A clubland coming-of-age story.
“It’s Friday, 5pm. The Streets’r tipsy with possibility, expectation… Everybody’s dreaming, beaming, getting steaming for the night ahead…”
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| Photo by Marc Brenner. |
This heartpounding story follows Lindsay Jenkins, a young Donny lass with an A in English, a thirst for hedonism, and it’s exactly £4.25 for the taxi home.
Amidst the chaotic finale of 90s nightlife, the backdrop of post-Thatcher Britain and during the UK’s first heterosexual HIV cluster, Children of the Night is a love letter to the working-class cultural pulse of the North, mixing kitchen-sink drama with spoken-word dance-floor euphoria.
We caught up with writer and cast member Danielle Phillips to learn more about the show
What can you tell me about Children of the Night and the inspiration behind the show?
There's always been a big clubbing culture in Donny. I was born in the 90s, so obviously, I wasn't old enough to party but I grew up with endless anecdotes about those ‘hey-days', and I've always been drawn to that era. I think it was a fascinating time politically, with lots of Northern industrial towns figuring out their identity post-Thatcherism, alongside big shifts in cultural politics, particularly for females (like the rise of the Spice Girls and their flavour of ‘Girl Power’). It's no surprise to me that so many people (myself included) take comfort in the escapism and hedonism of club culture and I really wanted to explore that desire further.
There's always been a big clubbing culture in Donny. I was born in the 90s, so obviously, I wasn't old enough to party but I grew up with endless anecdotes about those ‘hey-days', and I've always been drawn to that era. I think it was a fascinating time politically, with lots of Northern industrial towns figuring out their identity post-Thatcherism, alongside big shifts in cultural politics, particularly for females (like the rise of the Spice Girls and their flavour of ‘Girl Power’). It's no surprise to me that so many people (myself included) take comfort in the escapism and hedonism of club culture and I really wanted to explore that desire further.
Described as "a love letter to the working-class cultural pulse of the North". How important was it for you to celebrate this in the work?
In the past I've felt uncomfortable when Donny (or similar northern towns) are represented on our stages and screens as: ‘the butt of the joke’. There's a palpable sense of ‘pride’ in Donny, it's full of witty and resilient people who deserve to be championed. I'm really interested in when ‘pride’ becomes linked with ‘identity’ or ‘place’ and at what point that kind of idealism might become a barrier to growth or understanding. On a more fundamental level, it's important that people see their lives or experiences reflected on stage. It was also super important for us to open the show at home so that our audiences were the first to see it, and likewise that our creatives, who are all northern based
In the past I've felt uncomfortable when Donny (or similar northern towns) are represented on our stages and screens as: ‘the butt of the joke’. There's a palpable sense of ‘pride’ in Donny, it's full of witty and resilient people who deserve to be championed. I'm really interested in when ‘pride’ becomes linked with ‘identity’ or ‘place’ and at what point that kind of idealism might become a barrier to growth or understanding. On a more fundamental level, it's important that people see their lives or experiences reflected on stage. It was also super important for us to open the show at home so that our audiences were the first to see it, and likewise that our creatives, who are all northern based
What inspired you to weave real testimonies into Children of the Night?
So because I was a kid, I didn’t have a first-hand account of the club-scene back then and I wanted the play to feel as authentic as possible. So, back in 2019, we did a call-out on social media, looking for a wide variety of people to come and chat to us about Donny’s nightlife. We didn't really know what kind of response to expect, but we were thrilled when our inbox started to fill up with people who seemed genuinely excited to come along and reminisce (to a relative stranger) about their experiences.
So because I was a kid, I didn’t have a first-hand account of the club-scene back then and I wanted the play to feel as authentic as possible. So, back in 2019, we did a call-out on social media, looking for a wide variety of people to come and chat to us about Donny’s nightlife. We didn't really know what kind of response to expect, but we were thrilled when our inbox started to fill up with people who seemed genuinely excited to come along and reminisce (to a relative stranger) about their experiences.
I met so many wonderful people from Doormen, to shot-girls, to toilet attendants, who shared endless stories and bits of detail. As I met more and more people, I started to notice re-occurring themes or shared experiences but above all, there was just such a collective sense of passion and pride for that ear. Sometimes it felt as if the latter was tipping into a kind of rose-tinted idealism of the ‘good old days’, and understandably, there was a bit of hesitation when encouraged to talke about some of the more complex nuances of the era.
Obviously, my main ambition was always to champion, platform and celebrate my hometown, but equally, I didn't want to just glorify it, it was important to me to try to also represent both Donny and the 90’s objectively, by not shy awaying from some of the harder stuff.
The testimonies have enabled me to build a fuller and detailed picture of the scene, whilst keeping me rooted in truth and specificity. It ended up being my favourite part of the process. I feel so lucky to have met so many brilliant people and shared in their experiences.
