I sat down with writer James Meteyard to find out more about The Inquest coming to The Big House this November.
Can you tell me a little about your show and what audiences can expect?
The Inquest follows David, a foster father fighting for answers as he goes through the process of an Inquest into the death of his son Jordan, who took his own life after his mental health spiralled once he’d left David’s care. Meanwhile, David is trying to stay present for his current foster daughter and his partner. The piece examines the ‘cliff edge’ at 18, when support for care leavers drastically reduces overnight, and the transition from children’s to adult mental health services ought to take place for those who are accessing this service.
The Inquest asks why the same pattern of failures keeps happening across the country, and how the systems designed to support these young people can often fail them. Whilst the subject matter is an emotional and important one, there’s a lot of joy and humour too. It’s a promenade production, so the audience will move from room to room in our warehouses in Islington, immersed in the live action of the story. With a multi-award-winning creative team and a cast of highly talented actors from The Big House, audiences should expect to see something entirely unique, galvanising, emotional and full of heart.
What drew you to this specific story?
It started with the lived experience of an Inquest. Maggie sat on an inquest jury and came out passionate about what she saw. We spoke about the idea of dramatising this setting as a vehicle to explore systemic change. We began looking at how many care leavers die young – what got under our skin was the pattern: the same failures, from one local authority to the next… often the response was shocking too, with some local authorities not even registering to attend the Inquest into the deaths of young people in their care.
Further to that, there was a particular pattern of care leavers taking their own lives around 18-20, with this transitional period clearly being the most challenging time due to the sudden reduction of support, expectation of sudden independence and fragmented transition between services. We wanted to write about the steps that could lead a young person to fall through the cracks and why this is – asking the question, “What can we do to stop this happening?”
What has been the biggest challenge in bringing this production to life?
The complexity of systems which we’re trying to represent, for sure. In a way, I find writing for the Young People we work with easier… I engage with them regularly; they contribute their ideas, passion and excitement when I discuss the story with them, and I pick up their natural charm, dialect and nuances by osmosis through working so closely with them.
The systems, on the other hand, are complicated, bureaucratic, red tape-riddled, and process-driven… each has their own distinct language, jargon and procedures in the lead-up to a crisis of this magnitude – we’re talking the Met Police, Local Authority, Housing Association, children and adult mental health services, NHS Trust and hospital wards, toxicologists, pathologists etc etc… and then you have to think of how they would present themselves in an Inquest? What would be their approach, their jargon and how might they present facts to show they followed due process?
That was a LOT of research and was definitely by far the most challenging part of the play, because I know we’ll get representatives from these systems through the door – so it has to be right. I also found balancing the story challenging – it could easily tip into an ‘evil systems are doing bad’ kind of story, but that doesn’t do justice to the complexity of the picture. There are many, many brilliant, well-meaning people who work for these systems, but at the same time the systems are deeply flawed. So presenting a balanced picture that doesn’t shy away from the failures, but fairly represents those who are trying their best is an ongoing challenge.
How does the design of your show (set, sound, or lighting) impact the presentation of your story?
Tina Torbey’s set, Nina Morgan’s lighting. Mic Pool’s sound and video and Lambdog’s costume will work together to truly immerse the audience in the world of this piece. What’s great about presenting work around an old Victorian warehouse is the building gives you a lot of interesting spaces to lean into – projection across adjoining surfaces will give Mic a range of ways to map the video, exposed brick and piping that Tina will need to incorporate within the design aesthetic, pathways between rooms, as well as the spaces themselves that Nina will need to light.
It’s still early days, so I don’t know exactly what the designs will end up being yet, but I have every faith this incredible, multi-award-winning team will create something truly special across these very unique spaces.
If you could sum up the show in one word or phrase, what would it be and why?
Cracks – it’s about the space between services and, most importantly, a portrait for the people who fall through them.
The Inquest runs at The Big House, London, on 25 November – 19 December. Tickets available at https://www.ticketsource.com/thebighouse/the-inquest/e-zpgkyp
