Death of a Salesman | Rehearsal Photos

Take a look inside the rehearsal room for our highly anticipated production of Arthur Miller’s Death of a Salesman directed by Marianne Elliott and Miranda Cromwell which opens for previews this week.

Wendell Pierce (The Wire, Suits, Selma) makes his UK stage debut as Willy Loman, with Olivier Award-winning Sharon D. Clarke as Linda Loman and Arinzé Kene (Misty, Been So Long) as Biff Loman and Martins Imhangbe as Happy Loman.

Cast includes Ian Bonar, Sharon D. Clarke, Trevor Cooper, Martins Imhangbe, Arinzé Kene, Joseph Mydell, Nenda Neurer, Wendell Pierce, Jennifer Saayeng, Matthew Seadon-Young, Maggie Service and Femi Temowo.

Photos by Brinkhoff/Mögenburg

Young Vic

DEATH OF A SALESMAN
Rehearsals

Young Vic

DEATH OF A SALESMAN
Rehearsals

Young Vic

DEATH OF A SALESMAN
Rehearsals

Young Vic

DEATH OF A SALESMAN
Rehearsals

Young Vic

DEATH OF A SALESMAN
Rehearsals

Young Vic

DEATH OF A SALESMAN
Rehearsals

Young Vic

DEATH OF A SALESMAN
Rehearsals

Young Vic

DEATH OF A SALESMAN
Rehearsals

Young Vic

DEATH OF A SALESMAN
Rehearsals

Young Vic

DEATH OF A SALESMAN
Rehearsals

Young Vic

DEATH OF A SALESMAN
Rehearsals

Young Vic

DEATH OF A SALESMAN
Rehearsals

Young Vic

DEATH OF A SALESMAN
Rehearsals

Death of a Salesman runs at the Young Vic from 1 May 2019.

Director Marianne Elliott and Miranda
Designer Anna Fleischle
Lighting Designer Aideen Malone
Sound Designer Carolyn Downing
Casting Director Charlotte Sutton CDG
Voice and Dialect Coach Hazel Holder
Fight Director Yarit Dor

With Ian Bonar, Sharon D. Clarke, Trevor Cooper, Martins Imhangbe, Arinzé Kene, Joseph Mydell, Nenda Neurer, Wendell Pierce, Jennifer Saayeng, Matthew Seadon-Young, Maggie Service and Femi Temowo.

Photos by Brinkhoff/Mögenburg

Jesus Hopped the ‘A’ Train | Creating Costume

Kinnetia Isidore is the costume designer behind our production of Stephen Adly Guirgis’ Jesus Hopped the ‘A’ Train directed by Kate Hewitt. We asked her to give us an insight into the creative design process from script to stage.

Mood Boards

My costume design journey always begins with mood boards. Once I have read the script I like to begin by responding visually, this helps to spark ideas and begins to inform my design choices. Costume design, for me, is really about the psychology of the characters in a play, I really like to get into their heads and interrogate the choices they make in their clothing. I spend a lot of time looking at the setting of the play and trying to imagine what the characters would see on a daily basis. There is a very strong colour theme that came through in all of my mood boards for Jesus Hopped the ‘A’ Train. I took this from aerial shots of Rikers Island, in New York. This is the main setting of the play and all of our characters experience the brutality and starkness of the prison island.

The Inmates

Jesus Hopped The A Train at the Young Vic

In a way, the costume design for this show was very limited due to 4/5 of the cast members wearing uniforms. We have a lawyer, two inmates and two correctional officers. As the set design was very minimalist Kate Hewitt and I felt that the costumes should be hyper-real. This meant sourcing genuine US prisoner uniforms to help bring our UK audience into the world of a New York prison. My costume supervisor, Rosey Morling, did an amazing job of managing to get hold of several sets of inmate and correctional officer uniforms, even sourcing genuine tool belts and accessories for the officers.

To achieve the filmic detail in the costumes I spent a lot of time researching how inmate uniforms are cared for and laundered. I discovered it is the inmates who are able to gain the ‘privilege’ of doing laundry duty. You do not get the same uniform back when it goes into the wash and are penalised for any attempt to mark or label the garments. Items are built to last but washed at soaring temperatures, giving them their saggy, worn out look. Our fabulous breakdown artist, Anna Smith, carried out the painstaking task of very gently wearing all of the uniforms down to look aged.

Reference Image

Reference image for Rikers inmates.

