Little Lark of London

“Finding ‘community’ with other writers and artists is a great way to remind yourself why you write and create in the first place”

Dizzy, a new play written by Mohamed Zain-Dada and directed by Rob Watt, is currently making its premier at Sheffield Theatres as a co-production with Theatre Centre. The show is a “unique meditation on connection, loss and memory” that tells the story of Qamar (Sera Mustafa), a grieving 15-year-old who is introduced to the world of street art through her deceased brother’s mentor, Stax (Bredan Barclay).

Recently, I had the chance to speak with Zain about Dizzy. We discussed how he first got started in the world of theatre, what it is like to be a Resident Writer at Theatre Centre and the importance of community when working as a writer in the theatre industry.

How did you first get started in the world of theatre?

I wrote my first play (Blue Mist) after getting into the Soho Theatre Writers Lab and the Introduction to Playwriting course at the Royal Court. I’d only written a scene of the play but under the guidance and support of their literary teams (Chris White at Soho Theatre and Gurnesha Bola, Jane Fallowfield and Ellie Fulcher at the Royal Court), I turned that one scene into a full-length play. At the time, I was working full-time at the Greater London Authority (where I still work part-time).  

My experience at the Royal Court and Soho Theatre emphasised how important the role of literary teams at theatres is. We’re sadly seeing a trend of those literary departments getting cut and roles getting combined.  But I can confidently say that I wouldn’t be pursuing this career professionally without that support and dramaturgical rigour.  

What is it like being the Resident Writer at Theatre Centre?

Being a Resident Writer at Theatre Centre has been a great way to connect to a range of different young people across the country. The process of writing this play has involved going to workshops at schools and youth clubs – drawing on insights from young people. Given that the protagonist of DIZZY is a 15-year-old girl, that process has been invaluable in shaping the play. What drew me to the way Theatre Centre works is how the work tours both to theatre spaces and schools.

What inspired you to write Dizzy?

Over the last year or so, I’d spent a lot of time with friends who were moonlighting as graffiti writers. I was interested in what one graffiti writer told me about how they believe the art form is a ‘mediation on impermanence.’ This idea of ‘tagging’ being about making yourself more visible was really interesting to me. The emphasis is on not seeking permission and visiting sites and spaces that others dare not go to – that really fascinated me.  

What was the creative process like for Dizzy?

I worked closely with the director of the play, Rob Watt, who has given feedback on every draft and facilitated several workshops with the National Youth Theatre, schools and other youth groups. It’s been a really brilliant collaborative process where we’ve landed on new discoveries and answers each step of the way. One of those discoveries was the idea of an ‘immersive audio soundscape’ for this production.  

What advice do you have for those looking to get into writing plays?

I don’t think it’s an easy environment for playwrights. It’s worth acknowledging this given the defunding of new writing venues and theatres becoming more risk-adverse post-COVID.  However, one thing I would say is to find ways to connect with your peers. Finding ‘community’ with other writers and artists is a great way to remind yourself why you write and create in the first place. 

How would you describe Dizzy in one word?

Odyssey.  Dizzy runs from 25 September to 12 October at Sheffield Theatres, Playhouse, 9 November at The Hawth in Crawley and 14 to 16 November at the Half Moon Theatre in London.