The critically acclaimed show, A Little Inquest Into What We Are All Doing Here, which premiered at the 2024 Edinburgh Festival Fringe and won a Scotsman Fringe First Award, will headline the Shoreditch Town Hall’s Spring Season as the first programmed event of 2025. Lead artist, performer, and producer Josie Dale-Jones will return to the stage to present her powerful production to audiences in London.
We spoke to Josie to find out more…
A Little Inquest Into What We Are All Doing Here explores issues surrounding censorship and freedom of expression. What inspired you to tackle these complex themes, and how do you hope the audience will engage with them?
I thought theatre was a place for difficult conversations, and it turned out that programming work that explores them had become too complex.
In 2022 a show I was making was cancelled before it was seen. The experience of that, and the fall out from it, left me wondering what to make theatre about: censorship and freedom of expression. How self censorship works and how we modify what we want to say. A Little Inquest Into What We Are All Doing Here explores societal censure, and self-censure – I think the question of who censors who is really important right now.
I made this piece (together with a brilliant group of people) because I want to keep believing that we do have a place to sit in discomfort and nuance, and that we still have the energy to listen to people with views that might be different from our own. That’s what I hope the audience re-engages with.
In your press release, you mention the cancellation of a show you were working on in 2022. How did this experience influence the development of A Little Inquest Into What We Are All Doing Here?
Yes, massively. A Little Inquest is rooted in that experience. This show is – in some ways – a development of the show we were making. It sits in its place. And so it comes with the context of what happened.
The experience of the cancellation was really present in the room – the fear of it all happening again. In lots of ways, this show is a response to the idea of fear, and making work in the context of fear. Not an easy place to make from, but I think that’s the reality of what a lot of us makers, programmers and funders are trying to combat at the moment. Sometimes we need to feel the fear and do it anyway.
The show blends autobiography and fiction. How did you find the balance between personal experience and creative storytelling in the piece?
We use a personal experience to talk about a more universal theme. I think that the story of what happened is (at times) quite unbelievable. And having a real person tell it helps to make the link between what happens online and its effect on everyday life. In that way, the private becomes public.
And – hopefully – we do that with some theatricality… The story grows out of something very real, into a more surreal place. When the personal gets boring, we get creative!!
Shoreditch Town Hall has a history of being a space for public discourse. Why do you think this venue is particularly suited to presenting your work, especially given the themes of the show?
In 1888 Shoreditch Town Hall hosted the inquest into the murder of Mary Kelly. The motto ‘More Light, More Power’ commemorates the boroughs reputation for pioneering bold ideas. And in the 60s, Shoreditch Town Hall was a huge part of local democratic and civic life in the borough of Shoreditch. I think it’s exciting that a Town Hall operates as a theatre. Especially one that offers a programme of work that tackles tricky themes. The building being a site for public shared space and open debate is still very much in keeping with the buildings original values. It feels really special to be performing A Little Inquest in a building that is so deeply connected with a history of standing up for what you believe in.
The performance challenges societal norms and questions the role of the artist in today’s world. What do you believe is the artist’s responsibility in shaping public discourse, and how do you navigate this in your own work?
I don’t think artists should have to have a responsibility to shape public discourse, but it’s just hard not to want to try in the current cultural climate…
Lots of artists make work to say something. Whether it is in a theatre, a gallery, a social media account, many artists also have a platform. And although it is unlikely one artist is going to change the shape of public discourse alone, each piece is an offer and contributes to making change.
Together we can keep finding ways to speak directly about our experiences and what we see happening in the world around us.
For me right now, it’s just about keeping on making work.
You’ve described A Little Inquest Into What We Are All Doing Here as a way of providing hope for artists who wish to explore political and difficult subjects. How do you think art can offer a sense of hope in such uncertain times?
Art can be so many things and everyone goes to it for something slightly different. I don’t think we should underestimate theatres power to bring people together, or at least, to spark conversation. Which are two really important things, especially in finding hope in such uncertain times.
You’ve had a critical reception to the show already, winning the Scotsman Fringe First Award. How has this recognition shaped your perspective on the work and its future?
Winning a Scotsman Fringe First award often means that your work will tour, that it will continue to meet audiences and it will keep conversations going. There are lots of reasons that I doubted this show would be programmed outside of the Festival Fringe in this country. An award acknowledges that this show happened and was here. The recognition helps make the show something accessible, it is a seal of approval or something…
The show is being presented in London after a successful Edinburgh Festival debut. How does it feel to bring it to a new audience at Shoreditch Town Hall, and do you anticipate any differences in how it will be received?
Conversations move on (very quickly) meaning that the context of the piece is changing everyday. Audiences will be coming into the show with a different closeness to lots of the themes of the show. Whatever the differences are, the public discourse around censorship and freedom of expression is very live and very present. I hope that comes with a heightened curiosity and openness to the show…
You’ve worked with a variety of venues in the development of the show, including Camden People’s Theatre and Streatham Space Project. How important has this support from alternative and independent spaces been to the growth of A Little Inquest Into What We Are All Doing Here?
We will all need to continue to be creative, continue to be resilient and continue to push for joy to make, programme and watch work that is political. We will need to find spaces to do this outside of institutions that want to stop us from saying what we want to say.
Shoreditch Town Hall and Traverse Theatre programming the show has reaffirmed that this is possible.
Hold on to the venues that stand with freedom of expression!!
Looking ahead, what do you hope audiences take away from the performance, and how do you see the piece evolving in the future?
I hope people are encouraged to keep talking.
For ticket info – Shoreditch Town Hall – Home
Artwork by Rich Lakos