Award-winning playwright Nessah Muthy follows Arabian Nights, currently being staged by Iris Theatre at Hoxton Hall, with the premiere of her latest play Sundowning. The contemporary drama, produced by Kali Theatre, examines the true cost of social care in the UK. Time to get booking!
Kali’s artistic director, Helena Bell, directs the world premiere, which runs at London’s at Tristan Bates Theatre from 16 October to 3 November 2018, with a press night on 18 October. In addition to its run in the capital, the production also tours to Theatre Royal Plymouth (10-13 October) and The Curve, Slough (9-10 November).
Love, loneliness and guilt ricochet between three generations of women as Sundowning brings home the brutal realities and responsibilities of caring for those living with dementia, and the impact on everyone involved.
When Alyssa returns from prison, she is devastated to find her aunt has put her beloved grandmother Betty in a care home. Determined to give her one last jolly, jingle filled holiday and recapture childhood memories, Alyssa kidnaps Betty and the pair embark on a campervan road trip to the seaside. But soon Betty’s dementia and Alyssa’s troubled past catch up with them.
Sundowning stars Aasiya Shah (as Alyssa), Hazel Maycock (Betty) and Nadia Nadif (Teresa). The production is designed by Rajha Shakira, with lighting design by Pablo Fernandez Baz, sound design by Dinah Mullen, video design by Daniel Denton and choreography by Yarit Dor.
Nessah Muthy’s Sundowning runs at Tristan Bates Theatre, while Arabian Nights plays at Hoxton Hall.
Talking to… Nessah Muthy
Playwright Nessah Muthy is a Writer’s Guild Award-nominated writer, winner of the Adrian Pagan Award 2018, and the inaugural recipient of the Verity Bargate Character 7 Award. She is a mixed race British Mauritian from London who has worked with a number of companies including the Royal Court Theatre, HighTide, Cardboard Citizens, Punchdrunk and Theatre Centre. Her plays include Heroine, Sex with Robots and Other Devices and Arabian Nights.
What inspired you to write Sundowning?
This play has been with me for a long time. It is inspired, in a small way, by my relationship with my own grandparents, particularly my Nan who played a huge part in my upbringing, but the experiences of my characters affect so many, crossing class, wealth and ethnicity. My own experience of dementia has reared unimaginable pain, fear and anger, but also colossal, everlasting love. Ultimately love is what is left and in that there is hope… I am thrilled to see it come to the stage.
What message did you want to convey through the play?
That’s tricky! It’s more a raising of questions! How do we care for our own families as they grow older and become ill? Are we the best people for the job? How do we let go of someone with this illness who is still there, but not there at the same time? Do we need a radical rethinking of everything we know or think we know about care?
What do you feel is unique about this play?
All-female cast and multi-generational women. It’s populated solely by complex, complicated working-class women with flaws and heart… hopefully!
Who is your favourite character & why?
They all are! That’s like choosing between your children!
What do you associate with the play?
Love. Home. Music and dancing and unyielding, neverending love. I guess holidays too, the fun, the laughter, no matter where you are. Also, time, how it melds and spits and swirls, there’s no past, present or future, it is all happening at once, at the same time.
What do you think is the true cost of care?
How relevant do you think the play is to the UK? It has different levels and is very individual. I think, for the family in the play, it sort of means a loss of identity, a loss of self, for the carers (Alyssa and Teresa) too. I think it’s a very relevant play and a very relevant question, people don’t like to ask it though, because the answers are tricky and blurred and painful, but maybe if we ask the questions it’s a start?
