Steak and Lesbians follows Stevie and River, two best friends living in London. Stevie is an aspiring writer and River an aspiring actor. The two are planning to cook a nice steak dinner when the night is derailed by Stevie insisting on helping River move on from their recent breakup. The two characters aspire to create their own romcom moment, getting distracted from their cooking and creating a beautiful display of affection and a completely ruined dinner.
The show is a comedy which is blended with some soft moments of emotion and connection. Steaks and Lesbians aims to show the beauty in queerness, both relationships and friendships. The writing plays on the use of stereotypes, but taking away from the stereotypes placed upon queer communities by heterosexual people, and using instead ones that we ourselves joke and play with. Written by a lesbian about lesbians, aiming to give representation in an authentic way, representing the queer community in the way we see around us, not what people think it is.
We caught up with directors Kitty June Barker and Amelia C Owens to learn more about the production.
What can you tell me about Steaks and Lesbians and the inspirations behind the piece?
Amelia: Steaks and Lesbians, to me, is about the beauty of queer friendships. It is intentionally written , most simply, to be a celebration of a group of people that are not usually seen in mainstream media and to highlight a hidden collective that I am surrounded by every day. I am fortunate enough to be surrounded by the most inspirational, true people and this show, putting it on and co-directing the piece is my way of appreciating the friendships I have around me and the value I have for them.
Kitty: We were living in a student house a few years back with my friends and we were cooking steak and someone joked and said “Steaks and Lesbians” and from that we laughed and said “this needs to be a play”. And so it became one. We sat down and we brainstormed all the possible ideas we could come up with that made us laugh and it became skit after skit basically. Two years later, it’s an actual play with a plot and a message behind it which is beautiful, it’s developed so naturally into this love letter to queerness and this community.
Why a steak dinner? Does the difficulty of cooking the perfect steak serve as a metaphor for the effort required to maintain perfect queer relationships?
Amelia: To be perfectly honest, no. The idea was naturally born by myself, Kitty and Ryley in a kitchen as we were cooking dinner together, that happened to be steaks and thus the play was born or at least the phrase ‘ Steaks and Lesbians’. The first draft of the script was then plotted out and partially written that night by about 4am with all of us delusional, tired and a little excited.
Kitty: I won’t pretend that it had such a deep meaning when it started… as I said before, it quite literally stemmed from us cooking steak and finding it funny to use the phrase ‘steaks and lesbians’ but as we’ve gone through it, it served as the perfect boiling pot of tension and emotion. It’s something so simple to get wrong and it requires focus, which, no pun intended, raises the stakes when the characters are dealing with other delicate matters such as heartbreak and gender.
You’ve mentioned playing with stereotypes. How do you walk the line between using those tropes for comedy while ensuring the characters feel like three-dimensional people rather than caricatures?
Amelia: In this I have to give credit to what inspired the show and the actors playing those roles. Portraying the realness of a stereotype comes from the queer community itself, its written and directed by what we see and what we do, that's what makes it three dimensional, because despite them being stereotypes i see these things done and perpetuated in my own life, adding them into the show seems instinctive.
Kitty: My problem with stereotypes is that the majority that we see used in mainstream media are created by heterosexual people. They aren’t accurate at all, this concept that lesbians cheat constantly or that they all have issues with their fathers or whatever. It’s not true. I wanted to create something that speaks to our community, that uses stereotypes that we ourselves laugh and joke about. These characters use these stereotypes as a tool for the comedy of the piece but also for me it allows them to show their pride, they are proud of who they are and their community and this in itself adds depth and authenticity to their characters.
For a long time, queer stories in mainstream media were defined by tragedy or 'coming out' struggles. Steak and Lesbians feels like it’s about the aftermath—the living, the eating, and the healing. How important was it for you to ground this story in the mundane beauty of everyday life rather than a struggle for acceptance?
Amelia: I think that, where the play was set was reflective of where we were with life at the time it was written. As much as coming out stories are incredibly important in queer art, I feel that showing the aftermath is equally as important, life goes on, you create long lasting friendships and relationships. The quiet moments in life are something that I value for myself so creating a show around that seems like it was meant to be portrayed that way.
Kitty: For me, coming out sudden and difficult and it didn’t represent the beauty of finding yourself and finding your community. For me, all of that came after. I found the most beautiful and accepting group of friends and have felt love in the most intense and beautiful ways. The people I had around me showed me this community and welcomed me, they allowed me time and room to find myself and that’s the beauty of queerness and this community of people. That’s what was importantly to me writing this, we’ve seen the tragedy time and time again and it’s important but it’s not the most important thing about queerness, the friendship and love and support is. I was lucky to be surrounded by queerness during my early twenties when I came out, so this is me showing my gratitude for that.
How does your vision as a writer shift when you put on your director’s hat? Do you ever find yourself editing the script during rehearsals because a scene feels different on its feet?
