Rethinking Theatre by Daniel Sintim-Aboagye

We’re so grateful to have worked with Therapeutic Support Worker Daniel Sintim-Aboagye on our last show, Public Interest, created with JENGbA to challenge Joint Enterprise.

Working with a community cast with lived experience of discrimination in the justice system, Daniel brought so much care and understanding to his role. He supported our team through navigating heavy political and personal themes, and for some, their first experience of performing. 

Daniel shared reflections on his experience:

‘Before hearing about Common/Wealth  and the Public Interest (PI) project, when I thought of ‘theatre’, the following images came to mind: A large, grand stage; soft, comfy seats for ‘patrons’; and staff members looking the part, dressed formally and elegantly. These images, of course, are often tied to middle and upper class experiences of theatre; exclusive spaces that don’t always feel accessible to everyone. So, when I was approached about this project and learned about Common/Wealth’s mission and ethos (in short, making theatre more accessible by engaging working class communities), I was both curious and excited at the prospect of working with such a progressive organisation.

The Perfect Fit: Meeting People Where They Are, Physically

When I was approached to fill the role of Therapeutic Support Worker for the project, I just knew that this was a perfect fit and that I had to get involved. Not only was this opportunity a perfect fit, but the timing was perfect too. Prior to this opportunity being presented to me, my resignation period at work was ending, and I was preparing to start my PhD. Gratefully, everything seamlessly aligned, making it possible for me to accept this role. As mentioned above, I was thrilled at the prospect of aligning myself with such a radical political theatre company; a company who understands the importance of equity and meeting people where they are. For example, what struck me about Common/Wealth was how intentional they were about recruiting young, working class people into the project. Their meaningful and intentional approach to community outreach challenged the disempowering, demobilising and cringeworthy myth of so-called ‘hard-to-reach groups’ – a phrase I would often hear in my line of work as a mental health professional. Not only did Common/Wealth go to where the young people were physically, they also went to where they were emotionally and mentally.

Meeting People Where They Are, Emotionally and Mentally

In my line of work, I’ve seen first-hand how people from working class and/or ethnically diverse backgrounds often have social and external pressures negatively impact upon their well-being and mental health. Common/Wealth understood this and recognised the need for additional support; hence why I was brought in. That said, I wasn’t alone. I was part of an amazing team, working closely with devoted staff members who were approachable, understanding, and accommodating regardless of seniority. For example, in consultation with me, they/we shaped the environment (e.g., rehearsals and shows) to meet the needs of the cast members, seeking to play to each cast member’s strengths. One way this looked in practice was by ensuring neurodiverse cast members (e.g., those with ADHD) had regular breaks.

Growth, Resilience, and a Creative Escape

Genuinely, it was very special working closely with such an incredible group of young people throughout this project. Individually and collectively, they grew in confidence and built strong relationships with one another. They were a resilient bunch too, many of them facing difficulties and setbacks outside of rehearsals and show weeks. For many, the project became an escape from their personal worlds and a space to grow and challenge themselves creatively.

The Power of the Arts in Mental Health and Vice Versa

The arts played a huge role on my road to recovery from depression roughly a decade ago. Consequently, I’m a big advocate for incorporating the arts into mental health provision and vice versa. So much so, I’m devoting the next 3 years of my life contributing to scholarly research within this sphere of interest (i.e., how Rap and Grime music can enhance mental health and well-being amongst ethnically diverse communities). Aside from this, my time during the project reinforced the power and importance of engaging young people from working class and/or ethnically diverse backgrounds through the arts. The cast’s commitment, energy, and passion for the project were inspiring. They showed how art, when taken seriously and supported properly, can be a powerful tool for personal growth, community building, and awareness-raising. Regarding the latter, this project also deepened my understanding of Joint Enterprise as a form of legislation.

Joint Enterprise / Unanticipated Proximity

One of my favourite scenes in the show is the sixth scene, where a football analogy is used to simply convey how unjust Joint Enterprise can be. In the scene, two cast members paint the picture by explaining that a player makes a shocking tackle and receives a red card – but then the referee also sends off his teammate for failing to stop him, even though ‘[they were] on the other side of the pitch’ and had no way of intervening.The referee continues, brandishing red cards to teammates, and even fans; those who had simply come to watch, painting everyone as violent or guilty simply because they share the same shirt, background, class, race, or social group. This football analogy vividly conveys the unfairness of Joint enterprise, where collective blame can be (and often is) assigned regardless of personal intent or action.

Bringing this legislation to life, towards the end of the project I had an experience I did not anticipate when agreeing to fill this role. I found myself providing emotional support to a young boy whose father had been convicted of murder under joint Enterprise. The young boy’s grandmother was part of the show in the form of a video recording, and while hearing his grandmother reflect on how the conviction had affected her life and family, the young boy became visibly upset and, leaving the room, sobbed uncontrollably in my arms. This heart-wrenching experience underscores the profound and often unseen impact of this law on families and communities.

Looking Back

Working with Common/Wealth truly was a joy. As mentioned already, they exemplify what it means to think equitably, to remove barriers, and to treat people with dignity. For me, it was a chance to bring my mental health experience into a creative setting, utilise my skills, and witness how such support and the arts can come together. To the fantastic team at CW: thank you! And to all the young people I worked with: the impact and success of this project wouldn’t have been possible without your involvement. Thank you!’

-Daniel Sintim-Aboagye