God, The Devil and Me tells the moving, funny and unsettling story of a teenager trying to make sense of his world as intrusive voices pull him between reality and delusion, inspired by writer Fionnuala Donnelly’s own lived experience.
How did you navigate the balance between protecting your own wellbeing and revisiting such a challenging time in your life while developing the play?
Although this story was based on my personal experience, I wanted it to be accessible beyond just my perspective. I knew that I also needed enough distance to view everything through a lens of “how can I help people understand this?” It was about remembering to enjoy creativity and creating a show for people to see- “what do the audience need?” This tended to keep me away from too many rabbit holes. Creating story differences really helped- a male character with a different name, adapting events to address how things felt and humour. Also, a supportive team and being able to take my time with the project- my cast really grounded me and kept me on task. Oh, and music- a good writing soundtrack can work wonders to reframe things!
What moments in Gabe’s journey felt the most emotionally resonant- or challenging- for you to translate from lived experience into theatrical storytelling?
Gabe’s small, relatable experiences- with albeit strange elements in the play- were personal and intentional to build empathy between the audience and Gabe (it’s easier to understand anyone through having an idol, fighting with your mum or seeking purpose in the world). But (without spoilers) I think the most personally resonant part of Gabe is how much he needs it all to be real- it gives him purpose and friendship (a friendship you cling to even if it’s not serving you is painfully real). I also really resonate with being a teenager, desperately seeking for life to be easy and I think the pain of growing up for anyone is learning that if life feels easy, you’re probably being had- don’t worry it’s not as pessimistic as it sounds.
In shaping God and the Devil as characters, how did you approach capturing the complexity of intrusive voices without sensationalising them?
God and the Devil have deep, rich context and require sensitivity anyway. I honestly started with, “if God and the Devil walked the Earth tomorrow- who would they be?” Popular representations added context (both from worship and satire). They became weird uncles at a wedding, where although they seem worldly, they also make terrible misjudgements and are uncomfortable with modernity- hence top hats (blend in/stick out simultaneously). As intrusive voices the blend in/stick out concept made perfect sense. Ultimately, God and the Devil are what Gabe wants them to be, so even the strangest moments are a teenage boy writing what he thinks should happen. Then, once grounded as characters with motivations, conflicts and relations, they were almost real people, almost. Also, I had to create distinctive characters for God and the Devil from each other.
Has performing alongside material drawn from your own past changed how relate to those memories now?
I really try and hold personal memories separate to the play because I believe that both are the truth, even when there are drastic differences. I do know that the way the play is now, is down to writing it at 24, not in my teens- if I had written it then it would not be as nuanced. It is easier for me now, in my mid-twenties, to hold respect for both the way I know it felt at the time and the way I see it now. I actually began a first draft (rather unsuccessfully) at 20 and it is a bit grating to re-read my perspective from then, but many contradictory elements of experience are true and valuable, though as you get older what you take away changes.
What kind of response or understanding do you hope young people experiencing their own mental health struggles might find through Gabe’s story?
That you have more power than you think. I don’t mean “you can just find your way to overcome it,” but I mean that everything you’re going through is unique to you. The struggles you are facing are monumental because it has been specifically designed just for you, so when you do find whatever helps you to manage, you literally achieve something that no-one else could. Gabe’s delusions are, in a sense, designed by him to pinpoint the things that he is most vulnerable to, so recovery would mean he hasn’t just battled God, or the Devil he has battled himself too and survived- that’s powerful. Plus, outside of recovery the things he likes about God and the Devil, they’re him too- he just has to see it.
How did creating a character like Hannah- someone real, grounding and human- help you express aspects of recovery that are harder to articulate directly?
Hannah is based on a combination of many people (particularly young women) I met in psychiatric units. I think it may surprise some people that mental health patients can be strong, witty, compassionate and present for others. I know I would not be who I am without meeting them. But I also think recovery is indeterminate and you can’t predict who will recover, who will relapse and how much time it will take. Some of the bravest, kindest people for others, will be the ones who struggle most deeply. Hannah is the most significant character- she shows recovery isn’t always guaranteed, but compassion is always necessary (a stark contrast to God and the Devil.) Something ideal is rarely worth as much as something messy and hard-earned. She’s definitely worth the wait.
God, The Devil and Me will run at The Lion and Unicorn Theatre, 42-44 Gaisford St, London NW5 2ED on 6th-10th January 2026. For more information visit https://www.thelionandunicorntheatre.com/whats-on