Theatre Centre’s UK tour of Human Nurture written by Ryan Calais-Cameron and directed by Robb Watt and Monay Thomas has started.
Exploring race, privilege, allyship and masculinity, Human Nurture tells the story of two ‘could-be’ brothers whose lives are cleaved when one is rehomed, and the other is left behind in the care system.
Roger and Harry’s bond is so strong they could be brothers. They share the same food, music, laughs, even dreams – but not race. Roger is black and Harry is white…but what does that matter, right?
When separated, these brothers start to walk down different paths. When Roger returns to celebrate Harry’s birthday, his new name Runaku isn’t the only change, and this dream reunion becomes much more complicated. ALT caught up with Assistant director Monay Thomas.
ALT:
Can you tell us how you find the role of Creative Associate?
Monay:
Such a blessing. Not only do I have the privilege of helping to generate artistic ideas and aid creativity, but I get to collaborate with artists in a way that is so beautifully heuristic. There is so much liberation and empowerment in the way that Theatre Centre creates space for an array of voices to be heard; the kindness, listening and overall presence in the rehearsal space made it a fluid, joyful process. Despite being the youngest person in the room, there wasn’t one moment where I felt dismissed or unseen; I didn’t have to fight to be heard. So, stepping into this role was motivating; it personally made me re-realise the value in having a true multiplicity of perspectives in a rehearsal space; that type of collaboration is paradigm-shifting.
As a creative associate, I was empowered to be analytical and ask a lot of exploratory questions to get to the roots of the characters, the play as a whole as well as within our processes – thinking a lot about transparency and accountability. On this particular project, given the exploration of identity, culture and belonging, I was able to mesh together my anthropological knowledge with creative perspective to encourage a holistic understanding of the play, which was a pleasant surprise for me!
I’m just thrilled to be able to be of service to such a phenomenal company of individuals who truly care about accessibility to theatre for young people and those from underrepresented backgrounds. Hope is so alive!
ALT:
Did you have professional training?
Monay:
I trained with the National Youth Theatre a few years ago, then I did a one year acting course at the Young Actors Theatre, Islington before joining Theatre Peckham’s Originate acting programme last year. That same year, I was also on the National Theatre’s Writing for Theatre course and the Almeida’s Anthem writers programme. Additionally, I’m a part of the BFI Film Academy whom I trained with in 2020 and Sounds Like Chaos Theatre company who I’ve been with since 2017. I actually started off at Theatre Centre as Youth Communities Ambassador in 2021.
ALT:
What skills does a creator need?
Monay:
Generally, as a creative, I’d say bringing yourself, as you are, in all your authenticity, is most important. I think it’d be useful to speak directly to anyone who feels ‘unprepared’ or ‘not good enough’ to create. We’ve all been there, and those voices can be very loud sometimes.But there is no one in the world who can bring what you bring. Your voice and perspectives are valuable.It doesn’t have to be neat or perfected, just create! Keep your ‘why’ close to you heart – that is what fuels what we do. For me, my faith plays a foundational part in the confidence I have to step into my creative calling, to step into spaces where I may feel ill-equipped or what is more commonly labelled as ‘imposter syndrome’. The truth is, when you realise how needed people like you and I are in creative spaces, the courage to do so becomes an act of love and service. Both for yourself and who God has created you to be, but also for those you get to collaborate with.
Secondly, these are the skills I would deem most valuable in creating (with others): openness and playfulness which allows freedom to make mistakes and discover; great listening – art, I believe, is a lot about collaboration, so learning to be generous in your attention and present-ness feeds into creating encouraging space for yourself and others; patience and endurance – creating can be incredibly challenging but in the long run, we need to be able to persevere and envision what we’re moving towards (change!); Imagination – this is a must but we all have this! Keep exercising it.
ALT:
How do you think female storytellers have evolved in volume and diversity in the Theatre space?
Monay:
In my opinion, I think there has been a newfound sense of fearlessness and courage to take up space and be seen. Generally, I’m seeing more and more female storytellers make their own opportunities and paths onto the stage – there has been liberation in realising that actually, one doesn’t have to wait on anyone to receive permission. That’s not to say there aren’t barriers still, because there are. But with the introduction of more female-led projects and opportunities to uplift underrepresented individuals generally, we’re moving, shifts are happening, albeit slowly. The female storytellers of my generation in particular are proving to be multi-skilled, cross-disciplined in their way of working, creating art that is boundless and intent on creating change . Thus, there is greater recognition in the industry that these voices are of immense value and are needed.
ALT:
Where/Who do you draw inspiration from?
Monay:
My work is often a fusion of questions that I don’t necessarily have the answer to. How can my art be a vessel to: reveal truth? explore how adversity/suffering leads to growth? encourage self-examination, contemplation and action? Expose individuals to the power and grace of faith? I care about rebellion in the form of joy/healing; the restorative essence of forgiveness, friendship and love, spirituality, hope, vulnerability, radical acceptance etc. What is something that just might change how people think/act?
