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9781786826732

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Christian is a delicate and thoughtful writer, deftly handling the moral complexity of her material * The Guardian * Putting grime in a theatre space is always going to feel weird, and 'Poet in da Corner' is endlessly aware of what it means to put a white girl in the middle of this story and this theatre. Does it do enough? I guess I'm not the right person to answer that question. But Stevenson's performance feels undeniable, soaked in the sweat of a '00s east London that's not quite Dizzee Rascal's, but authentically hers. * Time Out London * A gutsy, gritty breath of fresh air - a galvanising love letter to the music that allowed her to escape her claustrophobic East London upbringing... Stevenson is a witty wordsmith, spitting punchy, rapid-fire bars on education, on religion, on politics and everything in between, weaving in a classically structured coming-of-age rebellion story of a repressed teenager finding their voice through music... best of all, Poet In Da Corner is alive to its own innate complications... an energetic, exuberant gig-theatre show, built with theatrical savviness on Dizzee Rascal's iron-strong foundation. * WhatsOnStage * Like Stevenson's sprinting lyrics, Ola Ince's production oozes assurance... the skill with words clings. * The Times * An ode to [grime], performed as a poetic monologue but also a kind of grime musical... Stevenson maintains raw energy and passion and it is thrilling to see grime as a mode of theatrical storytelling. The heartstopping moments, though, are in the spoken-word poetry, when words blaze the stage and Stevenson appears like the Kate Tempest of grime. * Guardian * It's rare to come across a piece of theatre that is so gloriously and absolutely itself as this sparks-flying homage to grime music... one of the most exciting things I've seen all year... this poet deserves to be front & centre. * Evening Standard *

"""It's rare to come across a piece of theatre that is so gloriously and absolutely itself as this sparks-flying homage to grime music... one of the most exciting things I've seen all year... this poet deserves to be front & centre."" ????? * Evening Standard * An ode to [grime], performed as a poetic monologue but also a kind of grime musical... Stevenson maintains raw energy and passion and it is thrilling to see grime as a mode of theatrical storytelling. The heartstopping moments, though, are in the spoken-word poetry, when words blaze the stage and Stevenson appears like the Kate Tempest of grime. ???? * Guardian * Like Stevenson's sprinting lyrics, Ola Ince's production oozes assurance... the skill with words clings. * The Times * A gutsy, gritty breath of fresh air – a galvanising love letter to the music that allowed her to escape her claustrophobic East London upbringing... Stevenson is a witty wordsmith, spitting punchy, rapid-fire bars on education, on religion, on politics and everything in between, weaving in a classically structured coming-of-age rebellion story of a repressed teenager finding their voice through music... best of all, Poet In Da Corner is alive to its own innate complications... an energetic, exuberant gig-theatre show, built with theatrical savviness on Dizzee Rascal's iron-strong foundation."" ???? * WhatsOnStage * Putting grime in a theatre space is always going to feel weird, and ‘Poet in da Corner’ is endlessly aware of what it means to put a white girl in the middle of this story and this theatre. Does it do enough? I guess I’m not the right person to answer that question. But Stevenson’s performance feels undeniable, soaked in the sweat of a ’00s east London that’s not quite Dizzee Rascal’s, but authentically hers. ???? * Time Out London * Christian is a delicate and thoughtful writer, deftly handling the moral complexity of her material * The Guardian *"

Author Information

Dyslexic-Writer, Grime Poet, Working-Class Academic, Pansexual Ex-Mormon and Bashment Dancing Social Activist from the seam between East London and Essex: it’s not that simple. Debris Stevenson has no choice but to explore the intersectional, unexpected and unjust – it’s not just who she is, it’s her responsibility in a world that all too often summerises us into a caption. At secondary school 2002 – 2008 Debris was educated through the evolution of Grime, finding poetry in the mouths of the teenagers around her. Nurtured by the Roundhouse, Debris was then followed by Chanel 4 for a year (Yeardot), published by organisations such as, Louis Vuitton, Oxford University, BBC Radio 4 and Flipped Eye with her debut pamphlet, Pigeon Party. A social carrier pigeon, Debris has performed, written and taught poetry in over 20 countries and 10 American States. Her passion for nurturing and educating poetic communities started with The Mouthy Poets, teaching young people; creative writing, performance and event coordination as emotional, professional and creative life skills. Debris has since been awarded over £250,000 by Arts Council England to develop young talent. Debris is now working on her debut grime-poetry show at The Royal Court Theatre commissioned by 14/18 Now and The Jerwood Foundation. (She can also often be found dancing to Grime, Soca, Afrobeats and Dancehall for organisations such as The Heatwave and Red Bull Music Academy).

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