Staging Strategies

• Performance Spaces:

Given the travelling aspect of our production, our goal is to suggest strategies that can easily be adapted to different venues. Some potential venues could be community centres, high schools, or outdoors in parks (weather permitting).

One space worth exploring would be any kind of field or road on the edge of a forest, similar to the Namanve Forest where George is taken by Milton Obote’s military intelligence at the climax of the play.

• Casting:

1. A one-actor show:

This show is usually performed alone by a male actor. However, it is a role that could be performed by an actor of any gender. There are several logistical benefits to doing a one-actor show, such as adapting to different venues with ease. Dramaturgically, this also highlights the highly personal nature of the play. For example, having the same actor play George and the teacher further goes to highlight that we are experiencing the show from George's perspective.

It is also important to consider what it would mean to cast a female identifying actor as George. Women had limited rights in 1960s Uganda. They were often pulled out of schools after primary education (Women in Uganda 2020). Hence, it may not be historically accurate. However, having a women in this role could reveal a gap in basic privileges (like education) by going against the rules of the time.

2. Having several actors:

While this is traditionally a one man show, we could also explore having actors for all secondary roles. This could provide an opportunity to more artists, as well as individualize the voices of all perspectives.

3. Voice overs:

There is also the possibility to have other actors do pre-recorded voiceovers to which the actor playing George will react to live. George's reactions being the only thing visible on stage could be an interesting element.

4. Specific Criteria:

The actor should be 20 years old or older. Given the context of the play, the actor should be able to have a good understanding of the text. In addition, our production will be attracting an audience that is not necessarily an audience that frequents the theatres. Hence, it is important that we cast someone who is able to form a connection with the audience, and having someone older in age might be beneficial.

• Production Elements:

As mentioned above, having some site-specific venues would be dramaturgically beneficial. However, in areas where this is not feasible, including simple projections might help to re-create a similar atmosphere.

These projections could also be accompanied by lights and sound to enhance the visual effect. For example, if this is a one actor show, the lighting can change as the actor transforms into a different character.

• Audience Configuration

Depending on our venues, it might be interesting to explore how we choose to seat the audience. In the original production, George found several moments in the text to interact with the audience directly, and even make them participate verbally. Maybe having the audience be in the round could help further audience participation. Having audience interaction would also be helpful because as we mentioned, the audience would not be frequent theatre-goers and it might help make the show feel more like a conversation rather than a formal performance which may seem intimidating.

By Lagan Maheshwari