‘Jonathan holding pruning shears, GreenHouse Program’. All photographs made at the Rikers Island jail complex, New York, 2014. Copyright the artist and courtesy Fredericks & Freiser Gallery, New York. Lucas Foglia, Rikers Garden. Prison Nation, Aperture 230, Aperture Spring 2018, Publication No.: 0003-6420.

Angel Cruz, played by Ukweli Roach

Jesus Hopped The A Train at the Young Vic

Angel Cruz is our 30 year old bike messenger who has been incarcerated for shooting a cult leader reverend in the ass, on a mission to save his friend from a cult. Angel begins his journey in Manhattan Correctional Center, ‘The Tombs’ in New York. We meet him on his first night of incarceration, when he is feeling vulnerable, as a new inmate.

My reference images for his costume came from a leaked Instagram video, recorded in 2016 by some inmates incarcerated in ‘The Tombs’. Rather than the classic orange jumpsuits that we are so used to seeing, inmates there wear a variety of beige two pieces with the option of a t-shirt and a raglan sleeve jumper. Sadly the inmates often wear jumpers for protection from attacks while they sleep, rather than for warmth. Angel starts off in a jumper and removes it later on when he meets Mary Jane for the second time and is feeling more relaxed. He also starts wearing his trousers a little lower and begins to roll up the hems, taking on a bit of influence from prison style.

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Halfway through Act I Angel is moved to the notorious Rikers Island prison complex in New York. He exits the stage and does a quick change into his new orange inmate uniform. The orange uniforms have far more notoriety than any other colour and Kate and I had long discussions about the subconscious affect this would have on a UK audience. We are continually bombarded with US prison documentaries and TV shows, such as Orange is the New Black and we wanted to make sure we were making the right decision for the play. In the end, we decided on orange because we felt that Angel re-appearing in orange held such power over the emotion of the audience in that moment.

Angel goes on a slow journey of subconscious costuming as he gains confidence in Rikers and begins speaking back to the dominating serial killer, Lucius Jenkins. When he first enters Rikers it is after he has been beaten and raped in ‘The Tombs’, Valdez, the correctional officer, refers to him as ‘droopy dog’. He wears his trousers high on his waist and abandons the rolled up trouser cuffs he adopted in ‘The Tombs’. As we move through Act II we see him experimenting with rolling up his sleeves to show more muscle, wearing his trousers lower and tucking them into his socks (a style worn by adolescents in Rikers).

Reference image for Angel Cruz trouser styling
https://www.youtube.com/watchv=XQBsPTRLe4s&index=8&list=PLCCke8mUTs3ldQOhjIN6tn1zg6jkW2Q04&t=343s

As an inmate you have a huge amount of your identity taken away from you when you are confined to wearing a uniform. Many inmates find ways to find identity in their clothing by adopting accessories. Angel wears a small diamond in his ear and sports Mary of Guadalupe tattoo on his left arm that we imagine he got for ‘protection’. His St. Anthony chain is revealed in the final moments of the play during Angel’s speech, “Saint Anthony, Saint Anthony, please come around, somethin’ is lost…”. This is a small detail that ties him to his public defender, Mary Jane, as she wears a small St. Christopher chain around her neck.

Reference image for Angel Cruz

To achieve the right look for Angel’s hair and facial hair I looked at a collection of works by Bruce Davidson. Davidson is a photographer who captured communities in East Harlem, inhabited by a large community of Puerto Ricans. Melissa Van Tongeran carefully followed a selection of reference images to create the final looks for Angel, Valdez, D’Amico and Lucius. Reference image for Angel Cruz’s hair

Angel's_hair

Bruce Davidson, East Harlem Revisited – Jefferson Pool, East Harlem, New York, 1998

Lucius Jenkins played by Oberon K. A. Adjepong

Jesus Hopped The A Train at the Young Vic
Lucius Jenkins is the charismatic born again serial killer who charms us through the play and shocks us with his attitude towards the brutality of his crimes. Lucius is an old hand in the prison game and has been incarcerated for a long time. He bends the rules a bit and manages to charm Officer D’Amico into sneaking him in all sorts of contraband.

Lucius wears an orange jumpsuit throughout the play. In the documentaries I watched, to research Rikers Island, it was noted that the older inmates tended to choose to wear jumpsuits and the younger inmates tended to choose two piece uniforms. New inmates feel safer in the two piece uniforms and find dressing and undressing an easier task, hence why our new inmate, Angel, wears a two piece. Lucius bends the rules a little by wearing a vest instead of the standard issue prison t-shirt. When we first meet him he is wearing a flashy pair of trainers which he loses when the strict rule-abiding Valdez takes over from the softer D’Amico. He wears his jumpsuit around his waist in his first few scenes and proudly sports not one, but two rosaries around his neck. Later on in the play, when he begins to get worn down in the run up to his execution, Lucius begins wearing his jumpsuit fully closed, as if he is shrinking away and losing his power.