As someone whose faith is foundational to how I navigate life and therefore creating art, I tend to get inspiration in prayer or through journaling thoughts that arise. It’s usually God who places certain things on my heart to explore and they’re always bigger than me. But really, I’m inspired by the little things too. Just the other day my friend and I, late in the evening, decided to go on a walk along Southbank. We got to what looked like a flat, mosaic inspired, square-shaped surface and boldly began dancing, Ballet and contemporary, messy but expressive, exhausting yet liberating. We played the likes of Megha and some old classical French instrumentals – leaping and laughing around like it was just us there. There was a moment just after we stopped where we paused to both look at the view over the water; the rainbow of building lights across London painted the skies. It was timeless, yet in time and so many feelings of nostalgia, tranquility, gratitude and love all co-existed in that one moment, however fleeting. It made me wonder – how do we enjoy those moments with full presence without it’s temporariness burdening us?
Inspiration is everywhere.
ALT:
What are some of the challenges you have faced and what does it feel like to be back in theatres during/after the pandemic?
Monay:
During the pandemic, there were a lot of personal challenges in terms of discipline, motivation and holding onto hope as well as a lack of financial/work opportunities. But I’m blessed to have had a strong grounding in faith, in my vision for the future and in the joy in being able to artistically express myself even in the comfort of my own home.
After returning to the theatre space, I was overwhelmed with gratitude for those I collaborate with and the work we make. So, thankful, joyous and hopeful! It made me realise the beauty in physical collaboration, in being able to meet eyes with another person and feel the presence of each individual. That’s why working on Human Nurture with such wonderful human beings has been so magical. From Rob’s phenomenal way of creating caring, nurturing and bold spaces to Ryan’s incredible openness, humility and curiosity to Yami’s powerful artistic specificity and courage. I could go on…
ALT:
Do you think the support from the government has been enough?
Monay:
There is always more that can be done, in terms of funding and investment in the arts but as long as we keep our eyes on the value that art brings whilst continuously challenging the government to truly partner with us, I’m hopeful that accessibility and livelihoods will be sustained. As a community, we all have a role to play. In that vein, a more important question to focus on is: what can I do to not only support those around me, but to also be an advocate for our industry?
ALT:
Without giving too much away, what can we expect from this production?
Monay:
ENERGY – moments of cohesion and chemistry mixed with dagger-like moments of discomfort and reflection. JOY – a playful, dynamic relationship infused with a whole lot of love and brotherhood. REPRESENTATION – different perspectives on race, privilege, growth and identity. For those who have often felt disempowered to tell their story, the encouragement to step into that is prevalent through Runaku’s narrative. For those who may not have engaged in these types of conversations, be prepared for renewed thinking, vulnerability, and possibly hard realisations of past actions and how they may have impacted others.
ALT:
What did you like most about the story?
Monay:
After I read it for the first time, I think I wrote down about three pages of things that deeply resonated with me. That’s how incredibly rich in humanity the story is. Ryan’s writing is just brilliant. What is most profound is the questions the story evoked in me: What do we mean when we say we know someone? How do we communicate our pain? How does our ancestry shape our cultural identity? What do we define ourselves by? How does trauma physically manifest? Love – how do we show and receive it? How do we meet people in their suffering? What happens when you’re told to be less of you by someone you love? How does history work against us in relationships?
Both the characters’ need to feel understood is something I certainly related to – as a child, that is what motivated a lot of my actions; the disillusionment of growth in relationships is also a universal experience – Harry views Runaku’s evolution as a sort of betrayal, so if someone is operating from an outdated perception of you, what next? The deep sense of loss in this play seeps through and is something we can all relate to: loss of innocence, loss of trust, loss of safety. At the same time, the idea that we betray ourselves when we compromise our truth also invites courage and boldness which I certainly would have benefitted from hearing as a youth. I enjoyed how Harry’s arc in particular was presented because we see the vulnerability, the hurt, the inner child; someone who cannot see past their own suffering and who is seeking safety, familiarity and brotherhood. The bottom line is, aside from the obvious explorations of race and privilege, there is boundless exploration of universal experiences/ideas. Something I took away with me was: go where you are celebrated but do not limit the scope of perspectives around you – make the effort to truly listen.
ALT:
What’s next for you?
Monay:
Hopefully more directorial/dramaturgical work. I’m keen to get back to writing as well so that’ll certainly be a focus for this year. There is a lot on my heart to explore creatively but I’m trying to focus on where my voice is needed – upcoming projects will be infused with my passion for shifting perspectives and lovingly exposing people to truth. Of course, I’d love to work creatively with Theatre Centre again!
I’m currently at The London School Of Economics and Political Science studying Anthropology and Law – I have a few creative endeavours I’d like to do here. Increasing accessibility to theatre and the arts for young people and those from lower socio-economic backgrounds is important to me. As one of those young people, I’d like to do more work in schools/youth clubs/youth theatres. But ultimately, I have so much trust in where God is guiding me to, I rest in the knowing that as long as I keep learning and pursuing, whatever is meant for me, will not pass me. I encourage anyone who feels stagnant, to keep your eyes on your ‘why’ and when in doubt, look to be of service and learn from others.
I want to continue to make work that hopefully leaves someone feeling a little less alone in their experience(s). My art will continue to be a dedication to truth, which will at times breed discomfort, but I believe that the power of art lies in its ability to stir things up within us.
Human Nurture is a new play from RYAN CALAIS CAMERON the writer of Typical and For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy Ryan featuring live music, moves and plenty of dynamite.
More info and to BOOK TICKETS CLICK HERE
Runs until 26 March.
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