What happens when you have the feeling that you are disappearing?
Rhys wants to be a boxer while his father wants to learn Welsh. Yasmin is living with her nan while her mother wants to be looking over the plains of Uganda. The children can’t speak to their parents, and the parents don’t understand how their children are feeling.
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| Photo by Tim Stubbs Hughes/Grey Swan |
In Mari Lloyd’s moving and sharply funny play, we see the world through the eyes of two sparring 18-year-olds in a small Welsh ex-mining town as they try to comprehend the actions of their parents and begin to realise, they have bigger things to fight for.
Told through interwoven monologues, the play captures the uncertainty of growing up and the search for connection. It touches on themes of mental health, family struggles, and finding strength in unexpected places. Rhys sees boxing as more than a sport—it’s his way of controlling his emotions and fighting for his place in the world. Yasmin feels lost, unsure of where she belongs.
Their stories reflect a broader experience of young people searching for identity and purpose.
The play’s minimalistic yet immersive staging highlights the emotional weight of their journeys creating a powerful production about youth, identity and resilience.
Playwright Mari Lloyd, who grew up in the Rhondda Valley, brings a personal touch to the script and directed by Julia Stubbs, the production encapsulates its sharp writing, youthful energy and will draw audiences into
the characters’ inner worlds.
The play stays with you long after the final moment.
We caught up with the team; Mari Lloyd (Playwright), Julia Stubbs (Director), and actors Phillip John Jones (who plays Rhys) and Emma Kaler (who plays Yasmin) to learn more about the piece.
What can you tell me about Still Here?
MARI: STILL HERE is a coming-of-age play where wannabe boxer Rhy has his life turned upside down by newcomer Yasmin. As Yasmin starts to connect with people in his community and his family, his suppressed anger starts to surface.
JULIA: STILL HERE is a powerful two-hander that follows Rhys and Yasmin, two young people on the cusp of adulthood in a small, Welsh ex-mining town. Through a series of interwoven monologues, we see their humour, vulnerability, and resilience as they navigate fractured families, questions of identity, and the pressures of finding their place in the world. It’s raw, moving, and deeply human.
EMMA: Still Here is a turbulent and very relatable coming of age story, in which two youngsters are finding themselves whilst feeling that the world is against them. I would’ve loved to have seen a piece of writing like this when I was a teenager, as I’m certain it would’ve made a great impact on me.
PHILLIP: Still Here is a story about two young people on the edge of adulthood who feel like their lives are slipping out of their control. They come from very different socio-economic backgrounds, but through the shared ground of a boxing gym, they discover the possibility of connection, community, and understanding over conflict.
JULIA: STILL HERE is a powerful two-hander that follows Rhys and Yasmin, two young people on the cusp of adulthood in a small, Welsh ex-mining town. Through a series of interwoven monologues, we see their humour, vulnerability, and resilience as they navigate fractured families, questions of identity, and the pressures of finding their place in the world. It’s raw, moving, and deeply human.
EMMA: Still Here is a turbulent and very relatable coming of age story, in which two youngsters are finding themselves whilst feeling that the world is against them. I would’ve loved to have seen a piece of writing like this when I was a teenager, as I’m certain it would’ve made a great impact on me.
PHILLIP: Still Here is a story about two young people on the edge of adulthood who feel like their lives are slipping out of their control. They come from very different socio-economic backgrounds, but through the shared ground of a boxing gym, they discover the possibility of connection, community, and understanding over conflict.
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| Photo by Tim Stubbs Hughes/Grey Swan |
Where did the inspiration for the show come from?
MARI: The play began with an image I had of a man putting fish in a freezer. I thought, I wonder why he’s putting his life on hold.
How did you approach developing the ideas for this piece?
JULIA: My role as director was to take Mari Lloyd’s beautifully spare script and realise it into a vivid world on stage. The writing is extremely visual and so I felt the world needed to be sparse in comparison so as to let the text and the actors’ performances take centre stage. There are many locations in the play and rather than illustrate all of them, the design evolved into a more abstract space which changed with the emotions of the characters.
How much of yourself and your own experiences make it into your writing?
MARI: Quite a lot. I’m from the Rhondda Valley where this play is set and I still have family living in Wales. The play was born out of a frustration about people and places that have been ‘disappeared’. It’s the legacy of de industrialization. And it’s happened all over Britain. The anger left behind can create a void and leave people looking for someone to blame.
What first drew you this project?
MARI: Meeting Julia, the director was a gamechanger, and it was almost by accident. Serendipity?
JULIA: I was struck immediately by the authenticity of the voices. The writing felt truthful and unflinching, but also deeply compassionate. I knew it would offer a wonderful challenge to actors — and to me as a director — because it’s stripped back, leaving nowhere to hide. That kind of rawness is exactly what excites me.
EMMA: I was initially drawn to the realism of the piece and its raw dialogue. The characters are honest about their perception of the world and that was refreshing and entertaining to play with in rehearsals.
PHILLIP: It’s a powerful new piece of writing that gives voice to a Welsh working-class story. That perspective is still underrepresented on stage, and I felt it was important to be part of telling it.