The Correctional Officers

In Rikers Island, neither correctional officer uniforms nor inmate uniforms have changed much since the 1980s. Much of my research came from the writing and photographs of Lorenzo Steele Jr. and Jamel Shabazz, both correctional officers who worked in Rikers from the 1980s – 1990s. I found it fascinating to compare these photographs to the live imagery I found watching documentaries about Rikers, noting just how similar and static the uniforms were over such a long period of time.

My supervisor and I managed to source the genuine standard issue officers shirts and trousers for Valdez and D’Amico. Buying genuine officer badges was not an option so we had to be clever and re-create them. We had the arm patches embroidered using a graphic image of the ‘Correction Department City of New York’ logo. To create the unit ID on the collars and the officer ID badges Tony A Wood managed to mock up a shape for them, using templates, 3D printed them and applied a finish using silver leaf to make them look like real metal. The collar unit ID badges read ‘GRVC’ which stands for the ‘George R. Vierno Center’. This centre on Rikers Island is notorious for violent crime and hosts a 23 hour lockdown unit.

To find out which accessories an officer carried, I watched a lot of footage of officers in action, particularly a clip from ABC News, ‘Correctional Officer, A Day in the Life’, which follows Officer Graham going about his daily routine in a solitary confinement unit on Rikers Island. Most shockingly correctional officers do not carry weapons. We managed to source the genuine holders for handcuffs, torches, inspection gloves and keys.

Valdez played by Joplin Sibtain

Jesus Hopped The A Train at the Young Vic
Valdez is a rule following, law abiding citizen who believes criminals should be punished harshly and held responsible for his crimes. Throughout the play he taunts the prisoners and frequently refers to them as various animals. Although every character in the play is complex, no body holding a morality that is completely black and white, Valdez is often depicted as the ‘bad cop’ officer. To play on this idea, Valdez’s uniform is fully black. His shoes are heavy, suggesting power and dominance, the inmates can hear him coming before he enters. He has the larger of the accessory belts and wears it slung low, almost like a cowboy holster. His officer number, 2215, is taken from a bible verse, which I felt related to his character and some of the text he uses in the play. I felt it also played on the theme of religion in the play. It is a subtle detail that the audience won’t pick up on, but it was something for myself and the actors to think about when creating their characters.

Revelations 22:15, The Holy Bible

“Outside are the dogs, those who practice magic arts, the sexually immoral, the murderers, the idolaters and everyone who loves and practices falsehood.”

Charlie D’Amico played by Matthew Douglas

D’Amico is a husband and a father, a friendly character who almost marvels at Lucius’ notoriety and celebrity. He sneaks in contraband and enlists his wife to help. D’Amico is often depicted as the ‘good cop’, even though his actions in the play are rather dubious. To play on this idea D’Amico wears a pale blue short sleeved shirt. Blue is said to have a calming effect on the mind and is most often used for nursing uniforms and scrubs in hospitals. Correctional officers face having dreadful things thrown at them on a daily basis: food, urine, faeces…the list is horrifying. D’Amico seems to have managed to charm one of the most dangerous criminals in the 23hour lock-down unit, so I imagine he wouldn’t be worried about covering up his arms for fear of things being hurled at him while on duty. His officer number, 1618, is also taken from a bible verse which I felt related to his character and some of the text he uses in the play.

Romans 16:18, The Holy Bible

“For such people are not serving our Lord Christ, but their own appetites. By smooth talk and flattery they deceive the minds of naïve people.”

Reference image for Charlie D’Amico

Mary Jane Hanrahan played by Dervla Kirwan

Mary Jane Hanrahan is a hard working public defender who earns a small salary but has clawed her way through a male dominated industry to win several cases. She is practical but spunky and I wanted to show this in her costume. Although Mary Jane isn’t confined to wearing a uniform, the restrictions on visitors to prison complexes make her clothing take on a uniform like quality. She and Charlie D’Amico are the only two characters who give us a sense of the period the play is set in, through their costumes. It was important to me that they felt timeless, this story is one that has rung true in the real world for many years and I didn’t want to limit its possibilities with a very modern or a very period costume.

