Actor AHMED HAMAD takes centre stage in the new production of Tim Gilvin’s Stay Awake, Jake which continues to be streamed via Southwark Playhouse until 28 February 2021.
Ahmed (Rent, Hope Mill Theatre, The Boy In The Dress, Royal Shakespeare Company) followed up his recent recording of the show’s album (being released soon!) by taking on the title role in the new version of the award-winning one-man one-act show.
Presented by Pearson Theatre Productions and Damien Tracey in association with S&S Theatre Productions, the production features new songs and orchestrations for a four-piece band.
The story of one man’s late-night journey across England’s deserted motorways en route to a reunion with his girlfriend, Stay Awake, Jake won the prestigious S&S Award for best un-produced musical in 2014. In 2016, the innovative musical was crowned the winner of the VAULT Festival Origins Award for new writing. Following a short run at The Vaults in 2016, the musical played its first full London run at the Southwark Playhouse in 2019.
Here Ahmed continues Musical Theatre Review’s interview series: Five Questions With…
How has life treated you during lockdown?
I think I’d be lying if I said this third lockdown hasn’t been really tough. I had my housemate with me during the first two lockdowns and at the moment I’m alone in the flat. I’m doing my best to try and keep occupied and stay creative though! Lots of gaming and piano playing, getting inventive with cooking, and really just taking each day as it comes.
How did it feel to rehearse and perform Stay, Awake Jake at such an extraordinary time and for a live-stream rather than in front of an audience (especially as it is a monologue so all the responsibility lies on one person’s shoulders!)?
Stay, Awake Jake was such an interesting project to work on. Not having an audience was an odd experience because there was absolutely nobody to look at, no laughs, and no applause between songs. Without any instant reactions, I had to stay out of my head and stay on track throughout the show. Trusting the preparation that I’d worked on with the Grace Taylor (director) and Tamara Saringer (MD) was essential to not second guess myself.
I also couldn’t switch off at any moment – usually you have time to take a breather whilst offstage or when another actor is the focus but not in a one-man show! The toughest part of the process was the vocal stamina. Tim Gilvin has written a beautiful score which is challenging both vocally and from an emotional point of view. With Tamara’s guidance, keeping on top of vocal health was so important to make sure I did the piece justice. It’s really odd watching yourself in a one-man show, but I’m grateful it’s available to stream until 28 February – although I’m not sure how many times I can manage watching it!
What are your thoughts on the album you recorded for Stay, Awake Jake? Can you tell us more about Tim Gilvin’s innovative show?
The album was how I’d got involved with the project. After sending some self-tapes to Pearson Casting, who also cast me as Benny in Rent, and getting the role, it started off small. The plan was to record the songs in my bedroom on zoom with Tim and Grace. It snowballed into a bigger project when Pearson Theatre Productions attached musical supervisor (Nick Pinchbeck) with use of his recording studio, and producer (Stephen McGill) backing the project, also Tamara Saringer on board as MD. We recorded the musical in early autumn 2020. I’m looking forward to hearing it in the future after its release.
The album shaped a lot of what we did at Southwark Playhouse. The team was so open to trying things out like adding bits, changing keys, and a riff here and there. I’d only ever been in a real recording studio twice, and both times it was ensemble harmonies. It was awesome to be in the driver’s seat and bring the character of Jake to life.
Stay, Awake Jake is a really moving piece about a guy called Jake who drives across the country through the night to save his relationship. It moves through the present day, memories, and what he hopes to happen in the future. I can’t say much more (without spoiling the plot!) but it’s essentially a man learning to take responsibility for his actions. Even way back when I auditioned (in May 2020), I fell in love with the music and I’m so proud that I’m able to tell this story.
I really love working on new writing, and I think it’s so important to support these pieces. I’ve been a part of MT Fest which is a new musicals festival put on by Paul Taylor-Mills, workshops of new musicals whilst at drama school, and a few workshops of new plays. Also, all the musicals I’ve worked on since graduating have been brand new versions of that show (Joseph, Rent) or something like The Boy in the Dress which is a new musical altogether. Not only is it creatively stimulating and fulfilling to create characters and workshop them, but it also leaves your mark on the role for the future. That small decision you made on day one could shape an aspect of a character’s whole persona. I really hope to continue working on new writing in the future.
You were in the cast of the excellent Hope Mill Theatre production of Rent that opened briefly before being forced to close because of the pandemic. It must have been something of an emotional rollercoaster?
It really was. We started rehearsals at the end of September and closed (due to a national lockdown) at the start of November. Every single day was full of emotion and uncertainty. The producers (William Whelton and Joseph Houston) along with the creative team kept us all so safe and healthy during rehearsals and the cast were an absolutely dream. Luke Sheppard directed such a beautiful version of this show, and it was a perfect piece to bring to life during the pandemic. Rent is a dream show too, and the music is probably my favourite aspect. Katy Richardson’s musical direction combined with Tom Jackson Greaves’ choreography was the perfect mix. I’m also really grateful the production was filmed (courtesy of Umbrella Rooms) and that we were also able to experience the show. I miss it so much and hope it can return some time in the future – I wasn’t ready to let go of Benny!
What has been a highlight in you stage career so far (I appreciate that it’s early days) and what are you doing to keep your spirits up as we hopefully head for a new normal with theatre reopening once it’s safe to do so?
Although it is early days, the highlight has to be our first live performance of Rent. We’d been without live theatre for almost seven months and being in that theatre with that audience was just electric. The cast were all in a 12 person bubble and after the show, the energy in the house was insane. A close second would have to be my swing debut performing at the London Palladium in Joseph. Having my best friend there on my first performance and my parents on my second was the greatest feeling.
I’m going to keep supporting as much theatre as I can online, and also continue that support when live theatre returns. In the meantime, a lot of PS5 and piano playing!
Bio
Ahmed Hamad trained at ArtsEd. Theatre includes: Stay Awake Jake (Southwark Playhouse), Rent (Hope Mill Theatre), The Boy in the Dress (RSC), Joseph and the Amazing Technicolor Dreamcoat (London Palladium), BBC Proms – West Side Story (Royal Albert Hall) and NFTS Screenwriters Showcase (Soho Theatre). Workshops include: Andrew Lloyd Webber’s Cinderella (The Other Palace). Recordings include: The Boy in the Dress (Original Cast Album), Stay Awake Jake.
www.southwarkplayhouse.co.uk/video-on-demand/stay-awake-jake/#details
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