourselves related to our trauma and basically encourage much healthier sexual experiences in general. 

How do you balance the use of humour with the serious subjects of sex education and sexual trauma?
As in my last show: Subdural Hematoma, my experience of a brain injury and stroke at 18 when I nearly died, I found that people respond very well to humour. People feel comfortable laughing and more often than not they are more likely to engage with sensitive, difficult topics if they have had a plentiful helping of comedy. I juxtapose comedy and trauma in the show, going quickly from the audiences laughter to a more serious topic without much warning. That being said I think content warnings are extremely important and if anyone was struggling with the themes I would absolutely want them to step outside for a breather.
I have been told that, though there is a combination of trickier subjects alongside humour, audiences have felt extremely held in the space and I think the Q&A after is an opportunity for a sort of ‘cool down’ and for anyone to share anything that came up for them, if they want to. I find that tackling trauma with laughter is very powerful and I also love to make people question whether they can laugh at all (is it OK to laugh at Ellie having pooed herself yet AGAIN- the answer is: yes it is!!!) That is for Subdural Hematoma not Does My Fanny Look Big in This? Though as a ceoliac I’m definitely not judging.) ​

Next week, Anita D'Filth aka Emily Haldane, brings their vibrant one person show to The Bread & Roses Theatre. Find out more about the evolution of the show and what to expect, below!

​What inspired you to create Identity Kaleidoscope? How did this particular story come to life?
Identity Kaleidoscope was born from my personal journey as someone who identifies as queer and biracial. It’s an exploration of the multifaceted nature of identity and how we navigate the different sides of ourselves. The show dives even deeper into this by looking at how laughter is often used as an aid to shy away from facing our trauma, and how confronting this could greatly help us. I wanted to explore the delicate balance between humor and vulnerability. The idea came from realizing how often we laugh off pain, both personally and as a society, and how it’s a coping mechanism that often stops us from truly healing.

The show is described as a “vibrant exploration of identity.” What unique aspects of identity does the play delve into?
The show looks at both queer and biracial identity, but also addresses the broader societal habit of using laughter to push down uncomfortable experiences. It explores the fluidity of gender, race, and sexuality, while also questioning how we hide behind humor to avoid confronting deeper emotional truths. It’s about peeling back those layers of laughter and asking, “What happens when we stop joking and really look at ourselves?”
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Were there any challenges during the creative process of Identity Kaleidoscope? How did you overcome them?
​One of the challenges was finding the balance between the show’s playful, vibrant energy and the darker, more reflective aspects around trauma and identity. It’s a one-woman show, so it was important to get the tone just right. I also wanted the audience to laugh, but not let that laughter become a shield for avoiding deeper truths. With the help of collaborators and workshopping with audiences, we fine-tuned the balance, allowing humor to coexist with more difficult moments in a way that invites reflection.

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 inspired your minimalist, modern adaptation of "Hedda Gabler"?
Mya (Director): Hedda Gabler is a modern play, so many layers can be brought to the surface to make it resonate with  a current audience. Most of my inspiration came from Ibsen himself, and the mysteries that surround the actual plot of Hedda Gabler. Ibsen gives us very little context about the pasts of these characters, which made ‘thriving in the unknown’ a big goal for us. In picking and choosing what we hope to reveal in our production, we hope to leave the audience searching for their own answers, answers that stay with everyone a little bit differently.
From an aesthetic standpoint, I would say that Jamie Lloyd’s productions are my greatest influences. I love how minimalist theatre forces you to imagine the story for yourself. In the case of Hedda, your experience of the play is completely unique to you. You can imagine this world in a way that is different from the person sitting next to you. The Tesman living room is not mine, it’s yours - make Hedda Gabler what you will.

