Terrifying Women: the trio of ‘horror fiends’ embracing stage fright | Theatre



Morgan Lloyd Malcolm, Abi Zakarian and Sampira are self-professed horror fiends. All three grew up hooked on ghost tales and gorefests, however as playwrights they’ve discovered it irritating to see the shape so usually dismissed by theatre-makers as lowbrow or higher suited to the medium of movie.

They sought to handle this final 12 months with a one-day programme of horror on the now defunct Bunker theatre in London, however the pandemic stymied its staging. In order that they arrange a themed WhatsApp group over lockdown as a substitute as a option to preserve linked. “We referred to as it Gore Ladies,” says Lloyd Malcolm, author of the Olivier award-winning play Emilia. “It was a means of speaking about horror, sharing memes, watching movies on Zoom. It grew to become an actual help group.”

It additionally led to a post-lockdown undertaking to carry female-led horror narratives to the stage which can be realised later this month in an inaugural Halloween pageant referred to as Terrifying Women, that includes six quick performs by them. They’ve created a theatre firm of the identical title and hope to broaden the pageant sooner or later by commissioning and staging work past their very own.

The playwrights are sitting in a restaurant reverse the Golden Goose theatre, in south London, the place the pageant will happen, and ruminating on theatre’s awkward relationship to horror.

“It’s so humorous that there’s this perspective in direction of horror when there’s all the things from Medea to Titus Andronicus and Jacobean revenge drama within the canon,” displays Sampira. “There’s a through-line of horror all the way in which throughout the classics however they name it ‘tragedy’. Even when theatres stage tales like Dracula or Frankenstein they name it ‘gothic’ slightly than horror.” It’s ironic as a result of there’s something inherently theatrical in regards to the style, thinks Lloyd Malcolm: “You’ll be able to step out of realism in a means you may’t do in another genres, which is nice for theatre as a result of stepping out of realism is what we do.”

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Gothic or horror? Roy Dotrice and George Chakiris in The Ardour of Dracula, 1978. {Photograph}: Peter Johns/The Guardian

Every got here to the style early in childhood, and love the combination of laughter and concern usually embroiled within the medium. Sampira remembers flicking via TV channels on the age of eight and stumbling throughout the movie Scream. “I noticed this determine in a weird masks operating via the home and I used to be actually terrified however I additionally couldn’t look away. I feel that’s what good horror is and it’s what good theatre is – you wish to look away however you may’t.”

Lloyd Malcolm agrees, having first realised the efficiency and energy of scary tales by making them as much as seize the imaginations – and fears – of her schoolfriends. Her two performs within the pageant each revolve round supernaturalism: The Passenger is a partly autobiographical exploration “of the fears you will have as a baby and the way they comply with you into maturity” whereas Shut Your Eyes is a few teenage lady who’s coming to a realisation about who she is. “I’m fascinated by tales of teenage ladies and poltergeists – there’s a lot in them about collective vitality and what younger girls are able to.”

Horror has sometimes featured girls as victims who both search revenge for a wrongdoing or are fated to die on the finish, says Zakarian, a British Armenian author. However a brand new sort of female-led horror is subverting this narrative, at the very least on display, with TV reveals like Killing Eve and movies resembling A Girl Walks Home Alone at Night, an Iranian film that incorporates a hijab-wearing vampire who rides a skateboard.

These tales more and more discover the character of evil, problem patriarchal tropes and discover sexual violence enacted on girls’s our bodies. The identical might be finished on stage, says Zakarian. “[Traditionally] it’s a medium during which a girl is all the time imperilled or in peril however I like it and saying ‘We are able to subvert this cliche. We are able to change that trope.’”

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‘I couldn’t look away’ … Drew Barrymore in Scream. {Photograph}: Everett/Rex Shutterstock

Horror is a type that essentially asks a author to consider how violence is framed, says Sampira, and within the palms of feminine writers or administrators this may be transformative. “It’s an inherently violent style so it calls for you consider this stuff during, not simply in a single explicit scene.”

It has the potential to be radical in different methods, too, she believes. “British tradition has this weaponised politeness however horror, by its mere existence, brings us into contact with the darker facet of humanity. Although this is probably not overtly political, it’s nonetheless coping with elements and behaviours that we don’t usually discuss as a result of we wish to repress them. It permits for these repressed emotions to return out.”

Zakarian’s two dramas within the pageant are a living proof. The Last Woman is a play on the trope of the “final girl” left standing to face the monster or evil drive in horror. On this case, it is usually an exploration of the #MeToo motion. “My principal character, a younger girl, is an actor going to audition for a big-name producer in his resort suite. It’s about subverting energy buildings and it is going to be a cathartic launch for each girl, I hope.” Her second play, I Am Karyan Ophidian, is rooted in Armenian folklore and offers allegorically with inherited trauma and the Armenian genocide.

Sampira’s drama United Satans additionally accommodates overtly political themes, with a plot that includes a feminine Devil and the fall-out of 9/11. Her second, shorter play Simple Breezy, incorporates a feminine psychopath considering relationship tradition.

However isn’t there a problematic paradox on the coronary heart of female-led horror? The thought of the evil or wayward girl is, in any case, as previous as Eve and authentic sin, so how do writers navigate that poisonous trope? “We can be exploring that extensively,” says Zakarian. “It’s about progressing the story.”

Lloyd Malcolm thinks that letting girls be evil on stage is important for permitting us to see them as rounded human beings. “They will do evil issues and within the majority of instances they’ve had evil issues finished to them. There are questions round nature versus nurture on this. For those who begin asking them, you need to change all the things we do in society to take care of individuals. Horror will get actually good when it seems to be at why people do the issues they do.”



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