Mukul Ahmed Discusses Justice and Reconciliation in The Upcoming Play AGATHE at Playground Theatre

Agathe tells the true story of the extraordinary woman who became Rwanda’s head of state for less than a day: chemistry professor and advocate for women and girls’ education, Agathe Uwilingiyimana. When a plane crashes and takes the life of African president, Juvénal Habyarimana, it ignites a killing spree that the world will later recognize as the 1994 genocide against Tutsi people in Rwanda. Prime Minister Agathe Uwilingiyimana, the first and so far only woman to hold the role, becomes the next in line for the country’s presidency but just 14 hours later Agathe is assassinated. 

What intrigued you about Angela J. Davis’s script and why did you want to direct this?

It was part of RAFTA festival, it stood out for its powerful portrayal of woman of courage and leadership. Sometimes you pick up a script, and you see it has potential.

How do you approach the responsibility of portraying historical events?

Staged productions cannot make a play in real time but we can stretch time and compress it emotionally. The hinge pin is interpreting the hard work the writers put in research developing the play. We don't want to disrespect actual people or incidents in history, and we’ve been careful with that.

It’s a huge responsibility but this play is more about the sequence of events, which the writer carefully crafted. Plays can transport us emotionally and spiritually and this play does that. Sometimes I am in that house with the leading characters in the cauldron heat of danger, lives at risk where nothing is certain if it's life or death round the corner.

As a director, what challenges did you encounter in bringing Agathe's story to life on stage?

Finding suitable actors, creatives, which is all part of the delight of theatre making. For me it's been about keeping the story fresh and characters relevant. AGATHE is a tribute to the woman who had a vision and a strength who knew her priorities. We can all learn from that and my goodness we need that steely daring and courage in today's volatile world.

Can you discuss the creative decisions made in terms of staging, set design, and visual elements to enhance the audience's understanding and emotional engagement with the story?

Production meetings, planning, discussions, debates, set emerge from reading the script and working with a magical designer who understands the space and the plays spaces. We wanted a practical space but one which can be flexible. It is a headache sometimes though I do like the process. I ask for something they say no or it's impossible or there's no budget. Huge pressure and worry but eventually it's emerging and it will be great. Set, costumes, props, lighting, sound effects they all play their creative part in telling the story. It's teamwork where if it works, we get claps and if it doesn't the director to blame.

Agathe Uwilingiyimana's story involves both personal and political dimensions. How did you navigate balancing these aspects in the portrayal of her character and the events surrounding her?

She's first and foremost a woman, an educationalist. So, she was a human being first, she wanted her family and cherished the generations, because she knew they were the future. Politics came second but both are not exclusive or unusual. Politicians aren't the only people who give the impression of power, Agathe did not wish to take responsibility for her nation, but when she was in that position, the play made me understand her plight. And as a mother too she didn't think twice about self-sacrifice. Working with the actors asking them to enquire and then set the stage to allow audience to be investigators of sorts and discover the real woman and her many talents and extraordinary skills. And that's true of all women, my mother was one such. Mothers, sisters, wives, and friends they all leave a mark, and we owe them huge debt of gratitude in this world. Why can't they be the political movers too?

In what ways do you believe theatre and storytelling can contribute to broader conversations about justice, reconciliation, and the remembrance of historical tragedies?

Theatre and arts are the only way to reach hearts and minds in everyday, but I don't dare to dictate how or who. Sohaya Visions and Mukul & Ghetto Tigers find good scripts, plays, and projects to bring to public with the hope they provoke conversation, debate and closer to truths or understanding ourselves and the world. I'm very satisfied when this happens but I don't expect everyone to react in the same way. We all have differing views on that but for duration of a play, as audience we are all gathered in the same space and sharing something together, even if it's a scene, dialogue which triggers a thought or action towards justice or elevation of thought to see clearer than before. Then we know our work is being done. I believe it is our duty as artists to bear that responsibility as creative to answer each of those areas because otherwise there's nowhere else to challenge that and find better answers.

As a director these aren't at top of my list of targets. Usually how the hell can we get the play ready in time and did you make my tea the right way?

We ask the audience to come along to see the play and make up their own minds.

AGATHE will play at Playground Theatre from 17th April – 4th May. Tickets here: https://www.theplaygroundtheatre.org.uk/projects/agathe-by-angela-davis