Sam Daltry and Joe Facer’s A Carry on in Krakow
In their upcoming play A Carry on in Krakow, director Sam Daltry and writer-actor Joe Facer delve into male mental health, working-class brotherhood, and chivalry in the modern world. Blending sharp humour with emotional depth, the show reimagines Arthurian legend in the unexpected setting of a British stag do in Krakow.
Ahead of its run at The Bridge House Theatre, Sam and Joe discuss their creative process, the importance of male friendships, and the unique challenges of bringing this story to life.
Welcome to ET, I’ll let you introduce yourselves.
Sam: Hi, my name is Sam Daltry and I am the director for A Carry on in Krakow.
Joe: Ey up, I’m Joe Facer, the writer of the piece, and I am also playing the role of Greg.
What can audiences expect from the show?
Sam: They can expect a story of two young lads navigating some difficult and important topics, interwoven with absurd humour, dramatic twists, and Kate Bush.
What was the inspiration behind it?
Joe: As an avid lover of Arthurian legend, it’s been rare for me to see an adaptation of these myths that’s both authentic yet original. The closest I’ve known was Merlin, which inspired me to become an actor and writer at a young age. Since then, nothing has caught my attention, and slowly but surely, these myths are being forgotten in modern-day storytelling. There are so many incredible stories within this mythos, so I wanted to experiment and place the most famous storyline—the romance between Lancelot and Guinevere—in the modern age with a twist.
Imagine a boozy British stag do in the streets of Krakow, and the knights of the round table as a seven-a-side football team. How would they deal with ultimate betrayal in the modern world instead of duelling to the death? What is chivalry in the 21st century? These questions excited me and drove the idea forward.
Where are we going to find the show then?
Sam: The Bridge House Theatre. The piece requires a level of closeness with the audience, which this venue provides perfectly.
How long have you been working on the script?
Joe: The play was initially written at the start of this year, and we had a two-night run at The Golden Goose Theatre in May.
Is the version coming to The Bridge House Theatre how you originally envisioned it, or has it changed since you first put pen to paper?
Joe: This version has changed a lot compared to my original brainchild. Not so much with the dialogue, themes, or story beats, but there are some surprises that we’ve devised in rehearsals.
What is it about your character that you most enjoy?
Joe: Where do I start with Greg? He’s quite the character. On the surface, he’s your typical lads’ lad (albeit dressed as Kate Bush), but beneath that rough exterior, there’s a man who cares deeply for those in his life and is really in touch with his emotions. This has been really rewarding as an actor.
How challenging has the role been for you?
Joe: It’s been a bit of a challenge playing a character I’ve written, but not something new to me. I had a preconceived idea of who Greg was before rehearsals. However, working with Sam and Mike has allowed me to explore new aspects of the character, breaking through any ‘block’ I had.
What do you hope audiences think about your character?
Joe: For me, it’s all about breaking down people’s initial judgements. The play starts in a way that will likely have the audience form a certain view of Greg, but I want that to crash down as the narrative unfolds.
What was it that attracted you to this project originally?
Sam: I hadn’t come across a play that addressed male mental health and working-class brotherhood in a way that transcends friendships I have and those I see in my family.
What is your favourite element of the show?
Sam: It speaks to my working-class background in a way that highlights both what I love about these friendships and the toxic flaws we have as men. The play doesn’t shy away from challenging jokes or topics; it has genuine integrity and is relatable to many men.
What has been the biggest challenge in realising the writer’s vision for the show?
Sam: Joe has been incredibly generous with his writing, allowing us to collaborate in order to find the vision. The biggest challenge has been navigating the humour – both characters communicate through it, even in serious moments. Understanding the hidden meanings behind the jokes has been key.
How important is audience interaction to you?
Sam: Audience engagement is paramount. Our piece doesn’t involve physical interaction, but having an audience that’s moved or provoked by the story impacts the life of the play.
What do you hope the audience thinks after watching the show?
Sam: I hope they think about how we need to learn how our friends communicate, whether through sarcasm, humour, or music. It’s our responsibility as friends to engage and support them.
Who do you imagine enjoying the show the most?
Sam: I think the play could be eye-opening for a lot of people. Not everyone will relate to the characters, but most will know someone like them. It’s funny, dramatic, a bit camp – what’s not to love?
Are there any plans for what comes next after the show has finished its run—for you or the show?
Sam: We’re hoping to take A Carry on in Krakow on a UK tour. It’ll be interesting to see how the reception differs in Sheffield, Nottingham, or Leeds compared to London. Personally, I’ll be directing another play called The Good Person by Hugo Timberell in the new year.
What are the most important lessons you’ve learned from preparing for and participating in this show?
Sam: Creating theatre shouldn’t be serious. Yes, we address serious topics, but we can still have fun. Much like the characters in A Carry on in Krakow, we can hold genuine meaning while prancing around like Kate Bush!
Thanks to Sam and Joe for chatting with us.
A Carry on in Krakow will being playing at The Bridge House Theatre between the 12th and 23rd of November. Further information and tickets are available here.
