Monique Grbec

The internationally acclaimed Seven Methods of Killing Kylie Jenner is electric, must-see theatre. Full of pop culture references and contemporary drama, it speaks to the way that social media impacts our lives. Written by British playwright Jasmine Lee-Jones and co-directed by Zindzi Okenyo and Shari Sebbens, this five-star iteration elicits roaring laughter, enthusiastic clapping, quiet gasps and a standing ovation from the captivated audience. The Beckett Theatre, part of the Malthouse Theatre in Southbank, is dressed as an unassuming, low-rise living space with a bed, Besser block bookshelves and a huge suspended lightbox. In darkness, the blue light of a mobile phone illuminates Cleo (Chika Ikogwe, of recent Heartbreak High fame) aka #incognegro lying on her bed laughing and chuckling as she scrolls through her phone.  Daylight and the sweet sound of morning birdsong seeps into the scene. The high-low whistle of a Twitter notification propels Cleo out of bed to pace the room: "WTF!" The lightbox beams bright white and features the cute blue bird of the Twitter logo. The next hour-and-a-half flies by.  Forbes has declared reality TV star Kylie Jenner as the “youngest self-made billionaire” and Cleo is outraged. On a rapid-fire rampage of social activism, she slashes the myth of self-made wealth, while also confronting cultural appropriation and the fetishising of Black women.  In the vacuum of the tweetstorm, Cleo’s childhood friend Kara (Iolanthe) arrives to offer suppor