There’s a long tradition of theatre tackling difficult subjects. But every so often, a production comes along that feels less like performance and more like a conversation.
That’s the aim behind a new musical heading to Swindon Arts Centre this May, as local company Also, There’s Ghosts partners with IPSUM to bring A Nihilist’s Guide: Through Nothing to Everything to the stage.
Running on 15 and 16 May, during Mental Health Awareness Week, the production is an original piece—written and composed by Ryan Aust—that leans into themes many younger people will recognise: anxiety, uncertainty, and the uneasy gap between expectation and reality.
At its centre is Lorien, an aspiring actor attempting to create what he sees as his defining work. What follows is less a straightforward narrative and more a deliberately chaotic blend of musical, comedy and something closer to a breakdown—both creative and personal.
It’s a premise that could easily tip into self-indulgence. Instead, those behind it say the intention is to reflect something more widely felt.
Aust describes the show as an exploration of frustration and disillusionment, but one that ultimately holds onto the idea that hope—however fragile—still has a role to play.
That thread runs through the wider project as well.
The collaboration with IPSUM isn’t simply a gesture. The charity, which provides talking therapies and creative support across Swindon, has been directly involved, offering space and expertise. Cast members have spent time at its studios, even recording part of the show’s music on site.
For IPSUM, the partnership highlights the role creative work can play in supporting mental health—providing not just an outlet, but a way of making difficult conversations more accessible.
For the theatre company, it’s a continuation of a relatively short but active journey. Since launching in 2024, Also, There’s Ghosts has focused on giving young artists a platform to develop new work, building on earlier productions and expanding its network locally.
There’s a certain ambition in staging original material, particularly when it deals with subjects that don’t always sit comfortably. But that’s also where its strength may lie.
Because while theatre can offer escape, it can just as easily hold up a mirror.
And in this case, the hope is that audiences might recognise something of themselves in what they see—and perhaps leave feeling a little less alone than when they arrived.
