In conversation with Big Boundless Show Prize winner, Kalungi Ssebandeke

Kalungi Ssebandeke has been announced as the inaugural recipient of the 2023 Big Boundless Show Prize, a joint prize presented by Guildhall School of Music & Drama and Boundless Theatre, in associated with the Museum for Youth Culture.

His winning play, Black Terror or Looking For Bill (working title), is inspired by Bill Richmond, the world's first black boxing superstar and will be staged by Guildhall students.

We spoke to Kalungi about the evolution of his play, the importance of prizes which support large-scale new work and how he, as a former Guildhall student, feels to be returning to the School in this new capacity.

What made you apply for the Big Boundless Show Prize?

It was connected to my alma mater, Guildhall, where I graduated from in 2019. Together with Boundless Theatre, they were seeking plays that were big and epic, that didn't have limits on cast size. They were also seeking work inspired by the energy of young people. I went through my Rolodex of different plays I've written or have in development, and Black Terror was the first one that popped into my mind. It’s a play about a young person who flourished during a time when he shouldn't have.

How did you feel about winning?

I was over the moon. I’m still in slight disbelief because this was a play that has been on such a journey. It sort of mirrors Bill Richmond's life – he was someone who never gave up. And this is a play that refused to die in my laptop! I’m looking forward to working with Guildhall in a different capacity, and also with Boundless Theatre and their artistic director Rob Drummer – when I was an actor at the Bush Theatre, Rob was working there, so that's a special connection.

Could you tell us more about the journey of the play up to this point?

It started as some notes on my phone back in 2017 – I had this crazy idea to write about this largely unknown boxer. The play Black Terror become my solo final year production at Guildhall in 2019. From there, I pitched it to various theatres but they didn't see the potential. In hindsight, those rejections gave me more opportunity to develop the work. I took it to VAULT Festival in 2020 and did a slightly longer one-man version. Performing to three people in the audience was sobering and humbling, but it showed my dedication and gave me an opportunity to experiment, and see what worked and what didn't. Slowly the story of Bill Richmond came into being. And now the new characters I’ve incorporated have brought even more life to the story.

You said that the character of Bill Richmond fascinated you to the point of obsession. How did you happen upon his story and why did you decide to adapt it into a play?

Bill Richmond is one of those historical figures that I noticed quietly kept cropping up in various historians’ work. For example, David Olusoga, the author of Black and British: A Forgotten History, makes reference to Richmond. Then there's Luke G. Williams who wrote Richmond Unchained, which has been a fantastic source of information for my play.

I felt like Richmond was important to explore because he's largely unknown yet he made such a major contribution to boxing. So much so that he was asked to usher in the coronation of King George IV! He taught Lord Byron how to spar. He introduced African boxing styles during a time when it was normal for people to just stand there and get hit in the face. Richmond was said to be five foot nine, or possibly shorter. He thought, why should I stand there and get hit? Let me move out the way. It was such a revolutionary move that he became famous. But then he wasn't allowed to win any championships because he was black, and referees conspired against him. Despite being the better boxer, they wouldn't allow a black man to be a champion English boxer. 

Can you give us a preview of what the play will look like and feel like, and what audiences can expect?

It's going to be a theatrical event. I want people to feel as though they are at a boxing match, a big historical occasion, but also something that is current. So we've got an exciting setting that will allow us to play with form and introduce historical characters who will come head to head with contemporary ones. I'm really looking forward to seeing what the boxing will look like. I'm inspired by Sucker Punch by Roy Williams and The Royale by Marco Ramirez, two great boxing plays. But then at the same time, I love epic Shakespearean works, having played Othello at the Watermill. I’m fascinated by the idea of creating danger onstage. That's something we’ll definitely be exploring – how do we create that sense that anything could happen and a powder keg of emotions could explode at any moment? Boxing is a dangerous profession. I want the audience to feel that.

The purpose of the prize is to give writers the chance to create at scale, for example, for a large cast. Why is that important for the next generation of theatre makers?

Limitations on cast size can also limit what you can dig into. Having a big cast can give you freedom to introduce characters, stories, little theatrical moments that can become big and sprawling – almost cinematic. And that in turn can coax audience members out of their houses because they feel like they have even more of a reason to go to the theatre. It’s important for writers to hone their skills of character development beyond two, three or four characters – even that one minor character in your play needs to be distinctive and well-rounded. The Boundless Show Prize is encouraging creators to go beyond what they think is possible on stage.

You graduated from Guildhall in 2019 with an MA in acting. What’s it like coming back in this new capacity as a writer?

To return to Guildhall as a writer is really exciting – I always felt like I came to the School to train as an actor but left as a multidisciplinary person: a director, an actor, a musician. It's partly why I chose Guildhall, as I was able to rub shoulders with opera singers and actors and writers and production arts students. Coming back also feels surreal. I was a student here from 2016 to 2019, just learning and being open to new experiences. And now I'm bringing all of that into the writing process, working with the students, some of whom I know from my time here. It’s a full circle moment. It's like coming home.

What advice would you give to someone wanting to get into the industry or study at Guildhall?

You need to approach this industry with patience, consistency and resilience. Everything happens at the right time and for a reason. I was originally meant to train here in 2012 but didn't have the financial means. But I didn't give up. Four years later, I came back and re-applied and was able to find that financial support. The industry is very tough. So consistency is key. Patience is key. And resilience is key for getting into the industry, but also for studying at Guildhall.

Header image: Kalungi Ssebandeke (second from left) with, from left, Rob Drummer and Jordi M. Carter, Co-Artistic Directors & CEOs at Boundless Theatre; and David Linton, Head of Acting and Programme Leader at Guildhall School of Music & Drama. Photo © Hannah Ellerton.