“Born and raised” in South London Mya Onwugbonu self-published her first poetry book, ‘consciousness’ in 2021, and then went on to perform her poetry throughout the UK. Professonally trained in Music, Theatre and Film, Mya creates and directs her own work. Since debuting her first spoken word play, Hear Me Now, at sold-out shows at Southwark Playhouse (Nov 2022) and VAULT Festival (Feb 2023), her carerer is going from strength to strength and she is directing a new play, called Seize the Day. Her talent is duly being noticed Hear Me Now won ‘Show of the Week’ at VAULT Festival 2023, and in 2023 she picked up the Best Director Award at the BBTA’s. The award-winning director/writer began working with Tower Theatre as an Assistant Director with the production, hang (Mar 2023) and had debut-play In Hiding (Jun/Jul 2023). ALT caught up with Mya between rehearsals for “Seize the Day” which is written by Kwame Kwei-Armah, opening on the 31st of Jan running until 10th February 2023, at the Tower Theatre in Stoke Newington.
ALT: What made you decide that being creative was a “thing” that you can do and get paid?
MO: Creativity was always something I wanted to do, it wasn’t about the money, it was all about the enjoyment of the craft and expressing myself. My first love has always been writing; starting as 5-year-old songwriter. I remember when Willow Smith released her first single at age 10. I was inspired and set out to write her a song. Ever since, I have always been driven by my passion and inspiration, and now having reached a stage where money is involved, it is a bonus, but it isn’t what drives me to be a creative. As cliché as it may sound, I am happy and fulfilled to be spending my days doing something I love to do, and that allows me to have freedom in myself.
Q: Who was the 9-year-old Mya that determined the creative spirit you have today?
9-year-old Mya was full of energy; enjoyed exploring many different creative pursuits and had a thirst for education. This spirit has never left me, only ignited my passion for creativity. I’ve always had strong self-determination, at age 8, I taught myself to ride a bike in just a few hours. I gave myself the deadline of before my Dad returned from work, and I achieved it. This has been an intrinsic trait to my character and has allowed me to achieve so much.
Q: What do you like about directing?
I’ve always loved reading, imagining the story in my head, and creating worlds – directing allows me to do that with real people. I like dissecting words into imagery, emotions, and space. It’s not just about the dialogue, it is about what sits in-between the dialogue and how you can pepper nuances into a storyline. As a consumer of various forms of entertainment, theatre, film, and TV, I search for intricacies within narratives to give audiences a layered and real story.
I also enjoy working with actors and seeing their growth as people, as artists and the development of the story. Theatre, TV, Film – they all open doors within our minds and open people up to so much more of themselves. There is beauty in that – and as a director, I feel it is part of my role to uncover these realisations or insights.
Q: What did you learn from your debut theatre piece Hear Me Now what was the learning curve?
Hear Me Now was the first piece of full-length theatre I had written, portrayed, and directed – so everything was new, but it felt natural. Starting the journey as the writer, I actually enjoyed the process of having my writing read, going to edit and redrafting because I felt it developing my craft. That’s not to say, the journey was not steep. There were lots of decisions to be made – both creatively and practically, juggling scheduling for such a large cast, finding the right venue and being a student of both life and university. It taught me so much about producing a piece of theatre, the industry as a whole and lots about myself. However, the real joy in the learning curve was working with the actors. They informed the trajectory of the story with personal experiences; they brought real emotions to the stage, and they made it a great first experience.
Q: As a woman with Brown skin how do you think the industry treats you now and what can you see as a positive development?
Quite honestly, it is too early for me to say. My experience, overall, has been positive and I’d like to affirm that it will continue to be so. This industry is vast, and there is space for us all to grow and blossom. It only takes one to inspire and I have been inspired by many black women before me, that have given me the confidence to strive.
Q: Who inspires you?
My mother. Throughout my whole life, everything I have needed I have found in her, or she has showed me how to find it within myself.
