KAT Woods is a writer and director from Co. Fermanagh and is represented by Independent Talent and published by Samuel French.

Kat is an Associate Artist at The Pleasance Theatre and Omnibus Theatre London, and is also a Royal Court/Kudos TV Writers Group alumnus.

Her work has been performed across the UK, Ireland, Finland and the USA.

Her awards include the Peggy Ramsey Award, the Royal Literary Fund, The Stage Award for Excellence, and The Fringe Review Award for Outstanding Theatre.

Kat is currently under commission with the MAC, Tinderbox Theatre, The Abbey Theatre, The Lyric, Paines Plough/Pentabus, and in development work with Out of Orbit productions.

She has been selected to take part in both the BBC Writers Drama Room and BBC Belfast Voices projects.

What got you into theatre?

An ex’s mum would get a little frustrated with me whilst I was doing a Sociology degree because I wasn’t doing something creative.

At the time, I would be like, “Wise up!”, because I didn’t know that that was an option for me – it was certainly not something any teacher told me to pursue.

Then me and my ex split up, and the first thing I did was look up creative jobs, and I applied to the Drama degree course at Magee (Ulster University).

What got you into writing?

I had moved to London to train at the drama studio on their [Magee’s] directing course.

As part of my training I had placement in the White Bear Theatre pub in Kennington, and the artistic director gave me a bundle of plays to read so that I could direct one of them.

They were all crap, and I thought to myself, “If he is willing to put this crap on, maybe I could write something that is just as crap!”

And so, my first play, Skintown, was born!

Have you always been a ‘drama queen’?

The schooling system in Northern Ireland has never favoured a career in the arts, and in 14 years of school not one teacher pointed me in the direction of drama, which is mad, because I was the biggest ‘drama queen’ as a teen.

When and where are you most productive? Do diamonds form under pressure with you or are you a strict timekeeper?

If procrastination had a human form, it would be me. I watch everything, from TOWIE to Sci-Fi to Drama.

I am also a binger, so I would easily smash through 10 episodes of something in a day instead of doing work.

I am most productive during the day in cafes, or between the hours of 2am and 8am.

Your work is often political – should theatre be political?

I don’t actually write with that intention. Theatre is a reflection of the world around us, and if it does not represent what is going on socially, then it is not portraying the truth of how we exist.

In saying that, things like Panto have a place – just stop casting Aladdin as white; representation matters.

What is your proudest moment as a theatre-maker?

Theatre and the arts in general are a difficult career choice. At one stage, when I lived in London I worked two jobs – one managing a coffee shop during the day, and one a hot dog restaurant at night.

So I would cycle across London at 4.45am to start my day, then I would have to fit theatre around that; producing, writing, directing, promoting.

Every time I see my work on stage with a live audience, they come out talking and engaging in conversation about what they have seen, and I feel proud. Exhausted, but proud.

I also love seeing Enniskillen people at my work – that, for me, is when I’m my happiest.

Do you have a favourite play of yours?

Every time I work on a play it is my favourite play. Because I get so immersed in the world. I live and breathe it until it is birthed.

Who is your theatre inspiration and why?

There have been a few recently who have pushed me to be better. Not only better as a theatre maker but a better person.

Chris Sonnex, Aoife Lennon, Patrick O’Reilly, Cat Shoobridge, Charlotte Bennett, Dylan Quinn – although he’s technically Dance, but we will sneak him in there!

What is your favourite play/piece of theatre by someone else?

Disco Pigs by Enda Walsh, anything by Patrick O’Reilly at Tinderbox. Lettie Precious, Matilda Ibini, Eva O’Connor, Monsay Whitney, Stacey Gregg, Finnoula Kennedy – I mean, this list of incredible female playwrights is endless. They’re all incredibly beautiful, inspiring makers.

Any advice for anyone who wants to get into theatre?

Just do it. It’s not easy, and you might have to have a full-time job that can exist alongside, but the payoff is worth it overall.

You do need a thick skin – it has taken me ten years to get paid commissions. But now, I have four on the go!

If you are serious about it, get in contact with me, and I will help in any way that I can.