JULIA: I was struck immediately by the authenticity of the voices. The writing felt truthful and unflinching, but also deeply compassionate. I knew it would offer a wonderful challenge to actors — and to me as a director — because it’s stripped back, leaving nowhere to hide. That kind of rawness is exactly what excites me.
EMMA: I was initially drawn to the realism of the piece and its raw dialogue. The characters are honest about their perception of the world and that was refreshing and entertaining to play with in rehearsals.
PHILLIP: It’s a powerful new piece of writing that gives voice to a Welsh working-class story. That perspective is still underrepresented on stage, and I felt it was important to be part of telling it.
What can you tell me about your character and how they fit into the narrative?
EMMA: Yasmin is a layered character, and I resonated with her teenage feelings of angst and defiance. It makes my job as an actor extremely enjoyable when a character is so multi-dimensional. Being a mixed-race girl from Cardiff myself, it was eerily similar to read a piece so close to home!
PHILLIP: Rhys embodies the violence, frustration, and isolation that are too often projected onto working-class communities. He represents the young people who’ve been overlooked and let down by an education system that doesn’t value them. But underneath the tough exterior, he’s just a young man who craves love, care, and connection. He’s there to remind us that no one is only what society stereotypes them to be.
PHILLIP: Rhys embodies the violence, frustration, and isolation that are too often projected onto working-class communities. He represents the young people who’ve been overlooked and let down by an education system that doesn’t value them. But underneath the tough exterior, he’s just a young man who craves love, care, and connection. He’s there to remind us that no one is only what society stereotypes them to be.
How have you approached finding your version of the role?
EMMA: Finding myself in the role has been nothing short of entertaining. Reverting back to teenage Emma was definitely an experience and was very bittersweet. I now look at Yasmin with tenderness and understanding.
PHILLIP: For me, physicality is central to the process. I approach the character with the belief that they already exist out there in the world — my role is to become the vessel for what’s already on the page. The script does the groundwork.
PHILLIP: For me, physicality is central to the process. I approach the character with the belief that they already exist out there in the world — my role is to become the vessel for what’s already on the page. The script does the groundwork.
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| Photo by Tim Stubbs Hughes/Grey Swan |
How has the collaborative process been for you?
JULIA: Collaboration is at the heart of my practice. Mari gave us this incredible script and trusted the creative team, and together we built the world of the play. The actors brought such generosity and instinct to the rehearsal room, and the design team layered in sound and light to create an atmosphere that supports the text without overwhelming it. It’s been a genuinely open, creative exchange.
EMMA: The collaborative process is my favourite aspect of theatre in general. It really is a team effort, and no idea goes unheard. It’s a very special feeling being in a room of individuals who bring their own talent and creativity to their roles.
Why do you feel now is the perfect time for this show?
MARI: Communication and anger are major themes in the play. And let’s face it, the younger generation have a lot to be angry about in the world today. The two characters in the play cope with their anger in different ways; but unfocused anger is destructive and it’s only with empathy that communication and understanding can happen.
JULIA: We’re living in a moment where conversations around mental health, belonging, and intergenerational disconnect feel incredibly urgent. STILL HERE gives space to those themes while also celebrating resilience and humour. Audiences - both young people and older people - have told us how much they recognise themselves in Rhys and Yasmin, which tells me this is exactly the right moment for their story.
EMMA: I believe there is no perfect time for this show to be performed, as it’s a timeless piece! All generations can relate to the storyline, and the themes are always relevant.
PHILLIP: Because it’s a painfully relevant story, too often, young people from working-class areas are written off as aggressive, unintelligent, or dangerous, instead of being seen as individuals who lack the care and opportunities they deserve. This play asks us to look beyond those stereotypes, which feels urgent in a time when communities are still being divided and dismissed.
JULIA: We’re living in a moment where conversations around mental health, belonging, and intergenerational disconnect feel incredibly urgent. STILL HERE gives space to those themes while also celebrating resilience and humour. Audiences - both young people and older people - have told us how much they recognise themselves in Rhys and Yasmin, which tells me this is exactly the right moment for their story.
EMMA: I believe there is no perfect time for this show to be performed, as it’s a timeless piece! All generations can relate to the storyline, and the themes are always relevant.
PHILLIP: Because it’s a painfully relevant story, too often, young people from working-class areas are written off as aggressive, unintelligent, or dangerous, instead of being seen as individuals who lack the care and opportunities they deserve. This play asks us to look beyond those stereotypes, which feels urgent in a time when communities are still being divided and dismissed.
How would you describe the style of the show?
JULIA: It’s minimalist, intimate, and immersive in feel. With two actors on stage, the focus is on performance and language, but we’ve crafted a world that shifts fluidly through sound and light, echoing the inner lives of the characters
Can you tell me an interesting fact about the piece?
MARI: When we had a teenaged audience, they laughed in completely different places to the adults.
JULIA: We were in rehearsals for the revival exactly two years after the show premiered.
JULIA: We were in rehearsals for the revival exactly two years after the show premiered.
