Amara Okereke - interview

Having had a couple of very successful runs prior, Echo (previously named Paper Doll) made its way to London this summer to continue sharing the complexities of its compelling narrative. A lustful relationship seeks an air of danger until a mirage of dark secrets brings unexpected twists to the table. With another partnership returning to the same room 20 years later, an atmosphere lingers that raises questions regarding the stories that have come before. In a psychologically thrilling two-hander, spiralling ethics of reproductive technology and performance of intimacy are explored.

Here's a little conversation with Amara Okereke, discussing her most recent role in Echo.

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What interested you most about being part of Echo?

As a fan of psychological thrillers and all things disturbing, I was immediately drawn to Echo and its unique premise. But it was the impulsive and intense nature of the character that drew me in the most. I had never played anyone like her before, and I knew it would be a fun and interesting challenge.

Having played traditional roles such as Cosette and Eliza Doolittle, how does it feel to contrast these with a contemporary psychological thriller?

It’s been fascinating exploring something so different and so far from anything I’ve done on stage before. I’ve been able to access parts of myself that I rarely get to access and open myself up to new vulnerabilities that, while sometimes challenging, have been incredibly freeing and an oddly refreshing process.

How have you found the rehearsal process, and what excites you most about bringing the show to the stage?

It’s definitely been difficult at times. With only two weeks of rehearsal and a minimal tech time, it was a lot to get through in such a short amount of time. The play is such a philosophical minefield with a lot to dig through, and it can be tempting to stop and take time to mine every single moment and detail within the play, which can easily spiral into overanalysis. One benefit of the limited rehearsal time was that it afforded me very little time to think and, therefore, little time to overthink, and as a result, kept me very present.

What was most exciting about bringing that to the stage was the energy all the added external layers such as lighting, sound, set design, costume and the presence of an audience in a small intimate space, brought to each present moment and how that would add to the emotional pressure the characters feel, particularly in the more intense moments of the play.

What makes the themes gripping to audiences, and how do you draw them in?

I think at first the unique circumstances and the speculative sci-fi-esque nature of the story is the initial draw. However, I think it’s the very real human understanding of what it means to connect, to love unconditionally and to be seen that grounds the obscurity and surrealism of the premise and is what really keeps you invested in these characters and what they are experiencing.

How does the approach to cast dynamics compare between a piece with a big company and a two-hander like this?

In some ways, it can be incredibly helpful being in such consistent and close proximity with only one other person because you can establish very quickly a rapport and understanding of the other actor's process that allows you to get on the same page, be open and explore deeply, particularly with such an intimate and vulnerable piece. On the other hand, it can also be exhausting to carry an entire piece between just two people, knowing the focus is pinpointed on just the two of you; there really is nowhere to hide. However, I have to say, working with Kyle [Rowe], I feel so incredibly supported and safe that any sort of pressure I inevitably might put onto myself is quite often lifted very quickly, knowing I have such a talented and brilliant actor by my side.

Who has influenced your depiction of your character in this role?

It’s tough because there probably are some subconscious influences somewhere in the back of my mind, but I couldn’t pinpoint anyone in particular. I think working with our director, Abigail [Zealey Bess], and having the privilege of rehearsing with the playwright Susan [Eve Haar], in the room with us, allowed me to draw from a well-rounded understanding of the feminine experience. Exploring the character as three women all at different points in our lives and having lived and experienced the world from our unique perspectives, I think really helped me understand a character who often flips from one person to another very quickly and experiences such emotional leaps from moment to moment.

How do you want audiences to feel as they leave the theatre?

I hope audiences leave feeling somewhat shaken up and conflicted and questioning things they wouldn’t normally think about. It’s a piece that leaves you with so many open-ended questions about relationships, individuality and what it means to be a person, and I think the point is that those themes are not in any way absolute. There is no right or wrong answer sometimes when it comes to the choices people make, and very little of the world and how we experience it gets to be black and white. I hope people leave seeing that the world is a lot more grey than they maybe initially thought. 

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Huge thanks to Amara for such fantastic and insightful answers! It is a real privilege to have had this opportunity, particularly given the admiration here following the glowing (5-star) review given for her excellent lead role in My Fair Lady. Make sure to see what this talent gets up to next - she's certainly one to watch.

Additional thanks to Natalie Lyddon from Buchanan PR for coordinating this interview.