In a searingly honest interview, playwright Kat Woods tells us about the annoyance and irritation that led to writing Killymuck, why it’s important to recognise the difference between the working class and benefits class, and why the team at The Bunker are a breath of fresh air. Have a read, then book your tickets!
Staged by W14 Productions, Killymuck, a tale of life on an Irish housing estate, runs in a double bill with Box Clever, which follows the story of a mother let down by the system. The pair of plays run at The Bunker from 26 March to 13 April 2019.
Caitriona Shoobridge
The two shows have a lot in common. Both are one-woman tales. Both are written by women. And both have female directors; Caitriona Shoobridge directs Killymuck, while Stef O’Driscoll directs Box Clever. Both plays explore the political cause and effect of what it means to be born and grow up with less.
Inspired by real events, Killymuck follows the story of Niamh, a kid from the benefits system who has grown up in a housing estate that was built on a pauper’s graveyard. As she struggles to escape the underclass stereotype, educational barriers, impoverishment, depression and lack of opportunities conspire against her.
Aoife Lennon stars as Niamh. She previously played the role when Wood’s play ran at the Edinburgh Fringe last year. It was described as “Charming, angry, affecting and relevant,” by The Skinny. Lennon also appeared in Woods’ previous play Mule, as well as XX at Theatre503 and Autumn Fire and Finborough Theatre. Woods’ other plays include Belfast Boy, Wasted and Dirty Flirty Thirty.
Killymuck and Box Clever run at The Bunker as part of a season that also includes the Fringe First-winning Funeral Flowers, about a 17-year-old who dreams of being a florist, and Fuck You Pay Me, which brings together comedy, poetry and live music in a feminist love letter to strippers. They also sit alongside a number of exciting productions putting working- and benefits-class stories centre stage in London this spring, including Killing Nana (Hen & Chickens Theatre 9-13 April) and Starved (30 April-11 May).
Kat Woods interview
What inspired you to write Killymuck?
Kat Woods
Inspiration for Killymuck was born out of many frustrations. Frustration at the Conservative government and their constant need to punish the poor and impose austerity. Frustration at the arts industry being dominated by individuals who are middle class. Frustration with industry cronyism. Frustration at the industry and this fallacy of meritocracy that seems to exist.
This industry ideology of working hard and reaping the benefits that will inevitable trickle into career trajectory, isolates and ignores minority groups. It places each individual, regardless of class, race, ethnicity, sex, disability (This is not an exhaustive list) on equal footing in order to achieve. Oppression through impoverishment is something that affects everything from monetary issues – not having bank of Mum or Dad and access to additional resources – to confidence in practice, access to space and feeling included in these arts spaces. Frustration of class appropriation within theatre and performance. Frustration at the way the media represent the benefits class. The media constructed stereotype on constant display. Frustration that the representation for groups who do not fall into the working class narrative are actually completely ignored in arts conversations that pertain to be inclusive. We are constantly silenced and in essence become a minority within a minority. The Russian doll class effect. I am not from a working class background. I am from the underclass or the precariat (in accordance with the great British class survey). We are the lowest rung in the class survey and deserve a voice and representation by our own communities.
The piece is inspired by real events – how much is truth and how much theatrical invention?
It is inspired by real events. For theatre world some of this has been elaborated, embellished or moments in the autobiographical history of the production have been smashed together because it is a piece of drama and not an entire hour snapshot into life.
Why do you think it’s important to draw a distinction between working class and benefits class?
Because they are not the same. The wording itself is exclusionary. The verb ‘to work’ is not inclusive of the countless families who have solely grown up on benefits with no one working… ever. Growing up I would have given anything to have had a working parent. To even say the words “My mum works at” etc. The shame, poverty, how you are treated by the upper classes, how the w/c community treat you, how the media portrays the benefit claimant, how benefit claimants are portrayed in TV, Film and theatre are not the same. Why do we treat a minority within a minority as the same minority? We do not have an outlet. Where is our call to representation. No one seems to be making these distinctions and they are very different. We are the often silenced and the greatest taboo.
Are enough benefits class stories being told?
No. True representations are not explored. We either have plays that glorify the worlds and display grotesque caricature stereotypical imagery or some other form of story that only a world of poverty and violence can lead too. The story arc is often a manifestation of hopelessness and a want to perpetuate the cycle of the stereotypical worlds that the benefit claimant inhabit. All to often ending in rape or abuse informed as a character choice through the trajectory of the poverty they inhabit. This is all they can achieve. The rut of abuse begetting abuse, failure and an adult life of doom. This is not representative of the community that I inhabited.
Why is it important to tell this story on the stage in particular?
Because representation matters. Especially in the world of theatre that is inherently middle class and so often out of touch with how poverty, adversity and oppression work, especially in light of the meritocracy debate. It matters to explain why we need to strive towards a world of equality achieved with equity in mind. Equality is a given, but if we have no understanding of oppressive structures that exist in impoverished communities then we are never going to achieve equality as it will be representative of how class divisions are structured. Questions of equality for all but only those who can gain access to the rooms to implement the procedures to ensure equality is almost like a moot point. We need to make structural changes to how we run things. Programming one play about class is not solving the problem. We are also in danger of institutions pitting minorities against each other in order to tick boxes and gain funding. Ticking one box on a minority selection is not solving anything but acts as a self-serving exclusionary exercise.
Why do you think Killymuck goes together well in a double-bill with Box Clever?
They’re both darkly. comic in their telling. They both represent individuals who have been sanctioned by the systems set up to help them. The trap of oppression and impoverishment is inherent to their struggle. Both share a similar will to better themselves, to break out of the cocoon of poverty and inequality. Box Clever and Killymuck are plays that cross the British/Northern Irish divide, exposing a narrative with shared experiences of class injustice.
How do you feel about having Killymuck staged at The Bunker?
Chris and David and the Bunker team are how we dream Fringe theatre venues should be run. No bullshit. No pitting other creatives off in a weird display of projecting that you pay equity to just the actors, that other spaces seem to think is a just way of doing things. From the support given upon reading the script to the follow through of mounting the show, I have felt encouraged and validated as a writer. These guys are amazing and I am so grateful and humbled that they chose my play to be part of their season. This experience has been unique as it is the first time I have worked with a creative team. I usually waitress 45/50 hour weeks to scrape the money together and produce/direct/design my own work in order to get it seen. Chris and The Bunker team have been instrumental in sourcing a team that are totally in tune with the world the the play explores.
What can audience’s expect from a trip to see Killymuck?
To laugh, to cry, to feel empowered, connected, to challenge the existing class narrative and to leave the theatre space with a burning desire to fight against austerity!
