Chris Sonnex, the Artistic Director of The Bunker, took to Twitter this week to passionately encourage audiences to see benefits-class double-bill Killymuck and Box Clever, and to offer support to anyone who may have difficulties getting a ticket for the production. Check out what he has to say, and the first images of the show, then book your tickets!
Written by Kat Woods and Monsay Whitney, the pair of plays, staged by W14 Productions and The Bunker, run at the underground venue until 13 April 2019.
The two shows have a lot in common. Both are one-woman tales. Both are written by women. And both have female directors; Catriona 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. Box Clever follows a mother whose life seems to be cyclical. The darkly comic tale follows her experience of refuge life and her commitment to do the best she can for her daughter despite the failure of the system.
As the plays open at The Bunker, Sonnex took to Twitter to bang the drum for them and explain why they are so important, saying “I am privileged to witness something that is as important as it is rare” and going on to add: “If you’ve talked about class to sell articles, or if you too are outraged that we don’t hear these voices or see these classes on our stages and ranted on social media or to your friends, if y0u’ve set up organisations to redress the balance, if you work in theatre and have used class as a selling point or said it’s incredibly important, then you should really come and book these shows.”
Here’s a call to action for you all. I’ve seen a lot of people talking outrage and writing in print about how class acts as a barrier in what can be an incredible industry. And it’s important that it’s getting a platform.
— Chris Sonnex (@ChrisSonnex) March 26, 2019
There’s also an important thing about this conversation that many might have forgotten. The actual art that is being created by the social demographic of working class & benefit class artists & what platform that it gets.
— Chris Sonnex (@ChrisSonnex) March 26, 2019
Work that bares their soul and engages in what is a hard and difficult subject, not just to watch, but to be part of. Watching them develop and be created has fuelled my anger, induced water in my eyes and made my heart beat faster.
— Chris Sonnex (@ChrisSonnex) March 26, 2019
Work that bares their soul and engages in what is a hard and difficult subject, not just to watch, but to be part of. Watching them develop and be created has fuelled my anger, induced water in my eyes and made my heart beat faster.
— Chris Sonnex (@ChrisSonnex) March 26, 2019
They’re not just talking, they’re not just writing editorials, they are creating and putting a voice to the voiceless. In #boxclever & @Killymuck_Play I am privileged to witness something that is as important as it is rare
— Chris Sonnex (@ChrisSonnex) March 26, 2019
Chris Sonnex
But here’s the call to action, if you’ve talked about class to sell articles, or if you too are outraged that we don’t hear these voices or see these classes on our stages and ranted on social media or to your friends, if you’ve set up organisations to readdress the balance,
— Chris Sonnex (@ChrisSonnex) March 26, 2019
If you work in theatre and have used class as a selling point or said it’s incredibly important. Then you should really come and book these shows. Come and watch @LennonAoife & #reddroche perform until their hearts break
— Chris Sonnex (@ChrisSonnex) March 26, 2019
Watch the shows that @StefODriscoll & #caitrionashoobridge have directed with all their lived experience and listen to the angry and beautiful words #monsaywhitney & @katwoods79 have written with every ounce of their shared pain.
— Chris Sonnex (@ChrisSonnex) March 26, 2019
Theatres a choice, and you’re absolutely entitled not to come and see shit; I believe that. But if those with the loudest voices don’t see it through with their convictions, does it not make their words empty?
— Chris Sonnex (@ChrisSonnex) March 26, 2019
I’m angry and galvanised after watching runthroughs and techs of these plays. So I apologise for this coming across in any negative way. But as #mywhitebestfriend taught us last week, we need to do better, even us lefty liberals.
— Chris Sonnex (@ChrisSonnex) March 26, 2019
I want as many people too see these plays as humanly possible, not because it’s on in my theatre, no, because it’s important theatre that is being made here. And my thread would be the same if this was on somewhere else.
— Chris Sonnex (@ChrisSonnex) March 26, 2019
Book. Engage. Spread the word. In the spirit of my wonderful friend @whatemmadidnext if you’re seriously hard up because of class & need to see it, there’s ways of getting tix for free (if you’re young & black, hit up my friends @BTProject_) there’s ways to get tix for cheaper…
— Chris Sonnex (@ChrisSonnex) March 26, 2019
Book. Engage. Spread the word. In the spirit of my wonderful friend @whatemmadidnext if you’re seriously hard up because of class & need to see it, there’s ways of getting tix for free (if you’re young & black, hit up my friends @BTProject_) there’s ways to get tix for cheaper…
— Chris Sonnex (@ChrisSonnex) March 26, 2019
Finally, it’s all love, but some things are so important you have to show some angry urgency now and again. Rant over.
— Chris Sonnex (@ChrisSonnex) March 26, 2019
1 last thing, you might have seen these shows b4, but we’ve thrown the infrastructure around it so these artists can reimagine the pieces to fly & not to have to do anything & everything to get them on. Giving them freedom & a platform that they should have had b4. So book innit
— Chris Sonnex (@ChrisSonnex) March 26, 2019
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.
Killymuck and Box Clever run from 26 March to 13 April 2019 at Bunker Theatre, 53A Southwark St, London SE1 1RU, with performances Tuesdays to Saturdays at 7.30pm & 9pm, matinees Saturdays at 2.30pm & 4pm. Tickets are priced £15 (concessions £12) or you can buy a double-bill ticket for £22. CLICK HERE TO PURCHASE!!
Rehearsal gallery
Images: Craig Sugden
