Black British-born Ghanaian writer-director-performer Tristan Fynn-Aiduenu has written for theatre giants such as The Royal Court, directed at The Young Vic Theatre and performed at The National Theatre, and is on a quest to stretch the imagination of all who watch. Here, he casts some light on directing this new stage adaptation of Malorie Blackman’s much-loved novel Pig Heart Boy.
Tristan, what drew you to direct the stage adaptation of Pig Heart Boy, and how have you approached bringing this story to life?
What drew me to this project initially was my desire to honour Black, particularly Black British, work over the ages. Also, I had always wanted to explore children’s theatre and Pig Heart Boy just felt like the perfect fit. The novel is an absolute classic; I first read it in primary school and loved it. I also remember watching the BBC series, which was fantastic. Around the same time I rediscovered the book, Justin [Audibert], the Unicorn Artistic Director at the time, was re-reading it and thought it would make a great play. When we got together to discuss ideas for a new stage adaptation, we both realised we were on the same page, we thought it was a match made in heaven. And that’s how it all started!
I’m excited to bring Cameron’s world, and metaphorically his heart, to life on stage and delve into his journey and his emotions as he faces the possibility of a heart transplant that could save his life. But the heart comes from a pig! I want to explore what this means for him, what his mind is going through, what his heart is going through. But he’s very much in control, he’s the one orchestrating and conducting the play. I’m interested to see what makes him laugh, what makes him cry and everything in between. I’m also fascinated by the idea of young audiences connecting with a book written in the 90s, engaging with a piece of history that still resonates today. The story tackles huge themes – transplants, health, life and death – and I’m thrilled that, for some children, this book and play will be their very first encounter with theatre. I’m particularly excited that this journey is led by a young Black boy and his vibrant imagination, making this a truly special introduction to the world of theatre.
What innovative techniques or elements have you incorporated into the production to engage young audiences and make the story more immersive?
To make the production accessible and engaging for young audiences, I started thinking about when I was young and what I would have liked to have seen. But at the same time, I’m also aware that I was nine 21 years ago, and a lot of things have changed since then! So, one of the things that we have done is to connect with young people through the Unicorn Theatre’s Creative Hub and involve them in the research and development for the play in order to understand what resonates with them in the story. What I can tell you now is that the production will be very dynamic and vibrant – there will be music, colours and a sense of controlled chaos that reflects the intensity of Cameron’s experience.
We are not shying away from the darker themes, such as life and death, but we’re handling them with care, ensuring the play is thought-provoking without being overwhelming. The aim is to open up conversations about these big topics in a way that’s appropriate for young audiences. For some young people this will be the first time they have seen or talked about life and death, and I am very aware of that responsibility. I think our entire team is aware of that responsibility and we’re going to play around with how we start that conversation.
I hope this production will be a memorable first interaction with theatre for many children, allowing them to see themselves reflected on stage.
How do you collaborate with the cast and creative team to ensure that the adaptation stays true to the heart of the original story while also bringing fresh perspectives?
We’re committed to staying true to Malorie Blackman’s novel, ensuring Cameron’s character remains authentic and relatable. The story is still the same, but we are exploring new ways to bring his world to life on stage, particularly his interactions with his family and friends. By presenting the story from Cameron’s perspective, we can play with the idea that he may not always be a reliable narrator, which adds complexity to his character. He is a person of truth and integrity but within that there are so many shades that we can explore on stage.
We are working closely with Malorie and Winsome Pinnock, who is adapting the play. Winsome’s writing brings a soulful and nuanced perspective that complements the original story beautifully. This collaboration ensures that while we’re bringing fresh elements to the stage, we’re also respecting the core of the novel.
What has been the most rewarding part of directing Pig Heart Boy, and are there any standout moments in the production that you’re particularly excited for audiences to see?
I want audiences to leave the theatre feeling like they’ve been invited into someone’s personal world. I hope they feel warmth, curiosity and a renewed appreciation for life and the people around them. It’s about encouraging empathy and reminding everyone why it’s important to treasure our time with others and why it’s important to live your life as best you can and as full as you can. I want young people and their families to leave this show and feel like they want to live more than anything.
For me, the most rewarding part has been the opportunity to engage with a story that has resonated with so many people across different generations. Wherever I go, I meet people who have read the book and fallen in love with it. This play allows both those who read the book in their childhood and new audiences to connect with the story in a meaningful way. I’m excited to see how audiences will react to these shared moments and discussions sparked by the play.
How do you hope the stage production of Pig Heart Boy will influence discussions around organ donation, medical ethics and the importance of empathy among schoolchildren and the general public?
I believe this play will open up crucial discussions around organ donation, particularly within the Black community. The story of a Black child facing a heart transplant with a pig’s heart can provoke conversations about medical ethics and trust in healthcare systems. These are important topics that in some cases will be talked about amongst young people and children for the very first time. These are challenging but necessary topics and I hope the play will help dismantle some of the stigmas and encourage a more open dialogue.
My hope is that young people who watch this play will grow up with a more informed and compassionate perspective on these issues. While it’s a lot to ask from a single production, I believe theatre has the power to inspire change and foster understanding. If this play can even begin to spark those conversations and provide tools for the next generations to build a better world for themselves, then we’ve achieved something truly meaningful.
:: Tickets available now at Pig Heart Boy – Family – Theatre – Lighthouse or on 01202 280000.