How do you balance Ibsen’s poetic naturalism with contemporary elements in this production?
Mya: There is a certain poetry found in the way that Ibsen’s plays are a reflection of real life. He wrote about real problems, real moral qualms, and challenged what societies believed themselves to be. Speaking staging-wise, this is seen in his generous stage directions made to be a replica of reality. We’ve been experimenting with some expressionist staging, which removes some of the tradition of Ibsen. To preserve some of this heritage, we have inserted some Scandinavian poetry throughout the play. With minimalism, we’re letting the story speak for itself - keeping Ibsen’s values shown through his words at the forefront. 
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What were the biggest artistic challenges you faced in bringing this modern adaptation of "Hedda Gabler" to life?
Mya: It is daunting to navigate such a well-known and loved play. Balancing the heritage of Hedda Gabler while bringing to life a ‘re-imagination’ makes for a difficult task, but also the most fun. I have often had to re-evaluate and re-discover my own concepts to best represent Ibsen within a very text-centred, stylized show. This is mainly found in the emotional ties between the characters. How they speak and move in relation to each other are the only clues we have about their pasts, which weighs on Hedda herself. I am so lucky to be working with an incredible, insightful group of people to build this world, they really are the greatest collaborators. 

​Can you tell us about the inspiration behind “The Double Digit Ceremony"? What motivated you to create this particular story?

"The Double Digit Ceremony" was inspired by a desire to address and challenge gender norms, especially for children at a critical age when they start forming their identities. The creators aimed to provide a narrative that normalises non-binary and any gender non-conforming experiences and empowers young people to embrace their true selves. The motivation stemmed from the recognition of the importance of representation and the need for stories that reflect diverse experiences in a society that often adheres to rigid gender roles.

The synopsis mentions themes of identity and belonging. How does the story of Frankie reflect these themes, and why did you choose to explore them in a theatrical setting?

Frankie's story is a poignant exploration of identity and belonging, as they navigate the challenges of societal expectations and self-discovery. Theatre, with its immersive and emotive nature, provides an ideal setting to delve into these themes, allowing audiences to connect deeply with Frankie's journey. By witnessing Frankie's struggles and triumphs on stage, young viewers can see reflections of their own experiences and feel validated in their own quests for identity and belonging.

Music plays a significant role in the show. How did you integrate live music into the storytelling process, and what emotions or messages do you aim to convey through the music?

Live music is intricately woven into the fabric of "The Double Digit Ceremony," enhancing the storytelling by underscoring emotional moments and highlighting key themes. As actor-musicians, we have utilised instruments to make the narrative more accessible and engaging for children. The music conveys a range of emotions, from joy and celebration to introspection and resilience, reinforcing the message that embracing one's true self is a powerful and liberating experience. 

We're lucky enough to have Enlight Insight Theatre back at The Bread & Roses Theatre this June with their Rebel Jam Cabaret. We spoke with the team about the highs and the why's!

​What inspired you to create Rebel Jam? Why a cabaret?
We have always wanted to have several branches to our work as a company.
● Commercial: being our films and big productions either scripted or devised.
● Youth: Working with youth organisations and schools running workshops.
● And community...
When it came to thinking of what to do to engage the community we looked at what was most needed in the industry right now. It became clear through research that the performance industry was becoming harder to get into as a new comer. Applications to perform at festivals and theatres require you to have photo evidence of shows. Spotlight requires you to have credits under your name before joining their platform. This need is what gave life to Rebel Jam. A cabaret that allows emerging artists to get a performance credit in a fun and safe environment, whilst also getting the much needed performance photos.

​Who are the collaborators on Rebel Jam? Rebel Jam couldn’t happen without a variety of people.
● First and most importantly are the acts themselves! Rebel Jam has been designed for them and wouldn’t run without them! We are always grateful to each and every act who joins us. It’s our pleasure to support them!
● Next would be our Artistic Director Crystal (also know as Kiki.) They produce Reb Jam through scouting the acts both in person at open mics and variety nights and online. They come up with the theme for Rebel Jam and promote the cabaret on socials and in person. They create the promotional materials and they also secure and liaise with the venue throughout the creative process.
● Last but certainly not least are our Associate Artists Elsbeth and Aggie. Elsbeth is Reble Jams photographer who takes and edits all the show photos. Aggie is our lighting and sound technician who gathers all the cues from acts and ensures the smooth running of shows.