White Noise Theatre present an outrageous, dark comedy about the shortfalls of our education system and finding love in darkness – the debut play of award-winning screenwriter and actress, Tiggy Bayley.
A disillusioned and cynical teaching assistant meets her match in a troubled little Irish Traveller. Squidge follows Daisy as she navigates her new job in a South London state school. When she is assigned a young Irish traveller to help with his reading she finds hope in an unlikely friendship. It's a nuanced, funny, and emotionally powerful story about platonic, redemptive love.
We caught up with writer and performer Tiggy Bayley to learn more about the show.
Squidge has received such a warm reception after its run at the Soho Theatre. Can you share the inspiration behind this show?
The show is very much inspired by my work with kids. I’ve been in education for the last five years and the show was inspired by how much we have to learn from children. I’ve drawn on my teaching experiences and lots of different magical kids that have inspired me over the years and given me the strength to carry on through hard times. I do think that helping others is often the best way to help ourselves, that’s what teaching has taught me anyway. Showing up to school every day has given me light and hope in dark times.
The show is very much inspired by my work with kids. I’ve been in education for the last five years and the show was inspired by how much we have to learn from children. I’ve drawn on my teaching experiences and lots of different magical kids that have inspired me over the years and given me the strength to carry on through hard times. I do think that helping others is often the best way to help ourselves, that’s what teaching has taught me anyway. Showing up to school every day has given me light and hope in dark times.
How would you describe the themes present in your work?
I would say my work is funny, honest and dark. It brings you up before it all comes crashing down. Most of the stories I write are about women and I tend to write stories about ordinary people in extraordinary situations.
I would say my work is funny, honest and dark. It brings you up before it all comes crashing down. Most of the stories I write are about women and I tend to write stories about ordinary people in extraordinary situations.
How different tonally is this show compared to your previous work?
I think all my work is about loneliness in some way. My main characters often lack the feeling of being a part of something and of feeling like they matter. Because that’s something I want to write about – that we all, no matter how lonely we feel, matter. All my work has dark undertones with a glimmer of hope. I suppose in that sense Squidge is a continuation of my previous work which also touches on addiction, heartbreak and human connections which pull us through those things.
I think all my work is about loneliness in some way. My main characters often lack the feeling of being a part of something and of feeling like they matter. Because that’s something I want to write about – that we all, no matter how lonely we feel, matter. All my work has dark undertones with a glimmer of hope. I suppose in that sense Squidge is a continuation of my previous work which also touches on addiction, heartbreak and human connections which pull us through those things.
White Noise Theatre, the company you collaborate with, is known for its innovative approach to storytelling. What does it mean to you to work in such a space?
It’s been a joy to work with White Noise Theatre and Selwin Hulme-Teague, my director. I think they are innovative in that their approach is to celebrate actors that create their own work. That’s unusual. Most theatre companies don’t celebrate actors, the celebrate writers. White Noise Theatre backs both sides of me which has, as you can imagine, been a very special experience. Selwin has watched me grow as a performer over the last two years that we’ve been doing Squidge and he has supported me 100% along the way.
Your background is quite impressive. Training at the Jacques Lecoq Theatre School and your Master's degree must have shaped your artistic vision significantly. How have these experiences influenced your writing?
I think it’s hard to pinpoint what has shaped me as an artist. I think Lecoq must’ve taught me a lot about humour through clowning and comic timing. I don’t think Bristol Uni is a particularly inspirational place but I did make my first short films there and I had a good time. I think the biggest influences have been from books and other artists though. TV shows I’ve enjoyed over the years (Sharon Horgan, Mae Martin, Michaela Coel and Daisy May Cooper), books on writing that have inspired me (John Yorke and Cathy Rentzenbrink) and plays that have made me think. Inspiration is everywhere if you’re open to it, I think being an artist is about finding meaning in the everyday.
