Award-winning writer/director Kat Woods returns to the Edinburgh Fringe with Killymuck. Here she talks about breaking working-class stereotypes – and why you should always perform like it’s press night.
What inspired you to write Killymuck?
Killymuck is a piece of theatre inspired by my own council estate, benefit upbringing. I have become increasingly frustrated with the elitism that exists within the realm of theatre and the constant portrayal of the benefit class stereotype which is perpetuated in the media. This constant negative ideology that becomes almost biblical rhetoric needs to be rewritten.
Why is it important this story is told?
If we don’t start to tell stories from all classes and all minorities then we are not representing society as a whole. How do we open up the doors of the theatre to the underclasses or the working classes if they are not reflected in the narratives that are being told?
You won an award for a previous fringe piece, Belfast Boy. Does that make it easier or harder coming back?
I’ve actually had two pieces on since Belfast Boy – Wasted and Mule. I found it incredibly difficult coming back after having a success. My follow-up play was Wasted, a piece about consent. That was in 2015 and I think we may have been a year or two too early with it. It has had more success now and is returning to America this year.
I wasn’t really mentally prepared for how tough I would find it. The scrutiny can be so overwhelming and it’s very easy to slip mentally when reading reviews and comments on the piece of work that you have worked so hard on.
