In an autobiographical depiction of living with Multiple Sclerosis (MS), woven together with 90s tunes, dark comedy and a dash of glitter, Bright Places is currently touring and shedding light on experiences of chronic illness.
Vitally championing disability representation, Rae has spoken a bit more about the making of the show and its intricacies as a production.
What influenced your choice to take an honest, autobiographical approach to the show?
During the development of early material, I tried telling the story in a way that included lots of different MS experiences, and I considered making it partly verbatim. I was so nervous about putting my life on stage. However, I quickly realised that couldn’t tell everyone’s individual story and that the best way to make it meaningful was to approach it from my own lived experience and trust that in doing that honestly, people would find a connection.
How have you found the development process, and what has been most rewarding about the journey to staging Bright Places?
Unusually, the development process for this play has been incredibly long. It was due to be staged in 2020, but we went into lockdown shortly after tickets went on sale. Then it was many years of navigating theatres not producing new work, funding cuts, etc. I’ve redrafted the piece many times over the years and I actually think it has benefited from that. I was just starting my writing career and didn’t feel confident enough to address some of the trickier aspects of living with invisible disability. I worked closely with Tessa [Walker], my director, and found a way to approach those difficult subjects in a playful but truthful way. It was worth the wait, although it definitely, didn’t feel that way at the time.
When we successfully got our funding and could start to develop the play as a tour, bringing together our brilliant cast and creatives- that was incredibly rewarding. To explore making it accessible to our audiences was really important, so developing the idea of creative captions was hugely exciting.
How do you hope to change the narrative regarding perceptions of MS and what place does the arts industry have in achieving this?
Before the Hollywood actress Selma Blair was diagnosed, there wasn’t much discussion about MS. Certainly no big public figures that could show an empowered person. I thought my life was over at times. I found people often didn’t understand the nature of the disease or how it affects people differently. I hope this show leaves audiences feeling hopeful.
I think the Arts has a huge role to play in changing public perceptions. When we see representation on television or on stage it opens our lives to other people’s experiences and gives us a glimpse into other worlds. The more we see positive portrayals of people living with illness the less othered people feel.
What benefit does authentic MS representation have, and if you had seen this production
yourself when younger, how would it have impacted your view?
When I was first diagnosed there was very little representation of MS, and what existed, was rarely positive. I never saw anyone young navigating a diagnosis and all the issues that come with starting your adult life. Sadly, the only time someone with MS was shown on TV, they were frail, old, and the storyline was focused on death rather than life. It angered and frustrated me. Social media has opened up the world to a diverse community and there are some outstanding young influencers, reshaping what it is to live with disability or illness in our modern world. I would hope that if I’d seen this production at 23, I might have felt a little more empowered and less isolated. I might have felt that being ill didn’t mean I wouldn’t have a fulfilling life.
How has dark humour become a coping mechanism reflected in the script and how do you balance this to make the piece remain profound?
I think comedy can be incredibly profound, it cradles and gently lets us explore difficult subjects and can create really impactful moments because, as an audience, you didn’t see it coming. It’s easy to fall into the trap of lecturing from the stage or it becoming a TED talk on health. Comedy doesn’t make it feel like an attack. Living with chronic illness is incredibly challenging, but it’s not all doom and gloom. The most important thing for us was that the joke should always be on me.
How does the concept of a 'three-woman, one-woman show' work to effectively convey your message?
A three woman/one woman show; reflects the different lenses, from which we view the world. Which is probably a universal experience, diagnosis or not. When we are in our twenties and trying on different hats, figuring out the person we are going to be. It was also a way of leaning into the idea of the play reflecting the unpredictability of MS and the chaos it can create. Plus, it means we can cast three amazingly funny women, so I’m also greedy.
What kind of conversations would you like the production to spark for audiences?
I hope it starts lots of different conversations; from learning about MS, to maybe thoughts about the expectations of the ill community to fulfil certain tropes- to the brilliant music that will have you grinning as you leave the theatre. Especially if you were a teen in the late 90’s. All debate sparked from going to the theatre feels like an exciting thing.
Who inspires you and why?
I’m lucky that throughout my career I have met some brilliant women who have held the door open and often pushed me through it. Tessa Walker has been a wonderful co-creator and I’m forever inspired by her.
I love that I’m entering a demographic that was previously not celebrated. Older creative women
bring such a wealth of knowledge and wisdom to their work. Women who are also incredibly funny. I love reading/watching work by writers like Bridget Christie and Sharon Horgan. On stage, I love really playful theatre that finds creative ways to tell a story. I was massive fan of Kneehigh and now Wise Children. I also love the way Frantic Assembly use physicality to engage the audience.
Thank you very much to Rae for such a thoughtful insight to give wonderful meaning to your work. I really look forward to seeing this important piece brought to life soon, and hope you have a fantastic run!
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