• Performers Rebecca Mordan and Sharon Andrew are a good double act. They are best when niggling away at each other and are very comfortable bouncing ideas off the crowd…daft, enjoyable and fun. I don’t think I will ever forget the sight of Brannie hurling leaves to Wuthering Heights in a misplaced attempt to recreate the […]

    The Scotsman

The Kisses

‘The Kisses’ was Scary Little Girls’ very first fringe theatre production, performed at The Courtyard, King’s Cross in 2003.  Below is a selection of promotional material and reviews of the show, including a link to the extensive and informative mini-site created especially for this production.

This Hallowe’en, the gothic classic Dracula is strikingly reborn in a remarkable new treatment entitled The Kisses.

Many hours of historic research have taken Rebecca Mordan deep into Stoker’s mind. Her adaption not only delivers the author’s intention more faithfully than previous work but takes its allegory further than he could ever have imagined.

Reviews

Excellent touches…excellently judged.
The Telegraph

Rebecca Mordan’s rigorous re-examination of Dracula…lifts this piece above the norm…Mordan’s exciting new adaptation could easily become a stable for theatre companies and schools.
The Stage

This courageous new adaptation of Bram Stokers’ gothic classic features a female Count…there has always been something sexual about blood sucking but Scary Little Girls move things a step further by bringing us female masturbation and orgasm with each bite…members of the audience will find themselves tipped out into Kings Cross which seems the perfect setting for the sexual depravity, drug use and general insanity of this production.
The Camden New Journal

Rebecca Mordan is no ordinary playwright. Taking artistic vision to a new extreme…Scary Little Girls present Stoker’s masterpiece as a study in female desire. Cue a fresh look at the consequences of the female orgasm…The cast’s real achievement is to lend this gothic tale an air of camp humour. Director Rosie Hughes lightens the tone with the help of two vampire brides, and these short in-between-the-scenes mime acts render the production gracefully fluid. Indeed, Hughes’ eye for images and Mordan’s low-key dialogue results in a surprisingly filmic show. For it is less her interpretation than her style of writing that makes Mordan’s script so innovative…she sidesteps the books moralising with a less portentous form of writing…her script boost a modern clarity that proves highly watchable…Scary Little Girls claim to strive towards conveying the “true richness” of classic texts. It’s a noble ambition from a writer with a distinctive voice of her own.
The Ham and High