From Workshop Participant to Board of Trustees: In Conversation with Michael Amaning
Michael Amaning is a writer, actor and drama facilitator who has been a friend of Playing ON for over a decade. This week, we sat down with Michael to chat about all things Applied Theatre, Playing ON and his vision for the future of the industry…
Tell us about yourself…
My name is Michael Amaning, I’m from North West London. I am a writer, an actor and drama workshop facilitator. I have an MA in Screenwriting, and my BA was in theatre studies international - I did a term in Chicago as part of my BA. I also have done a PGCE, so I guess I’m a qualified teacher as well!
How did you first come across Playing ON?
It’s been a long journey! I first met Jim when I was 14 years old. He came to my community in North West London, South Kilburn and he was running workshops, and I took a year long course with him and got a certificate in acting. Then we lost contact and years later in 2007, I’d just finished doing a project with the Roundhouse. One of my friends told me Jim Pope was doing research for a play about prisons, and would like to get me involved. At the time I thought, Jim Pope? Yes, I definitely know him. So I went and it was him! Our paths crossed again. He was setting up the Playing UP course, which still exists at the NYT, and I joined that as well. I ended up taking part in INSIDE alongside the Playing UP course. So yeah, I was part of the first flagship production for Playing ON.
Michael & team during early developmental workshops for Hearing Things at the Lyric Hammersmith (2012)
Michael during INSIDE rehearsals, 2010 (© Jason Havord UK)
How has your relationship with Playing ON changed over the years?
I started off as a participant, and then I became associate artist with the company when it began in 2010, and then a few years later, I also became a board member. It’s been a great journey in the sense that I was learning with Playing ON, learning as I got into facilitation, to then leading workshops and being on the board as well.
How did you get into facilitation? What was that journey like?
On the Playing UP course, there was a module on applied theatre and I knew I liked it, because it’s theatre with the people, for the people, by the people. I thought, if I’m not going to be an actor then I like the facilitation aspect too, because I liked the progression element. My first facilitation job was with Jim and Philip in Homerton Hospital in the beginning of the Hearing Things project. I started off running games and being in the space, and taking on characters. So I was facilitating as well as acting. My first major project was Drilling diamonds last year. Jim wasn’t around for some sessions so I took the lead, and I did some writing on that project as well.
How has it been to go from workshop participant, to associate artist, to board of trustees with Playing ON?
I feel grateful that Playing ON has nurtured my career. They’ve made me who I am as a facilitator, as an actor and they’ve given me the life skills in order to go and work with other companies like the Roundhouse, the Lyric Hammersmith, People’s Palace Projects. It’s like I went to the School of Playing ON, and my teacher was Jim. I’m really grateful for everything they’ve given me and everything to come as well, because the company has really flourished over the years, we’ve gone through leaps and bounds.
Why did you want to become a member of the board? What is it like?
At first, the decision to be a board member was made out of my passion for the company. When I was asked, I said yes because I believe in the company. When I first sat on the board, I thought ‘I am a small fish in a big tank. There are sharks at this table’ and I thought to myself, why do they want me as a board member? I don’t know what to bring to this situation. It became quite evident, though, that my experience was why I was a board member. Everyone starts somewhere. I started being able to chip in at times. I was still nervous, I did think at one point I’d have to leave as I wasn’t bringing anything to the table but I started to get comfortable in the role. I’ve experienced a lot with the company, and that experience in decision making is important. I’m a product of the company.
You’ve literally been there from the start!
Exactly, 100%. Now, I’m in the field of writing. So I’m definitely going to be able to help Playing ON with my contacts from that industry soon. I’m growing so I’ll be able to give back to Playing ON. I’m able to guide the company in advice, which is excellent. Being in the board meetings now, I was asked to chair one once while Adam was away, and that made me think you know what, I’m in the right place.
It’s a great time to be on the board too, especially with the company making some big changes…
Exactly! I’ve been in it since they were a start-up, and then they became a CIC and then a charity. So I’ve been there for the whole journey.
In your work, what is most important to you?
Authentic voices. The reason why I’m part of Playing ON, the reason why I write, the reason why I act is to represent authentic voices. I think that is the main thing. I come from a background where it is a struggle, some people are not in education, there’s a lot of struggle. Everyone goes through adversity. I like to always find out the truth. Playing ON always strives for authenticity. And in my work as a writer, I want to be able to write true stories or stories that are based on truth and turn into fiction. I think it all blends in together, with the company and how I am as a writer and as an actor and as a person: I always want to find the truth in things.
