Syndicated Interview – Rob Ward | The MP, Aunty Mandy & Me Autumn Tour

Q. The MP, Aunty Mandy & Me is based on real stories from the LGBT+ community. How did the play come about?

A. During the 2017 #MeToo movement, I realised there was a gay male voice, at the time missing in the conversation, that could contribute to the societal discussion about abuse of power and sexual manipulation. I started to reflect on certain events in my past and realise that they really were not ok, but that somehow because I was gay I had always assumed they were par for the course, a rite of queer passage. I had conversations with other gay men who had similar experiences. I began to research coercive control and consent. Partnering with Survivors Manchester – a charity for survivors of male sexual abuse and exploitation – and their fantastic CEO Duncan Craig OBE helped to finalise the story.

Q. Can you give us an outline of the play itself?

A. This is the story of Dom. A young gay man and steam train fanatic, who lives in a small village in the north of England. He fancies himself as an instagay influencer, the problem is no one likes his posts. He reckons he knows all there is to know about gay men, despite not knowing any. He dreams of life as a power gay in a city centre apartment, but his crippling anxiety prevents him from living anywhere else. He’s stuck with his MDMA addicted mum who plays Simply Red records all day long. One day, an encounter with his local MP Peter Edwards turns his life upside down. But this newly formed friendship will come at a cost. Is Dom willing to pay that price?

Q. Despite some of the show’s darker themes, it’s presented with humour and levity. How important is it that the show is funny?

A. As a writer, I believe very firmly a piece of theatre should have light and shade. Isn’t that what life is? Moments of heartbreak and moments of hilarity. Sometimes, you get both at once. I struggle with plays that are, for want of a better way of putting it, misery porn. Humour is a great way to engage an audience and make them warm to characters. It also gives you a fantastic opportunity as a writer to then flip the whole thing on its head and hit them hard with the serious heart of the play. In some respects, this is a play of two halves. The biting humour and the quirky characters set us up before the darkness of this world takes over. I don’t know if an audience would care as much about Dom’s plight through the second half of the play if they haven’t laughed along with him earlier on.

Q. You’re working with the Manchester-based charity, Survivors, who support survivors of male sexual abuse. Can you tell us a little about what they do?

A. Survivors Manchester is a survivor led charity for male survivors of sexual abuse, exploitation and violence. Survivors’ aim is to help break the silence surrounding this very difficult issue, one that many men struggle to recognise and deal with.Their CEO Duncan Craig OBE has been working closely with us on the development of the script and production. Duncan’s expertise has been invaluable in getting the show to the place it is at today. There’s more information on their website at https://www.survivorsmanchester.org.uk/

Q. The play’s recently been at the Edinburgh Fringe. What was the reaction to The MP, Aunty Mandy & Me in Edinburgh?

A. We were thrilled with the response to the show in Edinburgh. What was particularly interesting for me as a writer was the post show conversations with several gay men who had rethought some of their past experiences in response to the piece. This was the starting point for me in writing the play, so it was rewarding to realise that other people from my particular community had responded in such a way. Outside of the central issues in the piece, we had some great feedback on the technical aspects and production values of the show. This has been Emmerson & Ward’s most technically ambitious project to date and the vision of Clive Judd married to the brilliance of sound designer Iain Armstrong and lighting designer Will Monks has been a joy to be a part of. It has undoubtedly elevated my writing and the production as a whole.

Q. You’re currently making your way around England with the show. What do you like most about touring?

A. I love getting the play out there in front of audiences in towns and cities up and down the country and gauging their reaction to it. No two audiences are ever the same, particularly when you’re travelling around very different parts of the country. For me personally, I love getting about, taking in new places, seeing new sights and maybe, just maybe, sampling the local beer.

Q. After the tour finishes in November, what’s on the cards for you next?

A. I’ve been developing a script with Live Theatre in Newcastle for a show called ‘Love It If We Beat Them’. The play is set in the North East in 1996 – the year when Newcastle United manager Kevin Keegan gave us the famous line that gives the play it’s title – and it focuses on the internal battle within the Labour Party between the traditional left and New Labour. We did an R&D last year and are hoping to move it into full production soon. But before all that, I’m going to find a beach in Gran Canaria!