Writer Francesca Mepham talks about her latest play ‘Squeak’, to have a rehearsed reading at the Drayton Arms Pub Theatre this September
Navigating loss is a facet of life we’re often unprepared for, the experience one confronted differently by everyone. The loss of a partner one that leaves you heartbroken, an incomplete love that leaves a relationship unfinished and with plenty of ‘what ifs?’ Contemplating this reality in her latest play ‘Squeak’, writer Francesca Mepham returns with an update on her 2024 work which premiered at the Lion and Unicorn Pub Theatre as part of a festival of scratch readings. Since then, she’s adapted her ghost story play – about a couple’s day today post grief into a full length play, broadening the world initially established before. Ahead of the reading, to take place on Tuesday 29th September at the Drayton Arms Pub Theatre, Francesca tells us more about exploring the play’s narrative further, what she’s learned from developing the play and what audiences can expect from the reading.
Hi Fran, you’ll be returning with a rehearsed reading of your latest play ‘Squeak’ at the Drayton Arms Pub Theatre on Tuesday 29th September. How are you feeling ahead of the reading?
I am thrilled to be returning to The Drayton Arms Theatre after co-producing the dystopian horror play Debt Meat by Benji Edward there in May and bringing my own play Squeak to the theatre as a rehearsed reading performed by the incredibly gifted team. It is is a preview of the full production that I will be bringing to the theatre in the next few months. I have to say a huge thank you to everyone for the amazing support for Squeak including yourself at Theatre Full Stop!
‘Squeak’ is an exploration of grief through the eyes of Dan, the partner navigating the loss of girlfriend Lianne, and Lianne as well, who herself holds a strong presence within the show. The title ‘Squeak, a play on their pet hamster and the tension that arises from Dan’s priorities shifting more towards looking after it. What inspired you to explore this narrative further?
I feel like seeing both perspectives of grief whether stage or screen is definitely unusual and something I wanted to explore. Lianne is grieving the life she thinks she should be having by means of a ghost and Will is left behind lost and scared in this sense of a ‘what if’ time loop as grief doesn’t have a time frame.
The hamster Squeak is in a way a metaphor for how Will’s priorities have shifted now as well as having an integral part of the plot. All will be revealed. Rather than being the man he once was, he is navigating a new life without Lianne and that has made him full of anger.
I was inspired to explore the narrative further for two reasons, the first being I wanted to show that even though Lianne is dead she is still the same person with shady humour and very straight talking, she is not suddenly a saint and she’s remembered for being her which people loved. The second reason was I really don’t think we talk about death in every day life even though it’s one of the only certainties in life, which is bizarre really. Of course it can be a triggering subject too so I wanted to make sure there was a trigger warning when advertising tickets for Squeak. I believe dark humour is a wonderful way to approach this topic as it is with many others too and one of my favourite genres to write.
The play debuted at the Lion and Unicorn pub theatre 2 years ago now as part of a scratch night there curated by their AD David Brady. The initiative saw your play directed (by Asia Nerva-Culley) and performed (by Sophia Grilli and Will Meadows) by a newly formed group of creatives. How did you find this experience?
I can honestly say I won the jackpot it was literally like winning the Omaze house when I had the cast of Sophia Grilli and Will Meadows as Lianne and Dan as well as Aisa Nerva-Culley our director put together by David Brady for The Side Hustle new writing night at The Lion and Unicorn Theatre, London so another huge thank you as I am eternally grateful.
Sophia, Will and Aisa just seemed to connect instantly with the script, it feels like fate as they really ARE these characters who are telling this tragic story. I am the writer and even I feel like I’m looking in on these characters lives which Aisa our director also said after the read through we had a few days ago which is a good sign!
You’ve been adapting the play ever since, with two new additions to the cast – Carol Morgan who plays Mandy and Philip Gill who plays Roger, organising collaborative Zoom rehearsals to help develop the play further. How have you found this part of the process?
The addition of the two pivotal characters of Lianne’s mum Mandy and Dan’s friend and father figure Roger played by Philip Gill felt such a natural profession to Squeak. They frame the dark humour as Mandy and Roger are emotional support for Dan. I love the dynamic between Roger and Mandy and that due to her very bubbly personality Mandy is a main crutch to Dan who although is seeing external help needs her so much more than he realises. Dan’s all consuming grief is amplified by Mandy and Roger but despite that the chemistry he has with Lianne is still beautiful but very real thanks to Sophia and Will.
From a zoom read-through perspective it affirmed that there are two sets of compelling romantic relationships with these characters with one beginning and another come to a sharp halt and seeing the cast bring this relationship to life on screen was heartbreaking but also exciting as the writer and producer. I really wanted to also explore two people who are not in their twenties or thirties finding a romance unexpectedly with Mandy and Roger and the reality of it being the worst but best time too..As this play demonstrates that life never follows a plan!
I know I keep saying thank you but I believe you can’t show your appreciation enough and to have had Sophia, Will and Aisa part of Squeak for two years and being as passionate and excited as me about it is an absolute wonder, I am so grateful they are on this journey with me! AND to now have Carol and Philip with that same excitement for this story it feels like the Squeak family are complete and they have always been a part of it. The whole team are insanely talented in their fields!
What have you learned/taken away so far from developing the play?
To just let the story write itself and not put a time frame on it as such. I think setting goals is great as a writer but I think putting too much pressure on yourself can restrict you and the story you are writing.
Introducing the characters of Mandy and Roger was definitely one of the best things I did for Squeak, they just wrote themselves as they are so down to earth and the chemistry between both actors is a joy. I followed my gut-feeling and I’m so glad I did!
Being kind to yourself is also being kind to the characters too and letting the story develop organically and that is a piece of advice I would give to any writer out.
What can audiences expect from the play?
I reaffirm what I said earlier that someone does not become an angel who could do no wrong because they have died, we all have moments where we catch what we have just said and are shocked at ourselves. Sophia as Lianne really brings the biting only liners to life with such dark humour and raw honesty.
The reality of death and heartbreak being such a physical as well as mental pain is something I didn’t even realise until I started writing Squeak and all four characters lives have been changed by it in Squeak. This play is a journey that explores what it is to be human even though one character happens to be a ghost!
What would you like for audiences to take away from the play?
That life is a whirlwind of so many emotions every single minute of every day. I would love the audience to be invested in these characters futures well after they leave the theatre. I like a show where every audience member comes up with their own interpretation rather than have it dictated to them, these are characters that are so full of life (excuse the pun) and I defintely believe the audience deserve that.
Questions by Lucy Basaba.
Squeak will receive a rehearsed reading on Tuesday 29th September 2026 at the Drayton Arms Pub Theatre, to find out more about the production, visit here…
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