Have you seen changes in the industry since you were a participant as a Teenager?
Diversity is the main one. At the beginning, Playing ON was quite diverse, going into communities and bringing people from those communities into the industry. At the time, the industry wasn’t as diverse. There were only one or two plays that were diverse. I remember Roy Williams, his plays were representing people that I relate to. The change now is that it’s headed in the right direction. I was getting into a profession where I couldn’t see anyone similar to myself. I think we’re slowly getting there now.
What are the biggest challenges in the industry at the moment?
Again, diversity. It’s still a challenge. They’re talking about it now. They’re talking about women coming in, they’re talking about the LGBTQ+ community, they’re talking about BAME. Getting it behind the camera, as well as in front of the camera is important. I’ve been keeping up with the TV and the Television industry. It’s all about diversity. Representation behind and in front of the camera, as well as onstage is priority. Especially after Black Lives Matter, the #MeToo movement - these conversations need to be had. We’re not there yet, but we’re getting there.
What is your favourite Playing ON project that you have been involved in?
This is a hard one!
I guess, they’re all really different, right?
Yes! They’re all really different. I’d say INSIDE, because at the time I was learning and meeting a lot of new people. That play was a learning curve for me professionally, but also I met some of my life long friends there. Socially and personally it was very enriching. That project is what sits with me, especially. Drilling Diamonds is a close second. I was able to lead on that project and write on that project - it was a great learning experience professionally for me.
What is the most rewarding part of your work?
Seeing progression. Seeing someone come into a room and they’re shy and don’t want to take part, and then by the end they’re singing their heart out or they’ve written a poem that they’re able to stand up and recite. Also, hearing that they’re able to be comfortable and themselves in the presence of Playing ON facilitators. I love to see progression. I love to see talent, aswell. When someone can act, or sing, or deliver a good monologue - I love it!
Those moments are just priceless aren’t they…
Definitely! And you see everyone's reaction, and the person feels like they’ve done well. It’s a lovely feeling. Those are the things that are rewarding for me.
INSIDE, 2010 (© Jason Havord UK)
“Authentic voices. The reason why I’m part of Playing ON, the reason why I write, the reason why I act is to represent authentic voices.”
INSIDE, 2010 (© Jason Havord UK)
“Representation behind and in front of the camera, as well as onstage is priority.”
Drilling Diamonds, 2020 (© Jonathan Stow)
Outside of work, what are some of your favourite things to do?
I love socialising with friends. Speaking with people, hearing stories, telling stories. I’m into faith as well. I go to church, and fellowship with groups as well. Music, going out to eat, I love travelling - first time I travelled was with my course in 2011 and I said to myself every year I’m going to go away and travel, after that. It’s opened my mind a lot, travelling. I love to watch TV as well. Television series, from young, have been my thing.
Do you have a favourite series?
I’ve got a top 3. Okay, so my top 3 are: Oz, The Wire and Breaking Bad. If I could have another, I’d put The Sopranos in there as well. Michaela’s Cole’s I may destroy you was also great.
Sometimes, the original Top Boy is great to binge.
Exactly! Top Boy was a big thing for the culture! Going back to diversity, seeing Top Boy on tv was a big thing.
What is your motto?
I’ve got two, I think. One is everything happens for a reason. And the second one, I learnt from Playing ON, is trust the process.
What do you consider your greatest achievement?
Completing my Masters in writing. I’ve always written since I was young. I used to write a lot of poetry then I started writing grime lyrics, and I was an MC. Then I started writing my feelings down a little bit. I guess, going to get that level of education and completing it - that’s my biggest achievement.
If you could live anywhere in the world, where would it be?
I’m going to have to have a top 3. Home being London, that’s one. I’d also say LA, for it’s work life balance. And then home away from home is Ghana, for quality of life. Good weather and good food. I couldn’t work there though. I guess I’d probably go for LA. It’s got the industry there, but there’s also the beaches. Second, Ghana.
Describe your dream project…
A BBC series. I’d love to do a school project. Workshops with Playing ON to get the material, write something and then get some participants to act in a series and be commissioned by the BBC. Have them work alongside big actors. That’d be my dream project.
What would you like to see in the future in the industry?
More stories. More unique stories. I’d like the diversity agenda to be hit and then not to be talked about again, but it just to be free flowing and how we work.
Platforming authentic voices is always the goal, right?
100%. I’d like everyone to be able to enter the industry, and for there not to be a criteria to hit. More opportunities to get involved. That’s what I’d like to see.