EMMA: An interesting fact about the piece is that my grandma lived in the valleys too. I used to visit her often and considered her house a sanctuary, just like Yasmin.
What was the first piece of theatre you saw that had a big impact on you?
MARI: I saw an amateur production of Waiting for Godot. It was like abstract art and I was too young. I didn’t set foot in a theatre again for ten years. Now I love abstract art.
JULIA: I was very fortunate to see Steppenwolf Theatre Company’s landmark production of The Grapes of Wrath at the National Theatre in 1989. John Steinbeck’s story brought vividly to life with phenomenal acting in an epic ensemble drama.
EMMA: I don’t have a specific piece of theatre that inspired me but being lucky to grow up watching live performances definitely influenced me to enter the industry.
PHILLIP: Honestly, I couldn’t name the exact production — maybe War Horse or something equally overdone — but what I remember is the impact of theatre itself. The way so many disciplines came together in one space to tell a story. The rawness of seeing actors present, vulnerable, lost and dangerous — that’s what hooked me.
JULIA: I was very fortunate to see Steppenwolf Theatre Company’s landmark production of The Grapes of Wrath at the National Theatre in 1989. John Steinbeck’s story brought vividly to life with phenomenal acting in an epic ensemble drama.
EMMA: I don’t have a specific piece of theatre that inspired me but being lucky to grow up watching live performances definitely influenced me to enter the industry.
PHILLIP: Honestly, I couldn’t name the exact production — maybe War Horse or something equally overdone — but what I remember is the impact of theatre itself. The way so many disciplines came together in one space to tell a story. The rawness of seeing actors present, vulnerable, lost and dangerous — that’s what hooked me.
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| Photo by Tim Stubbs Hughes/Grey Swan |
What keeps you inspired?
MARI: Life. I’m fascinated by the stories of real people, often with difficult decisions to make or a second mountain to climb. That could be anything from a rugby player switching codes to a scientist who walks away from the Manhattan project on ethical grounds.
JULIA: I’m inspired by artists who take risks and by stories that shine a light on the overlooked. I also find huge energy in collaboration — bringing together actors, designers, and writers to discover something none of us could make alone. And audiences: the act of sharing a story live never loses its thrill.
EMMA: One of the things that keeps me inspired in this industry is the never-ending flow of creativity that comes from writers, directors and fellow actors. There’s always a story to tell that can hopefully inspire and unite.
JULIA: I’m inspired by artists who take risks and by stories that shine a light on the overlooked. I also find huge energy in collaboration — bringing together actors, designers, and writers to discover something none of us could make alone. And audiences: the act of sharing a story live never loses its thrill.
EMMA: One of the things that keeps me inspired in this industry is the never-ending flow of creativity that comes from writers, directors and fellow actors. There’s always a story to tell that can hopefully inspire and unite.
PHILLIP: For me, inspiration isn’t something you wait around for — it’s something you create by doing the work. If you’re a writer, you write. If you’re a painter, you paint. If you’re an actor, you get out into the world and observe it. The act itself sparks inspiration. Especially as a working-class artist, you don’t always have the luxury of waiting for the “perfect moment.” The joy is in showing up and doing the work.
What do you hope someone takes away from seeing Still Here?
MARI: If they were entertained, moved and had a laugh, I’d be made up. Job done.
JULIA: I hope audiences leave feeling moved, and also hopeful. The play deals with struggle, but at its core it’s about resilience, humour, and the human capacity to keep going. If someone leaves the theatre feeling seen, or with a deeper sense of empathy for others, then those would be brilliant take aways.
EMMA: If one audience member leaves the performance feeling seen or motivated to achieve something they are passionate about then we have hopefully done our job!
Where can people see the show?
STILL HERE is performing in both London and Liverpool in September.
LONDON
2 – 6 September 2025
Golden Goose Theatre 146 Camberwell New Road, Camberwell, London, SE5 0RR
Book Online: www.goldengoosetheatre.co.uk
TICKETS: £15 (full) | £13 (concessions) Includes booking fee
LIVERPOOL
11 – 12 September 2025
The Hope Street Theatre, 22 Hope Street, Liverpool, L1 9BY.
Book Online: www.hopestreettheatre.com/whats-on/
Box Office: 0344 561 0622 (Monday - Friday, 9am - 5pm)
TICKETS: £15 (full) | £13 (concessions) | Includes booking fee and Bring Your Own Booze fee
LONDON
2 – 6 September 2025
Golden Goose Theatre 146 Camberwell New Road, Camberwell, London, SE5 0RR
Book Online: www.goldengoosetheatre.co.uk
TICKETS: £15 (full) | £13 (concessions) Includes booking fee
LIVERPOOL
11 – 12 September 2025
The Hope Street Theatre, 22 Hope Street, Liverpool, L1 9BY.
Book Online: www.hopestreettheatre.com/whats-on/
Box Office: 0344 561 0622 (Monday - Friday, 9am - 5pm)
TICKETS: £15 (full) | £13 (concessions) | Includes booking fee and Bring Your Own Booze fee
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