Writing About Children Who Kill: Abigail Hood on Researching and Staging Monster

Abigail Hood brings her play Monster to Seven Dials Playhouse this autumn, running from the 24th September – 18th October. Performed in the theatre’s intimate space, the production examines the life of a young woman who commits an act of violence as a teenager, exploring the abuse that shaped her, the lifelong weight of guilt, and the wider questions of forgiveness and justice. In this exclusive interview, playwright and performer Abigail discusses the challenges of writing about children who kill, the importance of showing her characters across two timelines, and why the play’s partnership with the charity Advance is crucial to its mission.

Hi Abigail. What excites you most about staging Monster at Seven Dials Playhouse?

Definitely the intimacy of the theatre. With just 58 seats, Seven Dials Playhouse will bring the audience right into the world of the play. Every nuance of emotion on the actors’ faces will be visible, and the intensity of the unfolding events will feel inescapably close – almost as if the audience is living the story alongside the characters.

I’m also excited by the venue’s central London location, which will make the show accessible to a wide and diverse audience. I didn’t write the play for one strand of society as the questions it raises are ones I feel are relevant to all of us. In Monster, I wanted to explore the causes of evil – whether inherent or a result of upbringing / life experiences – and to ask whether, as a society, we could do more to prevent atrocities like the one at the heart of the play. 

Why do you think audiences remain so fascinated, and horrified, by cases of children who kill?

I think it’s because such acts are almost impossible for most of us to comprehend and as a result, we feel compelled to search for an explanation. At the same time, the idea of a child taking another child’s life is inherently horrifying. I believe it is this combination of shock and the urge to understand that leaves audiences both captivated and horrified.

What was the most surprising or moving discovery you made in your research?

Before writing Monster, I undertook extensive research, reading books by and about perpetrators and the families of victims (victims themselves), and was moved to tears on several occasions. There were countless moments that struck me deeply; the anguish of grief, the terror of abuse, repeated across page after page. But the most surprising discovery, which I made early on and which became the catalyst for the play, was that Mary Bell - a girl who, at barely 11 years old, murdered two little boys aged 3 and 4 - went on to become a mother herself. This revelation shocked me and sent me reeling. Exploring the rest of her life through the two biographies written by Gitta Sereny, published 26 years apart - one documenting her trial in 1972, and the other based on hours of interviews with a now 40-year-old Mary Bell - continued to surprise and move me in many ways. 

The play moves between main character Kayleigh’s teenage years and her adult life. Why was it important to show both timelines?

When writing the play, I wanted to show that, as in many real-life cases, Kayleigh’s violent act was influenced by—though never excusable because of—the abuse she experienced and the lack of love she received from a young age. It was important to me that the audience see her as a victim before she became a perpetrator, as is so often the case in life. While I believe in the human spirit and in our growing vigilance as a society in noticing and supporting those who may be vulnerable, this story focuses on someone who has slipped through the cracks. Although nothing excuses what Kayleigh does, the narrative explores the circumstances that can lead to such actions and, hopefully, encourages reflection on how intervention from the right place—by the right person, in the right way—might help prevent similar tragedies in real life. 

I was also interested in exploring how someone carries the burden of such guilt—having done something so abhorrent—and how that affects everything that comes after.

What do you hope audiences take away from watching Monster. Do you hope they think about how society treats vulnerable young people?

I would like audiences to leave the theatre understanding that things are rarely black and white. I hope they will warm to Kayleigh to begin with and then feel torn when they witness the devastation and irreparable damage she causes to the family of the child she kills. I hope the play prompts questions about society and encourages reflection on forgiveness and justice. 

I also hope audiences think about how society treats vulnerable young people, and in particular young women, which I believe is an incredibly important issue. This is why the production is supporting and supported by Advance, a charity that helps women and girls who experience violence and abuse, which can in some cases lead to their being trapped in a cycle of abuse and criminality. Advance helps them break this cycle and regain control of their lives. As part of our work with this charity a number of young women will participate in workshops led by workshop leaders from Advance before watching the play. There will also be post-show Q&A sessions with representatives from Advance on Thursday 2nd and Thursday 9th October.

Where can people find more information about Veritas Theatre, Monster and Advance?

To find out more about Veritas theatre Company and Monster please visit: www.veritastheatre.co.uk. If you would like to find out more about the work Advance do, or would like to donate, please follow the link: www.advancecharity.org.uk  

Monster is at the Seven Dials Playhouse from 24^th September – 18^th October. For tickets and more information, visit: https://www.sevendialsplayhouse.co.uk/shows/monster