Kalungi Ssebandeke is one of the writers selected to take part in Outside, the second part of Inside/Outside from Orange Tree Theatre.
Outside is a collection of world premiere short plays by emerging and established writers. Georgia Green directs Fiston Barek (Kasujja) and Robinah Kironde (Rita) in Prodigal by Kalungi Ssebandeke. Also featuring in Outside are Zainab Hasan and Ashna Rabheru in Two Billion Beats by Sonali Bhattacharyya and Temi Wilkey in The Kiss by Zoe Cooper.
The trio of short plays will be performed and livestreamed from the Orange Tree Theatre’s auditorium from 15-17 April. Tickets are on sale here.
You’ve written a piece for Inside/Outside, what can you tell us about it?
My piece is called Prodigal and it’s about an estranged brother and sister who are brought together after the death of their mother. This meeting forces them to deal with the root of their dysfunctional family. It’s a play about what it means to be the odd one out and how the power of family can help repair any broken relationship.
What was your first reaction to finding out you would be writing for Inside/Outside?
I was really excited. It’s always a great feeling to be asked to write, especially for a theatre like the Orange Tree that has a strong history of staging powerful productions. Having acted in Blood Knot by Athol Fugard on that very stage, I was thrilled to write something for the famous round stage.
Why are these collections of plays so relevant to us today?
These collections of plays are so relevant today because we have all had a new relationship with inside and outside due to the pandemic. Being inside has become a sort of punishment whilst at the same time being one of the many remedies to this pandemic. At the same, time Outside has become a luxury, something we all crave. For these reasons, these collections of plays along with the various themes they deal with give us an insight into what it means to be inside/outside either literally or metaphorically
How does it feel to be having work staged again?
It feels incredible. Writing for the stage is such a unique experience because it’s immediate which brings a sense of danger. With the world as it is, this danger takes on a new meaning. On one hand it’s a bad kind of danger but on the other hand it’s exciting simply because we haven’t seen actors on stage for so long.
Did you have to write differently knowing this was for a digital production?
I absolutely wrote differently knowing this was a digital production. It was almost like writing for a hybrid of screen and stage. Knowing that audiences will get a closer look at the characters no matter where they are sat adds a new sense of intimacy that many theatre productions may not have. It also means that I can add a more personal touch to my writing knowing that someone in the world will see themselves in my characters or story.
What would you say to anyone thinking of booking to see Inside/Outside?
I would say, book and get ready to be taken on a ride from the comfort of your home. Don’t delay.
