Currently touring the UK, Make-Good The Post Office Scandal musical looks at the infamous Post Office scandal, inspired by sub-postmasters’ interviews and performed with a community choir in each venue.
In this behind the curtain interview I speak to one of the stars of the show, Charlotte Delima, to find out more about this new musical.
Can you tell us what ‘Make Good’ is about?
Make Good is about four characters who experience the difficulties of the Post Office Scandal first hand. We follow their individual and experiences in common with how the difficulties with horizon unfold and then to court, prison and after. It is about showing just how illogical, heart breaking and life-changing this entire scandal was for the sub-postmasters it affected and how it changed the lives of those involved.
How important do you think it is that the post office scandal is highlighted on stage? And without giving anything away, what can the audience expect to take away?
I think it is a huge privilege to be able to make shows like Make Good. It is not often that you get given the gift of being involved in telling stories of those who have been underrepresented and abused. And it is a gift. Non-fiction stories are a gift to storytellers. They are a huge challenge and a to be able to bring this story to the stage and to show it to people in a way that brings them in, allows them to experience the key stages of the events, and the emotional toil that it
brought to people, well for me that’s really really special.
I think it’s so important to tell these stories and make them accessible to audiences. The world is full of so much heartache that we almost become desensitised to it. Make Good makes what happened very real and present for the audiences, especially when you realise that it is ongoing and there has been real controversy in the compensation/ongoing management of the appeals.
I think the audience can expect to be shocked frankly. I certainly didn’t really understand the full depth and impact of exactly what happened to the sub-postmasters and their families who were affected until we started the show. Even now, I still have to stop and go, my God, this is real. This actually happened to people and absolutely destroyed their lives. It’s not just a story that was on the news, it is real, tangible and had a lasting impact on their lives. We only get one life and imagine if yours was dominated by being in prison, court, not believed,
the shame of being accused, whole communities turning against you. I have no idea how I would personally even begin to deal with that. I want audiences to walk away and go wow the people that were affected are bloody brave and have the strength of KINGS to stand up to the powers that be and still be fighting for justice. So many of them are STILL dealing with the effects. I hope audiences walk away and really question what they know about the Post Office Scandal.
The injustices the sub-postmasters had to go through was so difficult for them all, how does the show deal with this type of subject matter through music?
I think music gives a unique opportunity to express emotions that we can’t put logical thought and words to. I’ve always been told that characters sing cause they have no other way to express themselves and I think with this musical, that’s exactly what happens. The solo song Shame for example, or Darkest Hour or Sent & Received with Love, the characters sing because it is their hearts speaking to the audience. They haven’t got a choice anymore and it’s the way they need to express themselves. For me, singing combines the heart and the
mind and how it wants to express itself, so the songs really lend themselves towards taking the audience on the journey into the characters mind in a way that cannot be expressed with ‘just’ words. I think music adds layers, depth and nuance that we can’t always express with words. It perhaps resonates with the heart more than the mind.
What was your reaction when you first read the script and heard the
score for the first time? And how would you describe them both?
When I read the script for the first time, I was a mixture of ‘oh my god these poor people, what the actual hell?!’ and ‘this is absolutely brilliant, what a great show’. So it was a real mixture of the two at the same time! I was pretty shocked at my own ignorance at the post office scandal after reading the script. It made me go away and go what the hell is this and what happened? So I would love audiences to also have that reaction and go take themselves off to find out more information about the atrocities that postmasters went
through.
Jeanie really writes with such heart. She’s created the most immensely beautiful piece and the attention to detail over the verbatim from court, the experiences of postmasters and the factual events I think really pulls you in. It hammers home that this is a real story. It happened and is still happening.
The magic in her writing comes from being on the journey with the characters from beginning to end. I feel that the script artfully dips in and out of comedy and heightens the heartbreak that occurs. We live with each of the characters – Indira, Mo and Elsie – and live the moments that break them apart and build them up bit by bit. The score, my word, I was over the moon. Jim is the most incredible composer and he is so great at making real ear-worms, I think I’ve had Dead Mail in my head from week one. His lyrics are full of references to culture at the time, the emotions and the moments in the time
that the music captures. Jim made great efforts to take on board our own comments and input into what we feel about the music as the actors performing it. Muna as well, I have the greatest privilege in singing Shame and again, this song was a complete gift to me. To be able to bring to life Shame and figure out its corners, the texture and acting that goes with it, I mean, I go to bed questioning how the heck I landed this job really!
Who do you play and what would you say is the biggest challenge
playing your role?
I play Indira I the show. I think the biggest challenge for me was finding ways to not get sucked into the despair of her story. Indira is a fighter, but she has to find her own way to do that amongst cultural challenges, her marriage, her community, her business all being heavily impacted and destroyed by what happens to her. For me, portraying someone who has to pick themselves up every single day and every single time they experience significant
knocks, that was really hard.
In Make Good, one scene is totally different to the next and you have to authentically drop into the requirements of the next scene, without carrying over what you have just done. We move really quickly through comedy, to love, to despair, to fear etc, so finding those states whilst not generalising and being authentic was quite a challenge, especially amongst all the choreography and music.