Kitty: I’ve said to my cast from the start that I’m not attached to the black and white script. This is my first play and I had never thought of writing before I started this. So I don’t claim to be a writer, but what’s important to me is telling authentic stories so I’m more interested in using my script as a template and letting my actors tell me if they don’t feel something is right or that they would like to suggest something about the background of the story. I trust my actors so deeply, and they have told me when they don’t think something is right or if they have a problem with something and it’s what I wanted, I wanted that authenticity to come through and I feel it can only happen from putting these scripts on their feet and letting the actors feel the words and the characters. The script is always changing, constantly but not only that the characters and the backstory are evolving through my actors and their vision too. For me theatre is collaborative, so in rehearsals I have input from my co-director, my actors but also my crew.
Directing alongside the writer can be a unique experience. How do you and Kitty balance each other’s perspectives to ensure the staging feels as lived-in as the dialogue?
Amelia: The way I see it, Kitty and I have the same brain, the same thoughts of where a scene should go, ideas for sets, everything. From where we have directed previous shows before, directing with her is as easy as breathing, we value each other's ideas and give time for ones that may be different. There is a certain respect between the two of us that we both understand where we want to make the show feel authentic and true. It definitely helps that the show pulls inspiration from our real lives so when it comes to fleshing out the show and giving it authenticity it comes quite naturally. We are even bringing props that we have in our own flat for staging. Directing with her as the writer really facilitates the groove of the show. I have seen this script go through possibly four different iterations and have edited each one, having the capacity to know the history of the characters, her meaning behind each line and what she was trying to portray in each scene. I also think that it allows us and the actors to have in depth conversations about the backstories and meanings behind why and how they’ve ended up where they
are in the show.
The play is described as a blend of comedy and tender heartbreak. What is your approach to transitioning the audience from a laugh-out-loud moment to a vulnerable, quiet one?
Amelia: One of our main goals in this show is to portray a friendship everyone can relate to in some way, reminding our audience of their closest friendship. The tenderness and comedy comes in waves, just like it would if you're spending the night with your best friend, the conversation ebbs and flows. I believe it's important to have the duality where a hard topic can be approached with someone trusted, the awkwardness of sharing and using jokes sometimes to protect vulnerability, it's something we all do and it's those conversations the show is set around. Transitions between the two reflects that, we don’t go now here is the funny part and here is the sad part. There's a rhythm we’ve created in rehearsal where sometimes the laughter is still fading while broaching a hard topic, that seems to be the most natural part about it.
Kitty: I think this is the most natural thing in the world. When I’ve been through heartbreak, you have this feeling of you can’t be happy, you can’t smile because you’re hurt, right? But in reality, you do find time to smile and to laugh and the people around you work to make you smile. It takes you by surprise, one moment your world is crumbling and the next you’re laughing over the most stupid thing with your best friend.
In life there is no transition, it just happens and it’s surprising and it stops you in your tracks… that’s how I approached it with this performance, I don’t think there needs to be a transition, I think it adds even more to the depth and emotion of a scene, when you don’t even think about it, you’re riding a wave with the characters and the story, one minute you’re laughing and the next you’re holding back tears, without even thinking.
How does the specific energy of London—its pace, its queer scene, its claustrophobia—influence the way you’ve blocked the play or styled the world of Stevie and River?
Amelia: Coming from someone who grew up in the middle of nowhere, with no social scene, let alone a queer one, London itself is a character in the show, a minor one but it is still there. There is a gravity to it that pulls people together and that is how I see it for our two characters.
Kitty: We are surrounded by the queer and creative scene, we’re based in South East London and you’d be surprised but I think it’s one of the most exciting places for young queer creatives and it’s always inspired us and our lifestyle. We’re proud of the area we’re from and our friends around us, so for me it was a love letter to this. It shaped us as people so we’ve let it naturally shape our characters. I also think it’s important to mention that, London is where I’ve spent my whole life - to me this is my world and my queer community. The fast paced world around us in London fits perfectly with the need to be fast paced with Fringe performances, so it blended so perfectly for us and we created this world.
Because there is still a relative scarcity of authentic lesbian stories on stage, there is often an unfair pressure for one play to represent everyone. How do you protect the 'specificity' of Stevie and River’s story? How do you stay true to these two specific people without feeling like you have to write a manifesto for the entire community?
Amelia: With Stevie and River, making them human, in my opinion, helps represent the community. I think that it would be a disservice to say that this is an overall lesbian experience and create a show advertising that. Allowing them to be flawed, funny and tender is what we see in shows with straight characters all the time without feeling the pressure of representation. This show is not the comprehensive lesbian friendship experience, but it is a story. We want to showcase these characters as honestly as possible, warts and all, and that in of itself is representation.
Look, our play is different. It may raise questions and that’s just the reality of living in a queer community. It’s not simple, it’s not a rule book to follow. Both of our characters are identify as non binary and are lesbians. This story is based on real people. We were very close friends with two individuals and this play is inspired by the beauty of their friendship, their queerness so it was easy for us to stay focused on THIS queer story, not mine, not Amelia’s, not anyone else’s. It has elements of my life, elements of Amelia’s but in its truest form it’s a story about the beauty of these people and this
friendship we got to experience. I don’t intend to stop writing queer stories, so I feel no pressure to push every single narrative into this show, this is one individual story and there is a million more to explore and that is what I aim to do.
