Peter Mulligan wrote Loop in reaction to his own experiences of working in a bar, coping with depression and considering taking his own life. Here he tell us more about this time in his creative life and how the piece has grown since its Camden Fringe premiere. Read on then book your tickets!
Following sell-out runs at the Camden Fringe and the Brewdog in Leicester, theatre company Tiny Room returns to London in January with a new, extended version of Loop. This updating of Peter Mulligan’s play, which runs at the Lion and Unicorn Theatre from 7-20 January 2019, delves into the relationships of the characters that frequent a pub.
Loop was first staged at the Camden People’s Theatre in August 2018 as part of the Camden Fringe. After its London success, when audiences asked for a longer version to be written, it moved to Leicester where it played this autumn from 26 November – 1 December. This new year production at the Lion and Unicorn Theatre has been developed since the play’s first London outing, with greater depth added to original characters and the addition of new drinkers to the pub.
Loop focuses on Chris, a barman who can barely get through the day anymore. While closing up the pub, he is on the verge of committing suicide when Steve, a volatile regular, bursts in with demons of his own to contend with. The two of them begin an all-nighter of booze, cocaine and half-baked schemes of self-development to fix their problems. They are joined by other regulars throughout the night.
Mulligan’s play explores depression and particularly male suicide, which is the biggest killer of men between the ages of 18 and 45.
According to the Samaritans, in 2015 almost 5,000 men committed suicide in the UK. The same charity states that men are three times more likely to take their own life than women. Among some of the reasons the Samaritans found for male suicide are comparisons with a ‘gold standard’ alpha male, a loss of ‘male ‘ identity and the decline of traditionally male industries.
The situation in which Chris finds himself in Loop reflects that of many men suffering from suicidal thoughts and depression. Being stuck in the same monotonous routine only worsens his condition. When life is stuck in a monotonous, exhausting cycle there’s no easy answer or escape.
Loop stars Keifer Jones, David Richardson, Jaz Cox and Zoey Boyd, who also directs the production. It’s co-produced by Mulligan and Joe Idris-Roberts, who recently took the title role in the National Theatre production of Pinocchio and can currently be seen playing Albus Potter in Harry Potter and the Cursed Child.
Peter Mulligan interview:
What inspired you to write Loop?
Initially Loop was a project based on mine and other’s experiences working in pubs to earn a living. I wanted to explore depression whilst working behind a bar day in day out in the same routine, and being stuck in that cycle. But in 2017, I experienced a mental breakdown and was planning on ending my own life. I was in the habit of journaling and wrote about what was going through my mind. I began to find connections with what I was writing about in the play and my own mental health. I restructured the play to anchor it in one character’s suicide attempt, but I didn’t want to preach and state what was right or wrong, so I left the finale open ended and up for audience discussion and interpretation.
Why did you think it was an important story to tell?
I thought it needed to be told because although we’re starting to open up to each other and discuss it, I still hadn’t seen any stories being told about it in the way I wanted to see. More specifically, I wanted to pit various schools of thought, which I desperately tried to adopt to help myself, against each other. These ranged from the spiritual to endless motivational quotes and affirmations. I used these belief systems to wallpaper over what I was feeling without actually confronting it, and I wanted to depict that conflict on stage.
Why do you think male suicide is and mental health is a subject that’s almost taboo?
I experienced a second mental breakdown this year and sought help, but all the while I felt embarrassed and guilty, like I was handing myself in for a crime I committed. I felt ashamed to have to disclose how I was feeling. I think suicide is often coupled with being cowardly and selfish, that anyone who’s ended their life should’ve been thinking of their loved ones and the devastation they’d leave behind. I’m not saying at all that this applies universally and can only speak from my own experience, but it was honestly a long time after experiencing those thoughts that it dawned on me what effect it would have on my family. At the time I was experiencing some kind of tunnel vision. The rest of the world is blurred out and I felt very isolated from everything. The thoughts came very logically and calmly to me that “Wow, you’ve really fucked up haven’t you? Just clock out. You’ll be doing everyone a favour. You tried but that’s it”.
I think also it’s an issue for a lot of men to be able to express how they feel. We still idolise the stoic man that keeps himself to himself as it symbolises strength and dependability.
How much research did you do before writing the piece?
I started completely from personal experience, and have mainly kept to that, but have since read more about male suicide. Whilst working on Loop, the news of Anthony Bourdain, Chris Cornell and Chester Bennington were spurring me on to finish the play and actually stage it.
I began to feel a responsibility beyond just writing about my experiences.
How has it changed from the version that ran at the Camden Fringe?
The characters in the Camden Fringe run were simple in the sense they were intended to represent a facet of the main character; that we were watching a guy beat himself up constantly and self-sabotage. This time we have developed the relationships more and have written in a female character, as developing the play with just the male perspective felt very one sided.
What difference does the new character make to the story?
In addition to bringing a female voice into the play, Kitty is completely different to the others. She initially comes across as very anti-establishment and has borderline nihilistic beliefs. She masterfully finds holes in other character’s arguments. As the play progresses, we begin to see behind the sharp intellect to why she believes what she does. Much like the others though, she presents her own philosophy on dealing with life.
How are you feeling about staging the show at the Lion and Unicorn Theatre?
I acted in a play there a couple of years ago and I’m very excited to be returning with a play of my own. It’s a perfect space for Loop, and I think will have the right effect on the audience, being above a pub.
Why is theatre a great way of telling this story?
I think theatre is perfect for this piece because we, as an audience, will be watching someone a few feet in front of us wrestle with issues that could affect us or someone close to us. Seeing that live is unbeatable.
What can audiences expect from a trip to see Loop?
What they can expect is a play that is honest all the way through. In this development I have endeavoured to write real, flawed humans we all can relate to. I have taken feedback from the previous two runs and have incorporated it into the writing, so this is the product of audience feedback. I can’t wait to get feedback from this version as well. The audience is the most important factor. If it doesn’t speak to them in any way, I have failed my job.
