I sat down with writer Christian Graham to find out more about The Darkness and the Light coming to the Bread and Roses Theatre this October.
Can you tell me a little about your show and what audiences can expect?
The Darkness and The Light is essentially a detailed exploration of grief. That being the case audiences can expect some emotional heft, a story that dares to go beyond what’s comfortable and a sense of catharsis for those dealing with loss. They can also expect a narrative that sometimes travels through time in unexpected ways.
I wrote it that way to mirror the non-linear nature of grieving and I want the audience to experience the play in a way that feels honest, given the subject matter. There will be unexpected levity too, which I think is often present in all of life’s darker moments. I’m a big fan of stories that aren’t self-serious, and that way the audience also has a reprieve from the intensity of some scenes. The audience can expect some great performances as well. I’m lucky to get to work with some actors I really enjoy collaborating with and seeing them vibe off each other and begin to play is like nothing else on earth.
What drew you to this specific story?
The play was very much inspired by the way I felt after some bereavement counselling I had a couple of years ago. There were a lot of feelings that came up for me, which I was utterly blindsided by, but which in context made a lot of sense.
I felt like if there might be a way to use theatre to explore some of those things publicly. My thought being that if someone else was in the same position but didn’t have the luxury of time or energy to do that level of self-reflection, maybe my play could be a helpful starting point. I think I’m always exploring how vulnerability is actually a superpower in my work. And in this play, I find myself leaning into that.
What has been the biggest challenge in bringing this production to life?
The main challenge I had in terms of creative process was finding the right producer. I have always produced my own material, so when I had realised that I wanted to collaborate with a production company it meant loads of networking with creatives that I don’t often interact with. I feel like I’ve also taken a while to get used to the theatre landscape post lockdown and working out what the best ways to reach out to producers are.
I also needed to collaborate with a company that was happy to explore a story that could be triggering at certain points, especially in a society where we don’t really talk about death. But Ryaknots have always wanted to really push the boundaries and tell stories that feel dangerous and refreshing. It’s been really great working with them.
How does the design of your show (set, sound, or lighting) impact the presentation of your story?
In terms of design, my creative team are really keen to create an aural environment that builds a whole world for the audience before a word is spoken. It’s one of the first plays I’ve developed, where we were talking about sound design not as an afterthought but something that would really be key to the development of the whole production. From early on we’ve been aware that what we need to do is find an audio landscape that somehow explores the intangible cosmic themes and the intimately human. A way of essentially tethering heaven and earth.
In some cases the sounds involved won’t necessarily be found in the real world but will be able to inspire an emotion that honestly puts you in the shoes of our characters. And I can’t wait to share all of that with you this coming October.
If you could sum up the show in one word or phrase, what would it be and why?
Ethereal.
The Darkness and the Light runs at the Bread and Roses Theatre, London, on 10 – 11 October. Tickets available at https://lambethfringe.com/events/the-darkness-and-the-light