You’ve stated you want to show the community as it is, not as people think it is. What is one specific everyday detail in the play that you think queer audiences will instantly recognise as authentic?
Amelia: I'm hoping people are able to find the things that are hidden in the show's script.
The nods we do to queer culture, people we mention and phrasing that's used. Having a play that already feels lived in because of the dialogue and staging will be recognisable to anyone in the queer community.
Kitty: Straight off the bat, it’s our language. Which sounds silly, but there is a language between us, between our relationships with eachother which I think our queer audiences will recognise. The carabiners, the music and jokes of course are very lesbian, but the language as a whole is what strikes me and I hope will strike fellow queer theatre lovers.
If you were hosting a Steak and Lesbians dinner party for real, what would be on your playlist playing in the background?
Amelia: Anything chilled. I have a playlist that is genuinely just slow songs. There's Ella Fitzgerald, Fleetwood Mac, Dusty and RAYE. I put it on when I'm cooking anyway, I think it has a good tone.
Kitty: Beth McCarthy. Very underrated, I am obsessed with her and have been since I very first came out. I love her music, “She’s Pretty” may be one of my all time favourite songs. But there’s an entire string of queer artists which should be praised: Renee Rapp, Cat Burns, Chappell Roan, Boygenius… I could go on.
How did the collaboration between the two of you begin?
Amelia: We met at university, it took us a couple years to get there but when we realised that we both wanted to do the same things with theatre it was silly not to collaborate. Our final year show solidified everything, deciding to take a theatre company that only existed in lectures into the real world.
Kitty: We met at Univeristy. We both went to The University of Greenwich and studied at Bathway, it was the most incredible experience. We started slowly working together more and it just never stopped. I always wanted to be a producer, writing and directing came later but I said to her “look I wanna start a production company, do it with me” and then we started Amity in our final year for our final show when we produced, directed and acted in a queer adaptation of ‘Lovesong’ and the rest is history I guess. She’s my best friend. I trust her with my whole heart and working with her is a dream.
What was the first piece of theatre you remember having a big impact on you?
Amelia: It may be out there but pantomimes. For as long as I can remember in my childhood, on my birthday, my Mum, Dad, Nana and I would go out and see the local pantomime that was on at christmas time. I loved it, it was my favourite thing to do as a kid on my birthday and I think that's where my love of theatre started. We stopped as I got older, but to my absolute delight in the last three years on average me and eight other family members will gather at a panto each year around Christmas.
Kitty: Look, so many things have different impacts. I remember the time I sat there and said “I want to do this” and it was when I was barely eight years old. But in terms of live theatre, I remember watching “Bat Out of Hell” and my love for theatre blossoming, but I think the people that inspired me to write this show and this style of theatre were the Fringe Performers Xhloe and Natasha, there work is flawless and it’s due to their chemistry and passion and you can see that. I was never interested in physical theatre but their work really inspired me to let myself branch out and explore that side of theatre as well, so I really respect and admire them as performers.
What motivates you to tell stories like Steaks and Lesbians?
Amelia: One of our main goals with Amity is to give voices to those who are not widely represented with human stories, and that’s why I love Steaks and Lesbians. They’re two funny, completely messy best friends just trying to have a nice evening together and that’s the kind of theatre I’ve always wanted to create.
Kitty: I’ve met so many incredible people in my life that have inspired me and taught me. Obviously my experience with queerness, that community and exploring that side of myself inspires me. But I’ve spoken about that a lot - for me, I’ve also had incredible role models that inspire me. They challenged me to be who I am today and to write and direct which was never a part of my plan originally but they found that side of me and they allowed me to grow into my queerness and use it within my theatre. Without my university lecturers specifically, I would never have moved into this open and expressive style of theatre, I would still be wanting to do Stanislavskian theatre time after time.
What would you hope someone takes away from seeing Steaks and Lesbians?
Amelia: I really want people to come away feeling connected to our characters, that they’ve been entertained by them and shared their pain. I want them to be leaving thinking about their best friend or favourite person reminded of their own connections. I really do just want people to come out happy with the journey they’ve taken with these two characters.
Kitty: I just want love, I just want people to see the love, see the beauty in queerness, in queer relationships, queer friendships. I want people to love our cast and crew, love our story. That’s all I want. I’m not trying to teach anyone anything, in our society right now all I want to do is show my love for this community and hope they show it back. If people learn something then that’s wonderful but I’m here to spread joy with this play, to show the beauty in the community around me and in my own story.
Steak and Lesbians runs from Sunday 16th until Thursday 20th August at The Lion and Unicorn Theatre as part of the Camden Fringe. For tickets and more information, visit https://www.thelionandunicorntheatre.com/whats-on
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