LegalAliens’ theatre work builds community and confidence

Can you tell us when LegalAliens got started, and how?

LegalAliens started around 2012 as a group of international theatre-makers in the UK, frustrated with the lack of opportunities for migrant artists in British theatre, both in terms of representation on stage and access to professional pathways. We wanted to create a space where multilingual and migrant theatre-makers could tell stories that mattered to them and find new ways of making theatre that reflected their diverse experiences. Initially, we focused on translating and adapting European plays that hadn’t been staged in the UK, but over time, our work evolved toward more socio-political theatre, with a strong visual and physical element to challenge the British obsession with pure “text”. Theatre isn’t a radio play. We felt the need to have a real and palpable community impact.

Were there any particular moments or events which spurred you toward setting up the organisation?

As an Italian performer in London, I was constantly asked to "sound more English" or play caricatures of foreigners. There was a real lack of opportunities for artists like me to be true to ourselves. The theatre industry didn’t reflect the reality of Britain as a multilingual, multicultural society. I met other migrant theatre makers, many from the Global South, and they had a double-level of prejudice thrown at them, as foreigners and as non-white people, and I met LGBTQ+ migrants, who experienced homophobia as well as xenophobia.

I realised that the migrant identity sits at the intersection of so many others and that if we all embrace it, instead of trying to disappear into the background hoping those in the mainstream will throw some crumbs our way, we can build true solidarity across many demographics and become a real force within the arts.

At the same time, the political climate was shifting in the UK, anti-immigration rhetoric was growing, and migrants and refugees were constantly dehumanised in the media. The 2015 Syrian crisis followed by Brexit brought everything into sharper focus. We realised that theatre could be a space where migrants and refugees weren’t just portrayed as victims but could actively shape their own narratives.

You are focused on working with migrants and refugees - how have you typically built your networks within these communities? Are there barriers you’ve had to overcome in terms of raising awareness of your work in those communities?

I am a migrant. We hang out with each other! Jokes aside, I think it’s important for artists not to isolate themselves and really be part of the places they live in. Building trust has been key. We don’t just parachute into communities, we build long-term relationships. I am in Haringey, North London where a large portion of the population is non-UK born. If you know your community and are part of local organisations, whether they are volunteer groups, community centres, gyms, churches or cafes, you meet people.

So, I just spoke to the people I knew, for instance at Haringey Welcome, an organisation I volunteered for. They introduced me to The Engine Room, an incredible community centre in Tottenham Hale. That’s how our Tottenham Project started, it’s a weekly space for refugees and migrants to learn theatre skills, meet, grow, and find a family…

One of the biggest barriers is that many migrants and refugees assume theatre isn’t for them. It’s seen as elitist, expensive, or irrelevant to their lives. We work hard to break down these misconceptions by making our workshops welcoming, informal, and multilingual. Another challenge is practical: asylum seekers often can’t afford travel costs, which is why we cover expenses and offer food.

Of course things don’t happen magically. You need consistency and so much hard work. We had three or four people in the group at first, but as we kept going, those who liked it invited other people. GPs and social workers began to hear of our work and started referring people to us. We now have so many people registered that sometimes we need a waiting list. Some participants who have been involved the longest have now joined our team of facilitators. People come to us from all over London, and we have started collaborations across England.

We are successful because we are real. We don’t run this project to tick boxes. Participants trust us. The community trusts us. And even our industry is beginning to take notice - though we’re still outsiders.

What is it about theatre as a medium that lends itself to amplifying the voices of migrants and bringing people together?

Theatre is embodied storytelling, it allows people to express themselves beyond words, which is crucial when working with those who may not yet feel confident in English. It’s also deeply collaborative. It creates a sense of community and shared purpose, especially for those who have experienced isolation due to displacement. Unlike journalism or policy discussions, theatre invites empathy, it makes audiences feel rather than just understand. It also teaches you not to hide, to take space for yourself. Migrants and refugees are often scared to speak up or to attract too much attention. They want to blend in. On stage they can really use their voices.

Can you talk us through a typical LegalAliens production? How is a cast created, and how / when do those you work with feed into its script, production and so on? How involved and how open is this process?

We have professional productions where all the artists, though migrants or refugees, are fully professional. We cast those productions via our network of partner organisations like Migrants in Theatre; we also have a pool of actors, designers and creatives we love to keep working with.

For our community shows - which tend to be a huge enterprise with 20 people on stage - there is no selection process. Everyone who regularly comes to our sessions is welcome to join. We usually create a script with participants over the course of several months, collecting scenes and improvs they might have done before, materials they resonate with like poems or songs, pieces of personal writing and a lot of movement. Usually I then go away for a week and use my experience in dramaturgy to weave everything together into a (mostly) coherent piece. I present it to the group, they give feedback, and we change it until a show appears.

What sort of positive impacts do you see in those you work with?

The impact is huge, and it goes far beyond the theatre space. Many participants arrive at our workshops lacking confidence and feeling isolated. Over time, we see them open up, build friendships, and develop a strong sense of belonging.

Practically speaking, they gain communication skills, both in English and in expressing themselves physically and emotionally. Many improve their public speaking, presentation, and writing skills. Some have gone on to careers in theatre, while others have used their newfound confidence in job interviews, activism, or community leadership.

Mental health is another key area of benefit. Many of our participants have experienced trauma and theatre provides an outlet, a way to process experiences in a safe, creative space. One of our most inspiring stories is that of a participant who arrived as an asylum seeker, barely spoke in class, but is now a fully competent facilitator leading sessions for others. Theatre is often dismissed as a luxury, but for many of our participants, it’s a lifeline.

At present you are - as I understand it - based and working primarily in north London. Are there hopes or plans for expansion? What would LegalAliens’ ideal future look like to you?

We love where we are but actually people come to us from all over London and also outside. We have performed in many places, we took our community show, Tugging at The Sea, to Bedford last year and we might tour it to other locations in the UK in 2026. I took the monologue I wrote and devised during lockdown - Shapeshifting - to Bristol, Sheffield and Prague. And we are actually working on our first larger-scale international coproduction, The Flowers of Srebrenica, which will open in Sarajevo this July. We will then perform it in London in October, followed by Oslo, Pisa and Prague. It is an exciting opportunity and one we are currently fundraising for in order to be able to add more dates.

Check out more of Legal Aliens Theatre's work here.