good dog: first week, second show / ajjaz awad-ibrahim
It’s 2017 and we’ve hit the ground running with rehearsals for good dog. We’ve taken over the studio at Watford Palace Theatre for the next two months and it feels like we’re at home again. It’s almost the end of the first week, so we caught up with RTYDS Director Placement ajjaz awad-ibrahim to see how the first week of her second tiata fahodzi show is going.
Back in 2015, Ajjaz was production runner for i know all the secrets in my world (here’s a #flashbackFriday of her video diary) and is now back with tf as an RTYDS Director Placement – here for good dog and beyond. Ajjaz has been with us since November, researching, going on Tottenham adventures with Natalie and developing her craft as an emerging director. As well as making plays, tiata fahodzi are committed to developing artists at the early stages of career – it’s an honour to have Ajjaz back on the team.
‘So first week, second show – it’s only Wednesday but it already feels like a lot has happened, good dog has developed so much in a short amount of time. The beginning of this week had a rough start with the tube strikes – the week had the potential to go out of sync, but I think we managed to navigate that land mine and keep on track.
Although I’ve worked with tiata fahodzi before as a production runner on i know all the secrets in my world, good dog definitely has a different feel to it; it’s times like this I’m always reminded why I love theatre in the first place – every show is so different so you never know what to expect.
A big change for me is starting this process in the winter, where I’m used to starting in the summer. I’ve really appreciated that there is always fruit in the room to keep those lurgies away (they have a danger of taking over you, especially in the winter).
An overview of the first week so far: production meetings, meet and greets, working with the Arinzé and of course working through the script. I get the chance to be a fly on the wall for all these different aspects of making a production and observing how many hats a director has to wear to bring this about.
Personal favourite of the week: getting to watch the writer and director’s process. Unlike any other show I’ve ever worked on, this text has never been done before, no one has heard these words – we are the first people to tell this story. And, for me, this is a powerful privilege.’