Winner of the 2021 Papatango Prize from over 1,400 entries, Tom Powell’s The Silence and the Noise is a gripping, poignant exploration of teenage neglect, survival, and unexpected connection.
In this searing drama, two natural enemies—Daize, fiercely determined to protect her mum from Ben’s drug-dealing boss, and Ben, navigating a world where he has little more to his name than a pair of killer trainers—start to find something in each other that no adult has ever offered: genuine hope.
We sat down with actor Joe Dolan to discuss what it’s like stepping into the shoes of Ben, uncovering the vulnerability beneath the surface, and bringing this extraordinary story of changing destinies to the stage.
Ben is described as having "killer trainers and not much else," operating under a dangerous drug-dealing boss. How did you get under the skin of Ben’s vulnerability behind his outer toughness?
He prides himself on his killer trainers for sure. I think building what Ben's life looks like outside the story of the play helped to figure out what his vulnerabilities are.
He prides himself on his killer trainers for sure. I think building what Ben's life looks like outside the story of the play helped to figure out what his vulnerabilities are.
Daize and Ben start as natural enemies before forming an unexpected bond. How much are you looking forward to working with Deborah Olat to build that chemistry and sense of shared trust during rehearsals?
I’m really excited to carry on working with Debs. Learning more about each other helps aid the development and understanding of each other's characters.
The play explores neglect, youth safety, and systemic pressures. How do you approach playing a young person navigating such high stakes without losing the play’s moments of hope?
As I move through the process, I’m reminding myself of the reasons Ben fell victim to exploitation. At the heart of it, he’s your average fourteen year old boy who thinks he’s older than he is. So of course some bad decisions are made. But like every fourteen year old, he learns from them, which is hopeful.
As I move through the process, I’m reminding myself of the reasons Ben fell victim to exploitation. At the heart of it, he’s your average fourteen year old boy who thinks he’s older than he is. So of course some bad decisions are made. But like every fourteen year old, he learns from them, which is hopeful.
As this marks your professional stage debut, what has the journey from script to stage felt like for you personally?
The biggest pleasure. I can’t believe this is my job. I can’t wait to share what we’ve developed from the page.’
The biggest pleasure. I can’t believe this is my job. I can’t wait to share what we’ve developed from the page.’
The Silence and the Noise has existed as an audio drama and a filmed version before this stage production. Did you engage with those earlier iterations, or did you prefer to start fresh for the stage?
I didn’t engage with the earlier iterations. I want to give my own take on Ben and I hope my work is as good as my predecessors.
I didn’t engage with the earlier iterations. I want to give my own take on Ben and I hope my work is as good as my predecessors.
How has working directly with writer Tom Powell and director George Turvey help shape your interpretation of Ben’s character?
Of course I had an image of Ben before working with Tom and George. But picking Tom's brain to answer all the contextual questions and hearing George’s angles on scenes has helped colour that image in.
Of course I had an image of Ben before working with Tom and George. But picking Tom's brain to answer all the contextual questions and hearing George’s angles on scenes has helped colour that image in.
The play involves intense emotional turns and physical threat. How do you manage your physical and mental energy night after night?
I’m eating plenty of bananas. And a kiwi before bed helps with sleep apparently. So I’ll be seeing if that helps.
I’m eating plenty of bananas. And a kiwi before bed helps with sleep apparently. So I’ll be seeing if that helps.
Given the title The Silence and the Noise, how do moments of quiet or unsaid tension function in your scenes on stage?
There’s a lot that’s said in those moments of quiet. It’s a constant conversation. Even if nothing's being voiced.
There’s a lot that’s said in those moments of quiet. It’s a constant conversation. Even if nothing's being voiced.
Audio and film rely heavily on close-ups or vocal nuance. What unique elements do you feel performing live on stage adds to Ben and Daize’s story?
These kids are both living lives where they don’t often have time to think or get another chance. They have to make decisions based on what’s in front of them. That's pretty reflective of live theatre.
These kids are both living lives where they don’t often have time to think or get another chance. They have to make decisions based on what’s in front of them. That's pretty reflective of live theatre.
Papatango and Pentabus are renowned for championing new writing and regional storytelling. What does it mean to you to launch your career with a production backed by these companies?
It’s an honour. I love the work produced by these companies. And new writing is always exciting to be a part of when performing. Especially when I’m new to the industry.
It’s an honour. I love the work produced by these companies. And new writing is always exciting to be a part of when performing. Especially when I’m new to the industry.
What was the first piece of theatre that inspired you to want to act?
Lazy Town Live at the Royal Derngate when I was maybe five or six years old.
Lazy Town Live at the Royal Derngate when I was maybe five or six years old.
What do you hope younger audiences—or adults who work with young people—take away after seeing Ben and Daize’s journey?
Ben and Daize are two young people who are both loving tragic lives, inflicted by the adults around them. And these are really real situations, experienced by so many. But there’s hope. It’s not just our own children and friends we need to look out for, it’s everyone.
Ben and Daize are two young people who are both loving tragic lives, inflicted by the adults around them. And these are really real situations, experienced by so many. But there’s hope. It’s not just our own children and friends we need to look out for, it’s everyone.
The Silence and the Noise runs at Bristol Old Vic from 10th to 14th November, Minerva Theatre in Chichester from 17th to 21st November, before transferring to The Park Theatre in London from 25th November until 12th December 2026.
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