During my research for Mary Jane, I realised that a female public defender would not only be restricted by the visitation regulations on clothing that prisons impose, they often face jibes from male prisoners just because of their gender. In my original design I put her in a boxy, practical two piece suit with a practical pair of loafers. It is neither revealing nor does it draw too much attention to her. While sourcing the costumes my supervisor and I stumbled across the perfect suit for Mary Jane, and it was green! It felt perfect as a subconscious herald to her Irish heritage, which she mentions several times in the play. She wears simple, plain accessories and a St. Christopher chain around her neck. This is to subconsciously draw a connection between her and Angel, as he wears a St. Anthony medallion around his neck.

Visitor information from the Federal Bureau of Prisons.

VisitorsPhotoinformation.png

SarahJane

Reference image for Mary Jane: Public Defender Colleen Polak rides an elevator to meet with a client in detention at the St. Louis County Jail in St. Louis, Mo. on Thursday, January 23, 2014. Public defenders take a substantial pay cut in comparison with lawyers who work for private firms. Luke Sharrett, photojournalist for The New York Times. http://sharrett.blogspot.com/2014/05/public-defenders-for-new-york-times.html

Jesus Hopped the ‘A’ Train by Stephen Adly Guirgis runs at the Young Vic until 6 April.

Director Kate Hewitt
Set Designer Magda Willi
Costume Designer Kinnetia Isidore
Lighting Designer Guy Hoare
Sound Designer Peter Rice
Movement Director Imogen Knight
UK Casting Director Julia Horan CDG
US Casting Director Jim Carnahan CSA

With Oberon K. A. Adjepong, Matthew Douglas, Dervla Kirwan, Ukweli Roach and Joplin Sibtain

★★★★ ‘This pumping, pounding, pulsing play blazes’ | Reviews Round-Up

Jesus Hopped The A Train

Ukweli Roach and Oberon K. A. Adjepong in Jesus Hopped the ‘A’ Train at the Young Vic. Photo by Johan Persson

Reviews for Jesus Hopped the ‘A’ Train are coming in! Critics are loving this darkly funny yet hard-hitting production by Pulitzer Prize winner Stephen Adly Guirgis, directed by Kate Hewitt.

Don’t miss your chance to see this show. Book tickets now.

★★★★ ‘Defiantly spiritual, continually caustic.’ The Observer  | Read the full review

★★★★ This pumping, pounding, pulsing play blazes. Evening Standard  | Read the full review

★★★★ ‘Blistering. A physical punch of a play.The Telegraph

★★★★ Bitingly, blackly funny, and with deathlessly sharp dialogue. Time Out Read the full review

★★★★ Slick and scorching. A powerful piece of work.’ The Stage | Read the full review

★★★★ Fast, furious and brutal prison drama.’ MetroRead the full review

Jesus Hopped The A Train

Matthew Douglas and Oberon K. A. Adjepong in Jesus Hopped the ‘A’ Train at the Young Vic. Photo by Johan Persson

★★★★ ‘Engrossing and constantly rivetingWhatsOnStage | Read the full review

Jesus Hopped the ‘A’ Train runs at the Young Vic until 30 March. Find out more and book now.

11 Questions with The Convert’s Jude Akuwudike

Jude Akuwudike in The Convert. Photography by Marc Brenner
Jude Akuwudike in The Convert. Photo by Marc Brenner.

Jude Akuwudike plays Uncle in The Convert which is currently running at the Young Vic until 26 Jan. We’ve posed him 11 Questions to find out more about him and his character:

1. What are you usually doing 10 minutes before the show begins?  

I am usually playing music and going over some of my Shona.

2. What was it that first got you interested in theatre?

I first got interested in theatre by watching it.

3. Can you describe your character in The Convert in three words?

He feels disinherited.

4. What can the audience expect from this production that’s different to anything they may have seen before?

They should come in with open hearts, minds and spirits.

5. What language do you wish could speak? Or Do you speak any languages?

I would like to learn to speak many languages from my home country Nigeria. I would also like to speak at least three languages from North, East and Southern Africa.

6. What’s your favourite midnight snack?

I rarely eat late but I love avocado.

7. Who do you think must see this show before it ends its run?

Everyone should see it.

8. What play or film have you seen recently that has had a lasting emotional effect on you and why?

I saw Translations at the National Theatre. 

9. What’s the most memorable moment from working at the Young Vic?

The most memorable moment was realising my Shona was actually okay.