I've always believed storytelling is an opportunity to enrich our understanding of the world and of each other. By making this show, I’ve definitely learned so much more about Donny and I hope our audiences will also come away from the show with a more meaningful understanding of our community.
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| Photo by Marc Brenner. |
Your play is described as a mix of spoken-word and dance-floor euphoria. How did you approach blending these elements?
Children of the Night was my first stab at writing. (In all honesty, I didn't have a clue what I was doing and still don't)! I started by typing up the testimonies and pinning them to the walls around my desk. Then I opened a fresh document. I found an initial ‘flow’ exploring a kind-of spoken-word form. The first thing I wrote was a poem, which developed into a kind of long-form description of ‘a typical night out in donny’. The lyricism and rhythms of spoken word seemed to really mirror the pulse of a night out. It felt like a really useful language for the play which became integral long term as it developed into the language of the narration and how the protagonist Lindsay experiences the world and communicates with the audience.
Once I established this form, it then became fun to explore breaking it also. For example, in Act 1, Lindsay is experiencing the world for the first time and so the rhymes are clean and neat. Then and in act 2, as her perception of the world becomes more complex and distorted, I explored breaking rhyme patterns or leaving them unfinished to mirror this. In act 3, Lindsay's world is far less chaotic than act 2 and so, the more ‘complete’ rhyming form returns.
How do you blend the role of both writer and performer in the show?
The short of it is, I found it super intense. I feel like there's a real skill in wearing both hats and it’s tricky to master. (If anyone has any advice please reach out, id love to hear any experiences of this)!
I often found it muddy to wear them both at once. It was hard to let writer hat go in rehearsals when writer hat had an offer or a solve, and it was. I’m hopeful to get the opportunity to do both more,
I often found it muddy to wear them both at once. It was hard to let writer hat go in rehearsals when writer hat had an offer or a solve, and it was. I’m hopeful to get the opportunity to do both more,
My dream career would be a mix, a couple of jobs a year when I'm only wearing ‘actor hat’, as if you're just one cog in a machine and I know exactly how to do that job and what that requires. But ultimately, now after having a taste of being a Creative, I think I'll need a mix of both to be truly fulfilled in my career.
How do you mentally and physically prepare for a performance?
I like to take my time getting ready and to run lines in my head. I make sure to take my electrolytes, (If only I could do a brand partnership with liquid IV).
I like to take my time getting ready and to run lines in my head. I make sure to take my electrolytes, (If only I could do a brand partnership with liquid IV).
What keeps you inspired?
This is such a juicy question because I feel like it's something I'm constantly battling. It's hard to stay inspired with the current state of the world and the sector. I have periods where I'm no stranger to feelings of pessimism and disillusionment. Especially in long periods of unemployment, or continual knock-backs, or when the art I'm consuming isn't particularly inspiring either. I suppose I used to feel quite helpless and like I had very little agency. Starting up my own company has done massive amounts for my mental health and my relationship to the industry. Creating my own opportunities means I can pursue things I'm passionate about and that matter to me. It's almost been the key to staying sane, and has helped me be inspired in myself.
This is such a juicy question because I feel like it's something I'm constantly battling. It's hard to stay inspired with the current state of the world and the sector. I have periods where I'm no stranger to feelings of pessimism and disillusionment. Especially in long periods of unemployment, or continual knock-backs, or when the art I'm consuming isn't particularly inspiring either. I suppose I used to feel quite helpless and like I had very little agency. Starting up my own company has done massive amounts for my mental health and my relationship to the industry. Creating my own opportunities means I can pursue things I'm passionate about and that matter to me. It's almost been the key to staying sane, and has helped me be inspired in myself.
Also, in a kind of wanky way; stepping back and taking stock by having a check-in with my younger self, (who would be absolutely OBSESSED and mega inspired by the path I've already had), is a lovely boost, when I remember to do it. Finding inspiration in the little things, celebrating the wins.
Lastly, having a close network really helps me, people to lean on, people to lift up, My fellow pals and actors and makers and peers are doing some incredible things in such a tricky climate, and they inspire me every day.
How do you see the themes of Children of the Night resonating with today’s audiences and what would you like audiences to take away from seeing the show?
I think nostalgia will always resonate, especially with such an iconic era. But I suppose I'd love to leave audiences thinking about what has or hasn't changed especially in regards to conversations around safe sex and female body autonomy.
I think nostalgia will always resonate, especially with such an iconic era. But I suppose I'd love to leave audiences thinking about what has or hasn't changed especially in regards to conversations around safe sex and female body autonomy.
Children of the Night runs at Southwark Playhouse Borough in The Little until Saturday 4th April 2026. For tickets visit https://southwarkplayhouse.co.uk/productions/children-of-the-night/
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| Photo by Marc Brenner |
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