We chat to Rob Watt, Artistic Director of Theatre Centre and Director of new play Dizzy, written by Olivier-nominated playwright Mohamed-Zain Dada
Tell us about Dizzy.
Dizzy is an immersive exploration of grief, memory, and identity. At its core, it’s the story of Qamar, a young girl trying to navigate life after the loss of her brother, Yaseen.
What makes Dizzy special is the way it deals with the complexities of loss, not just through the personal lens of Qamar but also through the context of graffiti. Through the character of Stax, we can explore how graffiti can become a form of memory and rebellion, a way for characters like Qamar to leave their mark on the world.
What’s your role, and how did you get involved in the project?
I am the director of Dizzy but also the Artistic Director of Theatre Centre.
As Artistic Director, I commissioned Zain and supported him to create the script.
As the director, my role has been to take Zain’s incredible script and bring it to life in a way that resonates with both young people and adults. I’ve worked closely with the entire creative team to make sure that every element—from the sound design to the set—serves the emotional core of the story.
Theatre Centre creates work for young people in a unique way. How does the process work? How’s the process been for you? Has it thrown up some interesting things?
Theatre Centre’s approach has always been rooted in collaboration. From the outset, we involve young people through our Future Makers process. We held a series of workshops where they shared their personal thoughts on themes like identity, grief, and mental health—topics that are often challenging to navigate in everyday life. Their voices and perspectives weren’t just heard; they actively shaped how Zain crafted Dizzy, allowing us to tell a story that truly resonates with our audience.
What really struck me during these sessions was how deeply the young people had been impacted by loss, especially in the wake of the pandemic. Whether it was the loss of loved ones, missed opportunities, or a sense of identity, it became clear that they needed spaces to talk about these emotions—especially the often-taboo subject of death. This honest, open dialogue helped shape the emotional core of Dizzy, making it a show that speaks directly to their experiences.
The character of Dizzy (played by Sex Education’s Reda Elazouar) is only present over audio. What’s it been like to direct something like that?
Directing a character who isn’t physically present on stage has been one of the most creatively exciting challenges. Yaseen, or “Dizzy,” is the emotional anchor of the play, but he exists only through audio recordings, which means we had to find ways to make his presence felt without him ever being seen. His voice represents memory and grief—both ever-present but intangible.
Working with Reda has been incredible. His voice carries so much weight and emotion, and it’s been fascinating to explore how Qamar interacts with Dizzy’s memory. Sound plays such a crucial role in this production, working with our brilliant sound designer Mwen, we ensured that Dizzy’s voice doesn’t just float in the background but immerses the audience into Qamar’s world.
As well as touring to theatres, the show is also going into schools. Do you have any memories of theatre shows coming into your school? What’s great about taking your work directly into school spaces?
I vividly remember the impact theatre had when it came to my school. There’s something incredibly powerful about theatre coming directly into a space that’s so familiar—it takes away the formality and allows young people to experience it in an environment where they’re comfortable and open to engaging. The immediacy of it is what stays with you; it feels personal, raw, and connected to your reality in a way that traditional theatre sometimes doesn’t.
Taking Dizzy into schools is a fantastic opportunity to reach young people who might not otherwise engage with theatre. It breaks down barriers and creates a space where they can see themselves reflected on stage—whether through Qamar’s grief or Dizzy’s rebellion. Theatre in schools can start important conversations, and I’m excited for the ways this show can resonate in those intimate, everyday spaces.
What do you want audiences to take away from Dizzy?
I want audiences to walk away from Dizzy feeling both seen and understood. This is a play about grief, but it’s also about the strength it takes to move forward after loss. I hope the show opens up conversations about identity and mental health—things that young people are grappling with every day but might not always have the words or space to talk about.
More than anything, I want Dizzy to leave audiences with a sense of hope. It’s about resilience, about finding meaning in a world that sometimes feels chaotic and overwhelming.
Dizzy by Mohamed Zain-Dada runs until 12 October at Sheffield Theatres (Tanya Moiseiwitsch Playhouse) before touring to The Hawth, Crawley on 9 November, and Half Moon Theatre, London, 14-16 November.