10. Which country would you like to visit and why?

I would like to visit China or India because I think both are great civilizations. 

11. If you could be an animal for one day, which animal would you be?

I would be a fish to experience the world from underwater.

The Convert is now playing at the Young Vic until January 26. Tickets are now sold out but returns may be available on the day of each performance. Speak to our Box Office for more information on 020 7922 2922.

11 Questions with The Convert’s Pamela Nomvete

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Pamela Nomvete in The Convert. Photo by Marc Brenner.

Pamela Nomvete plays Mai Tamba in The Convert which is currently running at the Young Vic until 26 Jan. We’ve posed 11 Questions to find out more about her and her character: 

1. What are you usually doing 10 minutes before the show begins?  

I’m usually going over my Shona!

2. What was it that first got you interested in theatre?

When I was doing my A levels my best friend asked me to be her partner in a drama festival. Since then I was bitten by the bug of theatre!

3. Can you describe your character in The Convert in three words?

I would describe her as the – Mother of Zimbabwe.

4. What can the audience expect from this production that’s different to anything they may have seen before?

There is heart and soul in this production. Three generations from the African diaspora storytelling together.

5. What language do you wish could speak?

I would love to learn Swahili.

6. What’s your favourite midnight snack?

I am fast asleep at midnight. No snacks!  

7. Who do you think must see this show before it ends its run?

Everyone.

8. If your character had a catchphrase, what would it be?

Let’s move!

9. What’s the most memorable moment you’ve had at the Young Vic?

The Convert press night.

10. Which country would you like to visit and why?

I would like to visit Cuba.

11. If you could be an animal for one day, which animal would you be?

A unicorn. They seem to straddle the world of fantasy and reality for me.

The Convert is now playing at the Young Vic until January 26. Tickets are now sold out but returns may be available on the day of each performance. Speak to our Box Office for more information on 020 7922 2922.

Danai Gurira & Kwame Kwei-Armah In Conversation | The Convert

danai and kawme (2)

Kwame Kwei-Armah and Danai Gurira at The Convert Opening Night. Photo by Dan Wooller

During rehearsals, Young Vic Artistic Director Kwame Kwei-Armah, and The Convert writer, Danai Gurira, took a moment to discuss the play’s inception in Danai’s Zimbabwean roots, her writing process, and why courage is fundamental to her art.

 

K: I want to express how joyous it is to have The Convert within my first season! Talk to me about the idea and process behind the play.

 

D: It was a culmination of so many things growing up. I was born in the US but raised in Zimbabwe from the age of five until shortly after the end of high school. I was there shortly after the country gained independence, and was raised around so many things; a country grappling with the idea of independence, which was in many ways one the most prosperous of the African nations. I was in a schooling system that was very much modelled after the way the country had been colonialised; this manifested in how we were educated, who we were educated by, the structures of the system, the ways of doing business, our social lives, the way we ate… tea breaks! I took a step back and started to ask myself who I was, because I have so many influences -what I aspire too, and how I excel – which are all defined by those who colonised us. These feelings culminated in me, and I found that I wanted to express them on stage.A lot of my training when I returned to the US exposed me to Shaw, Chekov and Ibsen – all the European greats. There was something about Shaw that was very gripping, and something about Pygmalion that correlated with Zimbabwe. Yes, there are a lot of troubles, but it still has the highest literacy rate on the continent, which I witnessed as both my parents are educators. I grew up watching these children coming from mission schools in rural areas to the city who were mad-smart. They were so smart. Yet they’d be awe of seeing the city, whilst also being the most educated people in the room. It was an interesting juxtaposition for me and I was thinking about how you try and bring your people forward through more access, more success. The thinking was that you expose people to Western culture and Western education. I found a parallel with this and Pygmalion; ironing out the crude pieces of this young lady, which is kind of what we do with our own families and people.  I started to explore this this idea in 2009 and 2010. It was an interesting exercise for me as I was delving into the history of my own people and who I could have been if I had been born 120 years ago.  

 

Full Company in The Convert. Photography by Marc BrennerK: What I am interested in knowing about is your transition, how the running of the two trains of acting and writing came about?

D: There is something about trying to distinguish acting and writing that, I think, can be a very Western concept.  When I was being trained, and when I first started to connect with the arts, I was in Zimbabwe, aged between 12 and 13. We were taught the ethics of theatre, of coming into a space, and treating it with great respect. We would create work and then perform. The way I first came to the arts, it was a path to story-telling.