The singing has also been a real practical challenge. Make Good is so fast-paced and layered, that we have very complex jobs as the performers! Remembering technique as well as the acting, it sounds silly, but that’s been a real challenge. You don’t want to just rush through anything so finding those moments of authenticity and connection whilst doing a big number, that’s been quite tricky for me. Vocally, a lot of the score is also not in a range I would normally sing and what a bloody gift that has been! I have found I have strengthened
parts of my voice that I haven’t really used before and honed a whole new area of technique as a result.
Could you tell us how you got into the industry?
My journey was a bit of a strange one! I graduate from RADA in 2023, but I didn’t go to drama school until I was 30. I previously worked in consumer product marketing and then as I got closer to my 30s realised that I was pretty unhappy and wanted to make a change.
So I got going and auditioning and got into drama school! That makes it sound like it was a very linear and straightforward journey, I can assure you it wasn’t (haha). Since graduating, I have just been slowly trying to build my audition techniques and get to know everyone! Our industry is so eclectic, diverse and there is so much out there that is ready to take hold of. I’m excited to really get going and keep meeting people.
What is it like being able to originate a role in a brand-new Musical?
And how does it feel doing this on your professional debut?
I am very conscious of sounding like I am gushing and overly ‘lucky’ or grateful in answering this. The truth is though that I do feel all of that (hah!).
In words that mean more to be though, I don’t really think I can fully express enough what a joy and privilege it has been for me to do Make Good. I have said to the team MANY times that I feel like I was given this huge gift for a first job, both in working with them and the show itself.
After our show in Nottingham, it really hit me what I was doing and a part of and whilst we were doing the get out, I was a bloody sobbing mess. Elle (director), Jenn (our lighting designer) and T (our stage manager) had to keep hugging me and kept laughing at me cause I was so overwhelmed with our beautiful show and the response that we got.
I don’t want to sound disingenuous, but it really has been a joy from day one. From Jeanie and Jim and Elle actively welcoming our input into the script, songs and characters, to being able to explore choreography with Neil, to exploring the sound design with Dan and breathing life into Indira, I mean, I genuinely feel like I landed on my feet post drama school and have been catapulted into something that is truly special.
I am going to find it very hard to leave this project behind, that’s for sure! It is one that you take away and it really sits in your heart. Make Good will absolutely be with me the rest of my life.
What would be your biggest piece of advice for someone who wants to be a performer?
As a novice myself, I don’t really know if I can give advice on this! I guess I would say, be authentic towards your wants and needs and gentle but firm in your communication of them.
I have learned so much from the entire team, cast, crew and creatives on how to look after yourself and the room on a really demanding project. Your wants and needs matter and you need to be able to recognise them and cater to them yourself first and foremost so that you can bring your best, engaged self to the room. Certainly NOT always easy or straightforward to do, but so important to do as a professional in any capacity, regardless of what you do for a living. How you communicate these to others as well, that is a real challenge and really
important that you learn to do it in a way that opens communication channels or dialogue with the team.
You’re going to be a part of teams that are totally different to you in communication, attachment and work styles. So its up to you to be open to how different people function in different way to you and to know when you need some space/to meet your wants & needs You’re working in a team at the end of the day. Learning how to be a team player, that’s – to me – I think like 80% of any job.
How have rehearsals been going, what have you learnt from the
process?
My god, I have learned so much from this show. The process from start to finish has really taught me what it is like to be a working professional and to engage with so many different elements of the creative process.
In all the best ways - rehearsals have been challenging and I have really changed as a performer as a result! I will say, I am not one to gush about people but because I have just had the most incredible time and learned so much, I shall do so! I this show, we wear so many hats and I have definitely had a few moments where I’ve gone, oh god, what the heck am I doing!? I am not a dancer, so some of the choreography and wider coordination needs were really challenging for me to get into my head and I definitely needed a bit of time to figure out those elements! Neil has been SO patient and brought the
best humour and care to the process of pulling those movement elements together. He is a real master of his craft and an expert at making the choreography look like we’ve just pulled it out of thin air and not choreographed at all. I have learned so much from Neil and how he explores and plays with concepts so that we can bring it to the choreography.
He really put us through our paces and helped us hone our bodies and abilities to nail the show. Neil and Elle are such a brilliant duo, and they know exactly what a beat or a scene needs before we have started moving around the stage. They really compliment each other in their work and approach to the storytelling and movement of the show.
Elle is the most fantastic director. Genuinely. She is so precise and knows exactly what the scene needs every single time. Elles instinct for acting beats has taught me so much about both following the info on the page and finding ways to lift it from the script. Also she cares SO much about the show and getting the tone right, making sure it is telling the story as authentically as possible. Elle Is the kind of director who absolutely trusts the expertise of the people in the room and believes in letting them do the thing they are best at.
As a result, we’ve had the freedom to all create Make Good and put as much of ourselves into It as we can.
I am so bloody lucky that I got to experience this show with her and be a part of her working room.
Describe the show in one sentence or 3 words.
Powerful. Intense. Important.
Make-Good The Post Office Scandal tours the UK until 1 December.
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