Imagine If


Jadek_A4-1 2

“If theatres are serious about reaching out to new audiences, Jadek is the kind of work we need more of”

— Yorkshire Post

Jadek is loosely based on my relationship with my Grandad, who is my absolute superhero,” says writer Francesca. “Living with him changed the way I saw the arts and ultimately, how I saw the world. When a child grows up in a family of violence, they experience the same brain patterns as a soldier at war. Me and my Grandad both grew up as soldiers. He taught me how to stand up for what I believe in. Jadek is for the broken ones, those who’ve fought wars, the blind, the Polish, the working class, the ones suffering in silence. This is for every single one of you. And as always, this is for my old man, my Grandad, my Jadek.”


Jadek – which is written phonetically and is Polish for ‘Grandfather’ – is a semi-autobiographical story of its writer, Francesca Joy, who in her 20s moved in with her blind, 94-year-old Polish Grandad. The play explores how this unexpected turn of events affected both their lives.


Grandad found a home in Yorkshire in 1945 after spending six years fighting and surviving World War 2. He likes a whisky and hates the ventilation in his front room. Every morning he opens his eyes and a sorrowful “bloody hell” escapes his lips as he realises he’s still blind.

Tasha found a home at her Grandad’s house after spending what felt like most of her life at war. She is trying to sell her children’s storybook to London publishers, has moved house over 30 times and drinks way too much beer.

Jadek is based on the true story of when a working-class woman from Yorkshire moved in with her blind, Polish, 94-year-old Grandad.

Jadek explores how this unexpected turn of events affected both of their lives in the most hilarious, heart breaking and life affirming way.



Jadek explores culture and identity whilst questioning, how do you stop being a soldier?


Click here to download the Jadek Theatre Pack

Click here to download the Jadek Prison Pack

We are very pleased to announce our new play Jadek which will be touring in the Autumn of 2019 at the following venues:


“‘Jadek’ is a clever and compassionate play with bite. You are immediately thrown into a world where words are slung like grenades that tick with your pulse until they eventually go off and break your heart. You feel like you are sat with Grandad and Tasha, almost too intimate to bare, this play pulls you in before you can say no.” Jackie Hagan, Playwright and Activist

“Francesca Joy brings real life to the stage, showing the power of the bond between generations and across cultures to remind us of how much we need each other” – Aga Szczepanska, Audience Engagement Practitioner 

“Without words she expresses her pain, anguish and shame […] this was such a raw and realistic portrayal of two people from different generations struggling in their own ways and finding ways to help each other through.” – Hazel Mallichamp, South Leeds Life

Creative Team

We are delighted to announce the Creative Team for the Autumn 2019 tour of Jadek:

Chesca Joy – Tasha/Writer/Producer
Kelly Munro-Fawcett – Co-Producer
Calum Clark – Production Manager/Stage Manager
Mark Catley –  Dramaturg
Jackie Hagan – Writing Mentor
Deborah Dickinson – Advisor
Elle Money – Assistant Producer
Lee Affen – Sound Designer
Calum Clark – Lighting Designer
Irene Jade – Set Designer
Errol White & Davina Givan – Movement Directors
Vicky Ackroyd – Access Consultant/Audio Describer
Maria Thelwell – Access Consultant
Aga Szczepanska – Audience Engagement Officer
Tamsin Cook – Community Director (Prisons)
Kate Horsfield – Administrator
Faye Dawson – PR Consultant
Brett Chapman – Videographer
Piotr Baumann – Grandad
Lucy Rafton – Understudy (Tasha)


“This is a beautiful story that starts small and ends up universal. The dialogue between Grandfather and Granddaughter is so entertaining you’ll want to move in too. The revelations are breath-taking.” Mark Catley, Dramaturg


Our work appeals to socially engaged audiences and its frank, contemporary and unapologetic approach to the issues it explores has proven successful with both younger and older audiences. We have a comprehensive marketing and audience development plan in place to support out work when it tours. 30% of our audiences for You Forgot the Mince were first-time theatre goers and 34% were from low-income backgrounds. Following on from this hugely successful national prison tour, Jadek will also tour prisons across the UK.


Jadek bada kulturę i tożsamość, zadając pytania, jak przestać być żołnierzem?



Dziadek znalazł dom w Yorkshire w 1945 r. Po sześciu latach walki i przeżycia II Wojny Światowej. Lubi whisky i nie znosi wentylacji w swoim pokoju. Każdego ranka otwiera oczy i bolesne „krwawe piekło” ucieka mu z ust, gdy zdaje sobie sprawę, że wciąż jest ślepy.

Tasha pije zdecydowanie za dużo piwa i przeprowadziła się zaledwie 28 razy. Jako współczesna performerka Tasha czuje się represjonowana przez otaczający ją świat i wkurza wszystkich mężczyzn. Tasha znalazła swoje miejsce w domu dziadka po życiu, które jak sądziła było niekończącą się wojną.

Jadek oparty jest na prawdziwej historii, kobieta z Yorkshire, z klasy robotniczej przeprowadza się ze swoim 94-letnim niewidomym,polskim dziadkiem. Jadek bada, w jaki sposób ten nieoczekiwany zwrot wydarzeń wpłynął na ich życie w najbardziej przezabawny, łamiący serca i afirmujący życie sposób.


Research & Development Stage – 2018-2019


During 2018 Chesca spent time with Polish Communities, war veterans and blind & visually impaired organisations to further inform her research for Jadek. Some of the organisations that helped and supported Chesca’s research include: The Royal British Legion, The Royal National Institute for the Blind, Specsavers, Polish Catholic Church Leeds and many more. In early 2019, Chesca continued to develop Jadek in the theatre with a full creative team, blind actor and blind access consultant.


“Imagine If are approaching this very exciting project with the right attitude. As a blind theatre-goer and maker it is encouraging to see them engaging with blind artists, cast members and audiences and I was encouraged by the types of questions and subjects that were being raised in the rehearsal room.” Ben Wilson, Agent for Change, Sheffield Theatres



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