Womxn the world over still fight for autonomy over their bodies in all ways. With this Takeover week at The Bunker, I decided to platform stories, art and discussion that focuses on the many aspects of pregnancy that are still unfortunately taboo and often steeped in feelings of shame, despite their ubiquity. Abortion, miscarriage, surrogacy, still-birth and infertility will be spoken about, sung out loud and above all, any shame will be taken over with a celebration of womxn’s bodies and voices from the ancient myths to the legends of the future. – Sabrina Mahfouz
This lyrical play draws on the Jewish mythological figure of Lilith, Adam’s first wife, who refused to take the subservient role in their marriage and so was villified as a sexually wanton night hag, and baby killer. Lilith takes place in a heightened present day, with Lilith working as a hotel room attendant: Adam runs the reception. Hotel guests Gloria and Ed have returned to the room where their daughter Eva was conceived some years earlier. Tragically, she was stillborn. Now, it is Ed’s fortieth birthday, and time to scatter Eva’s ashes. But can things go to plan when so much has been left unsaid and Lilith’s ancient fury is simmering just below the surface?
Lilith by Jennie Buckman
Accompanying Lilith is a short piece by Sabrina Mahfouz, combining beloved karaoke classics with stories of abortion and miscarriage. Can we one day talk about these things as easily, if as awkwardly, as we can take part in karaoke?
KaraOkay by Sabrina Mahfouz
Lilith and KaraOkay will be directed by BAFTA-nominated director Sallie Aprahamian.
Curator Sabrina Mahfouz
Director Sallie Aprahamian
Designer Ioana Curelea
Lighting Designer Clancy Flynn
Sound Designer Dominic Kennedy
Movement Director Liz Ranken
Stage Manager Xanthe Goode
Lilith was developed as a Giants Theatre production, supported by Arts Council England and in consultation with SANDS (stillbirth and neonatal death society), completed shortly before Jennie’s death in January 2019. This will be the world premiere of the play and a celebration of Jennie’s astounding legacy to British theatre.