Rowan For Now Brings ‘That’s Just The Way It’s (un)Done’ to The Hope Theatre
From childhood Disney Princess dreams and 90s nostalgia to crisp sandwich demonstrations and snake orgies, That’s Just The Way It’s (un)Done blends memory, dreaming, and YouTube rabbit holes into a deeply cathartic solo performance. Created and performed by Rowan For Now, the show traces a messy, beautiful journey from heteronormative expectations to queer liberation and self-discovery. Ahead of the run at The Hope Theatre as part of their North Sapph Festival, Rowan sat down to discuss transforming personal grief into universal connection, the revolutionary power of belonging, and why this piece is ultimately a love letter to every past self we’ve left behind.
If you had to describe the vibe of your show in just one sentence, what would it be and how does it manifest on stage?
I would say the vibe of my show would be a surreal blend where memory, dreaming, and falling into a YouTube rabbit hole meet. At first, you’re sent back to childhood nostalgia, which is bittersweet, with 90’s adverts, Disney Princesses and the dreams of happily ever after. Then suddenly you’re sucked into hard, painful truths as paradigms begin to shift. Next come the fun facts about snakes having orgies, internal thoughts disguised as a karaoke musical medley, all topped off with a demonstration on how to make the perfect crisp sandwich!
Why is 2026 the perfect time for this show to be seen?
Because 2026 is now, and all we have is now, and this moment. In every moment in time, in every now, someone is re-making themselves, questioning their identity, making huge brave changes in life, discovering delicious queerness, fucking up the systems, rebelling the ‘norm’, and this show explores all of that. So, in whatever now we’re in, it is a perfect time to see this show.
Is this version how you originally envisioned it or has it changed drastically since you first put pen to paper?
The very beginnings of this show started as a cabaret piece called, The Ghost of Heteronormativity, which I created during my MA in Queer Performance at Rose Bruford College. I knew for a long time that I wanted to create something autobiographical, exploring my journey from the ‘happily ever after’ normative dream, to a life of queerness, questioning and curiosity. The cabaret piece, which still exists, was a very short form performance, where I express the sensations of the themes with a more visual extreme. When I then extended it into a long form show, there was space for nuance and complexity. I don’t think I ever had a specific vision for how the show would be, and honestly, I still don’t. It morphs and changes, as I morph and change, and as it interacts with an audience. Although, I must say, I think if you’d have told the me who dreamt of creating a show about my queer experience back in 2022, that for 90% of it I would be dressed head to toe in nude tights… I’d have thought you were mad!
How challenging has this role been for you?
Firstly, luckily, I quite like a challenge! But I think the challenges came during the making of the piece. Through exploring autobiographical themes of grief and love and loss, there were times that I was able to process things in my past that hadn’t been felt. Art can be incredible in that way, unlocking deep emotions. It’s been extremely cathartic making this show, and I think in going through those challenges and being able to be vulnerable but strong in my creative practice, it allows the audience to connect with these universal themes and go on their own journey.
How important is audience interaction to you?
Very important. And I don’t just mean interaction in a literal sense, yes I like to get out into the audience and have moments of connection in that way, but also, it’s the interaction of a perfectly timed facial expression or lip sync that gets a laugh, or the synchronicity with a nostalgic reference shown by a knowing mutter, or the thickness in the air from a focused silence. This show is about queerness, and not just in terms of sexuality and gender, but about a way of life. For me, queerness is a rebellion against any rigidity that is not consensually wished for, it’s about smashing out of the boxes we are placed in and embracing difference, and in that difference, we find connection, and in that connection, we find belonging. Audience interaction is important to me because it gives space for that belonging.
If you had to describe your show as a meal what would it be?
Ooo great question. Well, I want to say a crisp sandwich, but you’ll have to come to the show to get that reference! But also, I would say it’s an overflowing buffet plate filled with starters, mains and dessert, you’re not sure if what you want will still be there after everyone’s gone up, so you take everything at once. It’s messy, it’s delicious, you feel a little sick and question your choices, but my god you’re happy, stuffed and satisfied!
If your show was a love letter who would it be for?
This show is a love letter to all my past and present loves; without them it wouldn’t exist. It’s a love letter to my dad, and all the things I never said. It’s a love letter to anyone questioning their lives and feeling trapped in their skin. It’s a love letter to snakes. Mostly, this show is a love letter to my past selves and the parallel universe me’s. I try not to live with regret, my beautiful, messy past is how I am, who I am today. All the skins I have had to shed, as I grow and expand into more of myself, are hanging proudly on the washing line of life. This show is a love letter to queerness, and hope, and love.
Our thanks to Rowan For Now for their time chatting. That’s Just The Way It’s (un)done will play at The Hope Theatre on Friday 21 and Saturday 22 August.
