Think Global, Be Local

What do you get when you cross a director from Iceland, a theatre company from Manchester, a television actor and the serious issue of sex trafficking? An exciting new play which spreads the message of ‘think global, be local’ and is on at the Contact Theatre this week.

Centered around the world of sex trafficking, Lilya is an original adaptation of the award winning film, Lilya 4-Ever. Zoë Slater got the chance to interview its director, producer and lead actress.

SD: First things first, how did this collaboration come about?

Producer, Nick Mason: Well Jon and I have worked and studied together in London on a few different projects. Jon had wanted to put on this production for a few years now and he got in touch with me. I had worked with the Contact theatre a few times and we thought that it was the perfect space for this production.

SD: In the film the main character Lilya moves to Sweden but in this production you have her moving to Manchester. Why did you feel this was necessary and what other changes have you made in order to transform it for the stage?

Director, Jon Gunnar: We changed the location to Manchester because sex trafficking is sadly happening in every big city in Europe. It is an issue in Manchester but ultimately wherever the play is performed it could be based there. Obviously I had to make many changes when translating the film into a play as it is such a different medium, but the reason I did is because this is a story which needs to be told. I thought the film was brilliant and it really affected me, however I believe the story can be told in many different ways.

NM: By changing the location to Manchester I believe it localizes the production and makes it more interesting for the audience.

SD: In addition to watching the film, how have you researched the issue of sex trafficking in order to play the part of Lilya?

Lead Actress, Lauren Drummond: I have watched a variety of different films and documentaries about prostitution. There is obviously a huge difference between choosing to become a prostitute and being forced into it and my character Lilya experiences both types, so it was important to learn as much about it as possible. I’ve watched interviews with young girls and it is shocking to see how timid they are. I needed to do the research as it’s easy to imagine what it would be like but you really need to be able to dramatize it as well as possible.

Coming from a television background [Lauren plays the part of Mika Grainger in the BBC’s Waterloo Road], and with this being my first theatre production, I’ve also had to learn how to make it big but keep it small when it comes to my acting technique. It’s been really nice to be able to improvise.

SD: The film has been shown in various campaigns, which aim to stop the trafficking of young women. Are you hoping that the play will have the same effect?

NM: Yes. Sex trafficking is not something you really see. You know it happens but it’s not in your face. It can be hard for law enforcement to really tackle it as it is part of an underworld, which is why I believe it is important to do this play as it tells a story. The depressing thing is there will always be a market for it but we need to try and tackle it and educate others. We think that by addressing the issue in an entertaining way we can make people really think about it.

LD: One of the desperately sad things about sex trafficking, and the reason why we have invested so much in the characters, is the fact that the girls are promised a better life but the nightmare really begins when they arrive in the new country. Ultimately their youth is stolen. The pressure to stop sex trafficking really needs to come from the West.

JG: Yes. Sex trafficking is mainly happening in big cities in Western countries. Rich people from the West are getting young girls from poor countries such as Africa and areas of Eastern Europe. I am hoping that this play will open peoples’ eyes. I am for political theatre, as I believe by telling these stories we can help to make the world a better place.

SD: Talking of political theatre I’ve read that the film has anti-capitalist overtones; is this something you explore in the play?

NM: I think the film does have anti-capitalist overtones but it is more to do with poverty in general. The film shows how poverty is a global problem. We realize this is an important issue but the play is more about relationships. We wanted to focus on the main issue of sex trafficking whilst also entertaining the audience with characters that are funny.

JG: I think the play is educational but it is also about young people trying to survive in the old Soviet Union and it is about relationships in general. It is a youthful play performed by young people and I believe it helps spread a message of think global, be local.