Entering it’s last week at Park Theatre, aggy is a bold, one-act exploration of the friction between creativity and identity. Running until 28 March, the production promises an unflinching look at who gets to make art in today’s world.
The story follows Lawrence and Mahlik, a couple of one year who decide to move in together just as Lawrence’s career hits a wall. After a particularly tough rejection, Mahlik makes a risky suggestion: Lawrence should present an “alter ego” to secure more opportunities. As success rolls in, the couple is forced to face uncomfortable truths about privilege, race, and the masks we wear to survive.
We sat down with Jean-Luke Worrell, who plays Mahlik, to discuss stepping into this provocative new world.
Stepping Into Mahlik’s World
For Worrell, whose credits range from the farce of Peter Pan Goes Wrong to the groundbreaking A Strange Loop, the script for aggy hit close to home.
“The play touches upon many conversations I have overheard or been directly involved with in the past,” Jean-Luke explains. “Race, gender, identity, and class are some of the pillars that shape us as individuals in society, so why not discuss them?”
He describes his character, Mahlik, as a “grounded, hardworking corporate type” who is acutely aware of the world around him. “He knows what he needs to do in his daily life to make sure he doesn’t ruffle any feathers… and this is often achieved through code-switching.”
To bring Mahlik to life, Jean-Luke drew from his own roots. “I mainly took inspiration from my own experience as a working-class, born-and-bred Black Londoner. I know people from my demographic who are those grounded corporate types, so I used some of those observations.”
Building Chemistry in an Intimate Space
In a two-person play centered on a domestic move, the chemistry between the leads is everything. Working alongside Matthew Jordan (who plays Lawrence), Jean-Luke credits directors Imogen Frances and Paul Bradshaw (who also wrote the play) for creating a safe, collaborative environment.
“Matthew and I were asked to do many partner-based acting exercises… Imogen also doubled as our intimacy coordinator and gave us all the tools we needed to trust one another.”
This trust was vital for moving from the broad strokes of comedy to the microscopic focus of the Park 90 studio. Jean-Luke admits that shifting from Mischief Theatre’s high-energy style to naturalism was his biggest hurdle. “I had to let go of ‘performing the character’ and really lean into the naturalistic style. Park 90 doesn’t allow for big, larger-than-life characterization.”
Why aggy Matters Now
The play isn’t just about a relationship; it’s an examination of how society “polices” individuals and the destructive nature of hiding one’s true self for the sake of success.
Recent studies in the UK arts sector highlight why stories like aggy remain so relevant. For instance, according to the Creative Industries Policy and Evidence Centre (PEC), people from working-class backgrounds are significantly underrepresented in the arts, making up only about 16% of the creative workforce despite representing a much larger portion of the general population.
When you layer those statistics with the complexities of race and gender, the “risky suggestion” at the heart of the play becomes a poignant commentary on survival.
Jean-Luke hopes the audience leaves with a difficult question: Are you being your authentic self?
“I believe authenticity leads to happiness,” he says. “We only deny ourselves that happiness when we try to be someone or something we’re not.”
Production Details
- Venue: Park 90, Park Theatre
- Run Dates: Now – 28 March
- Themes: Privilege, Gender, Race, and Creativity
- Cast: Jean-Luke Worrell and Matthew Jordan
- Booking: Park Theatre Official Website