 

K: Hearing you talk now, you can understand that your writing comes from a place that is not just cerebral, but is also connected to the soul and the spirit. With this connection to the writing, what is it that you look for and what wisdom do you impart for the director and the wider team?

 

D: When I first spoke to Ola we talked about the immersion of history and culture. I studied history A-level and did not come across the story of my own nation. I knew all about Napoleon and World War One, as I should, but I didn’t know anything about my own nation. To an extent that feels like it’s by design. People can be disempowered if they are not taught about themselves and not encouraged to gain any understanding of their own roots. This play was designed to go to the heart of this. If you immerse yourself into a world that is foreign for you, you’ve got to let it inform you, overwhelm you, to take over your thoughts. You need to see it through the lens of those colonised within the 1890’s; it is a mayhem of a moment at this time in Africa. There has to be such a visceral understanding of that world, in terms of Shona culture, Shona people, and Shona history. I want people to walk in and feel like they are in a sacred space, a world they have never known before it. I got swept away writing it. When I found the end of the play, I found myself just being a vessel, because I couldn’t argue with that ending.

 

K: When some talk about the play, colonisation comes up a lot. But my access point for it is the spirituality. What swept me away was your ability to speak to the spirit, to faith and your ability to use that as a vehicle of both oppression, of actualisation, and of fulfilling your spiritual potential.

The-Convert-PROD-561-1

 

D: Yes, that’s a part of it. At times we can be super simplistic in the way we talk about faith and Christianity and it’s not simple! For example, my mother’s mother was a very powerful woman, the daughter of a powerful chief.  She made a decision to go and learn with Methodist missionaries. She met her husband, my grandfather, a Methodist pastor and she stepped away from one way of life to go into something more Westernised. She still gave speeches in deeply nuanced Shona, she sang her Methodist hymns in Shona and read her bible in Shona. In a sense she garnered an independence from her choice to learn about a Christian God. It’s a very complicated relationship that occurs between Africans and Christianity that can be, and is often, oversimplified.

 

K: What do you ask of this play in that regard?

 

D: I believe there can be a distinction for those who practise the Christian faith but are very much an Africanist at the same time, a distinction between the imposition of colonisation and the true essence of Christianity. That is Jekesai’s actualisation: how does an African connect with this faith while also seeing the hypocrisy in how it was used.

 

K: Now that you are in the public eye, can you be as brave to write something and not care of what others think of it, like you did when you wrote The Convert?

 

D: The day I can’t be brave is the day I am not an artist anymore. That space must be protected. To me the denial of your true self is to actually try to curb the spirit coming through you. You are no longer a vessel for your spirit, and that would be a tragic thing for me!

The Convert is now playing at the Young Vic until January 26. Tickets are now sold out but returns may be available on the day of each performance. Speak to our Box Office for more information on 020 7922 2922.

11 Questions with The Convert’s Ivanno Jeremiah

the convert prod-220
Ivanno Jeremiah in The Convert. Photo by Marc Brenner.

Ivanno Jeremiah plays Chancellor in The Convert which is currently running at the Young Vic until 26 Jan. We’ve posed him 11 Questions to find out more about him and his character: 

1. What are you usually doing 10 minutes before the show begins?  

Something physical for example a workout or yoga. Then I would hide in a dark, quiet spot for a bit.

2. What was it that first got you interested in theatre?

Storytelling.

3. Can you describe your character in The Convert in three words?

Struggle, Lover and a man of faith.

4. What play or film have you seen recently that has had a lasting emotional effect on you and why?

I love what Charlie Brooker is doing with Black Mirror. The film Bird Box horrified me.

5. What language do you wish could speak? Or Do you speak any languages?

I speak fluent Acholi and currently working on my Shona. 

6. What’s your favourite midnight snack?

I like to eat anything and everything.

7. Who do you think must see this show before it ends its run?

The Obamas!

8. If your character had a catchphrase, what would it be?

Chancellor’s catch phrase would be “Savages” and “Comes, comes”.

9. What’s the most memorable moment from working at the Young Vic?

The family unit – working with all the cast and creatives as a team. 

10. Which country would you like to visit and why?

I would love to go to Zimbabwe to visit the ruins at Great Zimbabwe.

11. If you could be an animal for one day, which animal would you be?

A bird of pray because of the freedom.

The Convert is now playing at the Young Vic until January 26. Tickets are now sold out but returns may be available on the day of each performance. Speak to our Box Office for more information on 020 7922 2922.