We sat down for an exclusive interview with Verity Mullan to discuss her debut show ‘Single Use’, currently going on tour across England following Edinburgh Fringe performances last year.
Single Use is on tour 12th-18th October in Bristol, London, and Salford
- Has ‘Single Use’ developed since being performed at Fringe and adapted for the tour?
Yes! I think you should always try to develop a piece and evolve a story at each stage. From scratch nights to work-in-progress, then to Edinburgh Fringe and beyond, Single Use has changed and grown. We want this run to feel like the final iteration.
After telling the same joke 28+ times at Fringe, I wanted to add some new fun bits just for myself! We got some great feedback and reviews along the journey, and when adapting I spent time looking over these to see what themes people were really connecting with. We’re also bringing on board a lighting designer for the tour, Ciara Moss, who we’re super excited to start working with too.
- Is it difficult to write for yourself as a performer and see the script and performance evolve over time?
I am a performer first and a writer second, so I write with myself in mind. It’s the best way to find characters you connect with and love performing! As a writer, if I’m struggling to convey something through the writing, I sometimes think, ‘Ah, I’ll be able to act it out on the night.’ (Which you could say is cheating and leads to lazy writing, haha!) My next challenge is to write a script for other actors. I would love to see how they interpret my scripts and take their own meaning from them.
- What role do familial and romantic relationships play in Single Use?
Although Single Use is a one-woman show, the other characters are super important in building the world and telling the story. Ella’s most cherished relationship is with her boss and bar owner, Jerry. Work is her safe space, where she has some structure and no real responsibility. When Ella lets Jerry down, she begins to realise she needs to make some changes.
Ella has a romance with the allotment owner, Alan. Their relationship comes from a shared sense of loneliness and a desire for connection, but ultimately ends in tragedy. For Ella, Alan represents the possibility of intimacy and escape from everyday life, but is ultimately completely the wrong fit. (Alan turns out to be a dick!)
And, of course, her relationship with her mother is central to the plot, as mothers tend to be!
- Do you think it’s important for theatremakers to explicitly discuss contemporary political issues?
I don’t think we can avoid politics; it is part of everything. Where we live, what we eat, what we wear, who we socialise with. Yes, part of theatre’s magic is escapism, comedy and wonder, and I don’t think every show needs to be talking directly about politics. But even if theatremakers are not explicitly addressing contemporary politics, I think art should respond to its environment.
Theatre and film have always loved revivals of old stories. However, I only think we should be telling old stories if they have something relevant to tell us about today. I’m less interested in the politics of years gone by than in what’s happening in our societies now, and how stories are told to shape our future today.
- What are the challenges and strengths of a one-woman show?
At the start, I was very nervous about being on stage for an hour with no other actors to rely on or bounce off. If something went wrong, you would have to think really quickly about how to fix it.
But as time has gone on, this has become a strength and I have loved it – I can’t imagine sharing the stage with another performer now. I have learnt to really trust myself, stay present and connected with the audience. You are in full control.
I found writing a one-woman show isolating – I loved working collaboratively with my director and co-creator Emma and other amazing team members. I think the best art is made when you work alongside others.
- Can art make a difference to the world?
One hundred percent! If you’re not creating art to make people feel something and make a difference, I don’t know why you are doing it.
The world is becoming more and more polarised; I think we need to hear as many stories from as many walks of life as possible to keep trying to understand and learn from one another. Whether it’s comedy (my fave art form), painting or film, we are always aiming to make a connection and tell a story. My favourite theatre makes me laugh, then cry, then laugh again, and sticks with me. If you have a message of hope, unity and action, even better! If you can use art to hopefully connect with people and make a difference, then do it!