Trapped opens Sunday 16th August at the Etcetera Theatre, exploring the manipulation of sexual grooming through a psychological lens. Learn more about what to expect:
1: The play features eight interconnected characters performed by one actor. How do you make each one feel distinct?
Making eight interconnected characters feel distinct was definitely one of the biggest challenges of the play, but it was also one of the most exciting parts of the process.
I always start with the basics while preparing for any performance. I started by using Stanislavski’s system, looking at each character’s objectives, given circumstances and psychological truth. Once I understood who they were internally, I began building them physically. I used Laban effort actions, psychological gestures and archetypal gestures to give each character a unique physical language.
For example, James is a charming but manipulative American who’s in his late 30’s. I researched about charming manipulators personalities which is mainly associated with narcissistic personality disorder to shape his character. People with this personality disorder use their charm and charisma to exploit others for their needs and don’t have genuine empathy. James’ movements are direct and controlled, with a strong, confident posture. He often keeps his hands in his pockets and uses a penetrating gesture to invade another person’s space, reflecting how he gradually gains control over people. His voice is lower and more measured, and I used an American accent to support his identity.
I also paid a lot of attention to vocal work. I explored pitch, rhythm, pace, resonance and accent for each character so that every voice had its own identity. During rehearsals, the director, Sowmya Maheswaran and I refined the eye lines, timing and transitions because in such a minimalistic production, with just a couple of props and no costume changes, those small details become the storytelling.
Ultimately, my goal was for the audience to stop thinking about the mechanics of one actor playing eight roles and instead become completely invested in the story. If they’re emotionally connected to the characters and the world of the play, then that’s the greatest success for me.
2: You describe the play as fictional but metaphorically inspired by your own experiences. How does this feel to play on stage?
Peter was my classmate at LIPA, and he’s genuinely one of the most talented writers I’ve ever met. Collaborating with him was such an important part of bringing Trapped to life.
I developed the original concept, wrote the detailed plot, and identified the themes I wanted to explore before sharing them with Peter, who then wrote the script. From there, it became a real collaboration. We spent a lot of time discussing the characters, their motivations, the structure of the story, and the emotional journey we wanted the audience to experience.
Peter has a wonderful instinct for storytelling, and he helped transform my vision into a compelling script while always respecting the heart of the idea. I’ll always be grateful for his creativity and support throughout the process.
3: The play explores manipulation and grooming. Why was it important to approach these themes through theatre?
Before writing the plot and concept of Trapped, I honestly didn’t know much about grooming myself. It was after watching films like Lolita and The Reader, and reading the play, Blackbird, that I started researching the subject in depth. The more I learned, the more I realised how manipulation often happens gradually and can be incredibly difficult to recognise.
I wanted to explore these themes through theatre because there’s something powerful about experiencing a story live. You’re in the same room as the performer, so it’s much harder to distance yourself from what’s happening. My hope is that audiences leave not only more aware of the signs of manipulation and grooming, but also feeling encouraged to listen to survivors with empathy rather than judgement. If the play can start conversations and help even one person feel seen or believed, then it’s done something meaningful.
4: You developed the original concept before collaborating with writer Peter Holloway. What was this collaboration like?
It’s definitely an emotional experience because, although Trapped is a fictional story, it’s metaphorically inspired by some of my own experiences and emotions. Writing the plot and performing the play has been a way of exploring feelings that can be difficult to put into words.
Performing it also feels incredibly cathartic. Every time I step on stage, it reminds me how much stronger I’ve become and how far I’ve come. Once the performance begins, though, my focus shifts from myself to the characters and the story. I want audiences to connect with the characters rather than wonder what’s real and what’s not. If people leave the theatre feeling seen, understood, or encouraged to have important conversations, then sharing a part of myself through this play has been completely worth it.
5: A one-person show is a huge undertaking. What has been the biggest challenge in Trapped?
The biggest challenge has definitely been creating eight distinct characters, especially finding a unique voice and accent for each of them. I used Laban Efforts to help shape each character’s physicality, and that naturally influenced their vocal quality as well.
When I first performed a 20-minute version of Trapped as my final MA Acting project at LIPA, the rehearsals were so intense that I actually lost my voice for a week. My throat was constantly aching, even when I tried to speak, and I had to go on complete vocal rest for a few days.
Coming back to develop the full-length version for Camden Fringe, I was worried the same thing might happen. But interestingly, I’m coping much better this time. I think those intense rehearsals during my MA really strengthened my vocal technique and stamina, so now I can perform the different voices and accents much more sustainably. It’s been a reminder of how much I’ve grown as a performer.
6: What has been the most enjoyable part about creating Trapped?
I think every time I take on a new project, especially one that challenges me creatively, I fall in love with acting all over again. Trapped has taught me so much, not only as a performer but also as a creator.
One of the most enjoyable parts of the process has been discovering these characters and seeing how an idea that started in my head slowly transformed into a complete piece of theatre. I loved exploring their stories, their personalities, and finding the different layers within each character.
When I first started this journey, I was honestly scared of taking on something of this scale. Having Sowmya Maheswaran as my director made such a difference because she constantly challenged me, guided me, and helped me trust myself as a performer. Her belief in the project and in me gave me the confidence to keep pushing beyond what I thought I was capable of.
Trapped holds a very special place in my heart. It feels like my baby because it represents such a personal and transformative journey. I don’t know if I’ll ever create a play like this again, one that I have produced, that is metaphorically inspired by my own experiences, and where I perform eight characters, but I will always be grateful to everyone who helped me bring this story to life.
Trapped opens Sunday 16th August at the Etcetera Theatre. Many thanks to Dolly Kanithi for answering our questions. Book your tickets here!
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