Production Politics

What cultural backgrounds are represented in your teams? What connections do those cultures have to oral storytelling traditions?
To what extent do the members of your team have experience with political instability? With unrest? With violence?
If you do not have a Ugandan on your team, how do you intend on respectfully representing the traditional elements of Ugandan culture present in the piece? How and from whom are you going to learn about those practices?
What traditions have your team been trained in? What effect does that training have on how you're approaching the piece? Are there styles of training missing?

What connection does your performer have to the stories and culture depicted in the piece
To what degree does race, ethnicity and gender come into play in this story - does it change the intent of the story to have a performer with different identities than those of the playwright and original performer? In what ways?
George Seremba is known for his deep voice, which some reviewers (King) noted for it's booming and grounding presence. What effect does the tonality of the performer's voice have on the effect of the performance?
Do all of the characters need to be played by the same actor? What changes about the way the play is perceived if it's being presented by multiple actors, rather than just one?
What effect does the age of the performers have on the story? Would the piece be more effective if performed by a young person? An older person?

This story revolves around very real events that had significant and devastating impacts on the lives of many people. How do we entice audience members to come and see the play without disrespecting the severity of the events it depicts?
What cultural practices exist in Ugandan culture that may impact or change our marketing choices?
What audience are we hoping to attract with this production? What audiences are we hoping not to attract? Is is responsible to limit audiences based on age, or would that be irresponsible censorship?
Who in our community would benefit most from this story?
This play is based on true events. How do we use this unique circumstance to market our production without sensationalizing or trivializing the experiences of the playwright?

What connections does our community have to experiences of political unrest, dictatorial regimes and government imposed violence? How can we be sensitive to these traumas in the way we ask our audiences to engage with the material?
How do our circumstances of being settlers on colonized land affect the ways in which we tell this story? How can we decolonize our engagement practices?
How do we assist our audience in finding points of connection to help them better empathize with experiences and traumas they may not have direct experience with?
How do we evoke the sense of immediacy present in the premiere production being performed so soon after the events of the story, when we are approaching the piece decades after it's creation? Ought we try?