I think it’s hard to pinpoint what has shaped me as an artist. I think Lecoq must’ve taught me a lot about humour through clowning and comic timing. I don’t think Bristol Uni is a particularly inspirational place but I did make my first short films there and I had a good time. I think the biggest influences have been from books and other artists though. TV shows I’ve enjoyed over the years (Sharon Horgan, Mae Martin, Michaela Coel and Daisy May Cooper), books on writing that have inspired me (John Yorke and Cathy Rentzenbrink) and plays that have made me think. Inspiration is everywhere if you’re open to it, I think being an artist is about finding meaning in the everyday.
You’ve also cultivated an engaging presence on TikTok, sharing your self-written monologues. How do you see social media fitting into your overall artistic expression?
It was great when I was starting out, it felt like a platform and someone where I could showcase my work without any gatekeepers. Making monologues for TikTok helped me find and cultivate my voice. I use it less now because I didn’t make any money from it and I found the algorithm a bit stifling – they want you to repeat the same kind of videos again and again which isn’t very fun as an artist. I want to challenge myself and make different types of content.
It was great when I was starting out, it felt like a platform and someone where I could showcase my work without any gatekeepers. Making monologues for TikTok helped me find and cultivate my voice. I use it less now because I didn’t make any money from it and I found the algorithm a bit stifling – they want you to repeat the same kind of videos again and again which isn’t very fun as an artist. I want to challenge myself and make different types of content.
How do you mentally and physically prepare for a performance?
Good question! It’s very tiring so I make sure I have a packed dinner. I have to do a good 15-20min vocal warm up before each show. Putting on accents to play other characters can really strain my voice if I don’t warm up properly. Mentally – I give each show to one of the characters before the performance. I say to myself, “this one’s for Paddy” or “this one’s for Arthur” because it helps me tell the story rather than worry about who’s in the audience or whether I’m good or bad. Every show is dedicated to telling the story, because it matters.
Good question! It’s very tiring so I make sure I have a packed dinner. I have to do a good 15-20min vocal warm up before each show. Putting on accents to play other characters can really strain my voice if I don’t warm up properly. Mentally – I give each show to one of the characters before the performance. I say to myself, “this one’s for Paddy” or “this one’s for Arthur” because it helps me tell the story rather than worry about who’s in the audience or whether I’m good or bad. Every show is dedicated to telling the story, because it matters.
What was the first piece of theatre you remember having a big impact on you?
I remember the first piece of theatre I saw on my own was Dark Vanilla Jungle at Soho Theatre. That had a huge impact on me because it made me feel so deeply, I remember thinking how powerful that was. Also it was a one woman show. National Youth Theatre also had a huge impact on me growing up and seeing myself as a creative. That was more making theatre than watching it. I loved seeing my friend Shalisha play Juliet when I was a teenager. I remember seeing Noel Coward and Oscar Wilde with my dad when I was little – I’ve always found playwrights that dance with words mesmerising.
I remember the first piece of theatre I saw on my own was Dark Vanilla Jungle at Soho Theatre. That had a huge impact on me because it made me feel so deeply, I remember thinking how powerful that was. Also it was a one woman show. National Youth Theatre also had a huge impact on me growing up and seeing myself as a creative. That was more making theatre than watching it. I loved seeing my friend Shalisha play Juliet when I was a teenager. I remember seeing Noel Coward and Oscar Wilde with my dad when I was little – I’ve always found playwrights that dance with words mesmerising.
What keeps you inspired?
I’m inspired by other artists mainly. Other shows I see, plays I read and films at the cinema. There are so many female actor/writers out there making great stuff, that’s inspiring. I also get a lot of inspiration from people I meet in the every day. I like talking to colleagues and finding out about their lives and the weird things they’re interested in like toy cars. I also read up on crimes that have happened in the past. It takes me ages but I like reading books that are poetic, like James Baldwin and Ocean Vuong to encourage me to play with words more.
What would you hope someone takes away from seeing Squidge?
That life is hard but we can make it better for each other.
That life is hard but we can make it better for each other.
Where can people catch the show and follow your journey beyond?
SQUIDGE by Tiggy Bayley
18 Feb - Wardrobe Theatre
20-21 Feb - Yvonne Arnaud Theatre
24-29 Mar - Riverside Studios
And you can follow me on Instagram @tiguilasunrise and White Noise are @whitenoiseth
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