Q: Ahead of Women’s Day 2024 name 3 women who you view as heroes.
My heroes would be any woman that has the resolve to elevate their craft to new levels. I am heavily inspired by Maya Angelou, Toni Morrison, and Michaela Cole. Each of these women have shown fortitude in their respective industries and have inspired generations of black women – in particular.
Q: What does winning Best Director at the BBTA’s in 2023 mean to you?
Winning Best Director was a whirlwind in so many ways; suddenly people knew more than my name but knew my craft. In my mind, I had always been a creative and now, other people saw it to – that meant a lot for me. Yet what meant the most, was that it was for Hear Me Now – my debut spoken-word play as both director and writer. Hear Me Now was a huge stepping stone in my career and in my confidence as a creative. Being in the rehearsal room, putting it on, and seeing the audience responses – that was enough for me, and seeing how far it has come since then, is just amazing. I hope that my achievement of getting this award inspires many. There is some much untapped potential in people, specifically young people, – and it just takes one thing or person to tap and let it all explode.
Q: What makes a good theatre director, name 3 key points?
For me, the first that comes to mind is vision. As I mentioned before, being able to envision the world of your play, allows for the steps of the journey to flow naturally.
Communication. Theatre is a dialogue between the performers and the script, the production, and the audience – and the director’s vision and the cast.
Vibes. Being able to cultivate talent, hold stories and tell them, you need to create an environment that welcomes this expression. Every time I direct or facilitate a room of creatives, I allow them to be free through music, laughter, and good vibes.
Q: What stories inspires you?
Real stories. Art that reflects life is what I constantly strive to create. It is fulfilling and stimulating. Even though pain, you can find a story that resonates with someone – no emotion is off limits within art.
Q: Let’s talk about Seize the Day, how did the project come into your hands?
Having worked with Tower Theatre for the past year as Assistant Director on the production hang by debbie tucker green and In Hiding by award-winning, Adenike Ojo, they approached me to direct within their spring run. So, I went on a journey to find a play that really spoke to me and challenged me as a director, which is when I came across Seize The Day. Kwame’s writing has always inspired me, but after reading Seize The Day, I was captivated by how relevant it was to today despite being written over 10 years ago. Seize The Day has beautifully flowing dialogue, complex characters, and a thought-provoking message. Not only did it push me but allowed me to push the actors to find nuances in their characters.
Q: What is the message, themes of Seize the Day?
Seize The Day comments on the perception of blackness through the lens of 3 distinctive and different black male characters. It touches on the landscape of politics in Britain, and how race navigates this world. Most importantly, there is a growth of connection and community.
Q: How does it feel to be working with an established name like Kwame?
It has been a great experience directing with his work. Kwame has vast experience throughout the industry in various capacities, which is what I aspire to do. He has been supportive and encouraging in allowing me to have freedom to curate my vision for the play. I am excited for what the show run will bring.
Q: What do you like about his work?
Kwame paved the way within theatre for black narratives, whilst challenging the perception within our own community. To have a piece of writing that truthfully explores so many different sides is honest and refreshing in this modern world.
Q: When you read the script what made you say yes?
I felt it was something I would be able to connect with. Feeling connected to the work I create is important to me, it is the reason I am a creative.
Q: Who else would you like to direct?
It would be a great opportunity to work with some of Britain’s greatest; John Boyega, Letitia Wright, and collaborate with directors, writers, and actors across the pond too.
Q: Where do you call home?
South London. Born and raised.
About the play:
| He’s sold his pitch on reality TV, but can he be the real people’s candidate? |
Following the story of Jeremy Charles, a reality-TV star turned politician, this chronicles Charles’ campaign through conversations on the harsh reality of politics and life. This political drama, written in 2009 by the Young Vic’s Artistic Director, is a smart and pacy rhetoric of the trials that having a black man as London’s first mayor could bring.
Where:
The Tower Theatre, 16 Northwold Road, Stoke Newington, London, N16 7HR
