Interview: Hannah McClean, Ladykiller

The Thelmas are an all-female theatre company founded by Madelaine Moore in response to a growing need for the support and development of new female writers. Most recently seen in London with the Offie-nominated Coconut, the company will next be making their Edinburgh debut with Ladykiller by Madeline Gould, which opens at The Pleasance on 1st August.

Ladykiller is set in a hotel room, in the aftermath of a murder,” explains actor Hannah McClean. “When we meet HER, a hotel maid, she’s covered in blood and distressed – but it’s not what it looks like; she can explain… 

“It’s clear who committed the crime, so the play is more of a Whydunit, than a Whodunit. It’s a very dark comedy with a few twists and turns along the way, which will leave you second guessing our protagonist.”

Ladykiller by Madeleine Gould
Photo credit: Greg Veit Photography

Madeline Gould wrote the play to explore women’s capacity for violence and criminality, after noticing a lack of complexity in the portrayal of female killers. “I’ve never read a script which focuses on female criminality and psychopathy,” says Hannah. “Characters like this are more often than not, written for men. I have read all too many scripts or watched shows where the female characters are portrayed as less complex than their male counterparts. Women are just as capable of the good, the bad and the ugly and this script explores that beautifully.  

“My character is intelligent, charismatic and at times brutally honest, yet you never know where you stand with her. She is not someone you can root for, but she makes it hard for you not to. I can quite honestly say, I’ve never had the opportunity to play anyone quite like HER, nor have I read a script with a character like HER in it. We feel that our show depicts a female character in a way that hasn’t been seen before – truly, she breaks the mould. She is dark, she is dangerous and she is covered in blood.

“When I read the original script, when it debuted as a 15-minute piece in 2015, I was blown away by the writing, its twists and turns and its unapologetically dark humour. It’s now even bigger and better – and also really funny btw – and I’m absolutely thrilled I still get to don my blood soaked apron. At a time when we as a society are examining our gender roles more so than any other, the show taps into this conversation in a most unexpected way. I hope it gets people talking and debating …and laughing.”

Hannah McClean headshot
Photo credit: Chris Mann Portraits

As well as The Thelmas’ Edinburgh debut, Ladykiller also marks Hannah’s first time performing at the Fringe: “I have always wanted to perform at the Edinburgh Fringe and for a long time I have wanted to perform in a one woman show; so to get the opportunity to tick both those boxes at once is so incredibly exciting. And terrifying! But mostly exciting,” she says. “I begged Maddie Gould to write the full length show after performing the original short in 2015, so now I just need to concentrate on making sure it was worth her while (please God!).”

When she’s not murdering people in hotel rooms, Hannah will be busy checking out some of the other shows heading to the Fringe this year. “So far, the shows that have caught my eye are – F**k You Pay Me at The Assembly Room – I saw this at The Vaults this year and loved it, so I can’t wait to see how it’s developed; The Half at The Pleasance (might have to catch that on my day off) looks great; and East Belfast Boy by Prime Cut Productions (have to support the home grown stuff and also, they’re great), to name a few. The exciting thing is discovering new stuff though, so I’ll be soaking up as much as I can.”

Ladykiller is at The Pleasance from 1st to 27th August (not 13th or 14th) at 1pm. To find out more, watch the trailer – or to support the show, visit the crowdfunding page.

Review: Coconut at Ovalhouse

The Thelmas are a female led company specialising in “great stories, told by great women”. And there’s no doubt that Rumi, the main character in Guleraana Mir’s Coconut, fits that bill perfectly. When we meet her, she’s about to go halal speed dating, and dreaming about meeting someone cool who’s attracted not to her Muslim upbringing, but to who she really is: a bacon-loving food blogger who’d rather go to the pub than the mosque. And then she meets Simon, who’s everything she wants in a man – apart from the fairly significant detail that he’s white.

Photo credit: Greg Goodale

As you might expect from a play that begins with halal speed dating, Coconut is a very funny take on religion, culture and the pressure to be someone you’re not for fear of letting other people down. Rumi, played brilliantly by Kuran Dohil, is the coconut of the title: the term is used to describe someone who’s brown on the outside but white on the inside, and as a result not quite enough of either to really belong. In Simon, Rumi sees a chance to move towards the life she really wants, but in return asks him for a small compromise: if they’re going to be together, he’ll need to convert to Islam.

It’s at this point that the play takes an unexpectedly serious turn, and Rumi’s inner fabulous – embodied by Tibu Fortes in a hilariously flamboyant performance that couldn’t be more different to his far more tranquil role as Irfan the Imam – begins to fall silent. Simon’s conversion was supposed to be no more than a box-ticking exercise to keep the family happy, but it turns out not only is he keen to take his new faith seriously, he wants Rumi to do the same. As his enthusiasm develops into an unhealthy obsession, Rumi finds herself forced to choose once again between being true to herself and disappointing the people she loves.

Despite all its ups and downs, Rumi’s story is both entertaining and satisfying to watch, thanks to the effortless comic talents of Kuran Dohil and the down-to-earth, believable way in which her character’s written. Simon, on the other hand, is more problematic; though it’s hard to fault Jimmy Carter’s performance, the transformation in his character feels a little too sudden to be realistic, and is so extreme that it prevents us feeling any sympathy for the fact he now finds himself, like Rumi, caught between two worlds. (Although perhaps I’m just annoyed by his disparaging comments about bloggers…)

Photo credit: Greg Goodale

An ingenious origami-like set from designer Baśka Wesolowska is put to good use throughout Madelaine Moore’s production, with what at first appears to be a simple hexagonal platform coming apart to become a bar, a home, a hilltop, a mosque… at one point, we even find ourselves on a crazy golf course. There are a lot of scene changes during the 90-minute show, but these are all handled swiftly by the cast and are never long enough that our attention has time to waver. And although the play could perhaps come to an end a little earlier than it does, the final scene is worth waiting for; a fitting conclusion for a character we’ve grown to really care about.

Coconut offers a refreshingly unique perspective on what it means to be a Muslim in Britain today, and prompts an interesting discussion on the difference between religion and culture. There are aspects of the story that don’t sit quite right, but a strong cast and irresistible strong female protagonist make this enjoyable show well worth a visit.

Coconut is at Ovalhouse until 28th April, with other UK dates to follow; for more details visit The Thelmas’ website.