Interview with Ed Stambollouian, Kenrex
Conducted by Penny for Theatre and Tonic
Heading to The Other Palace for a limited run in December following two previous successful runs at Southwark Playhouse Borough and its debut in Sheffield is Kenrex. It folllows the unbelievabily true story of a community who take back control. Ahead of its run, we spoke with one of the writers and director Ed Stambollouian to find out more about this piece of theatre!
1. You’ve already enjoyed a successful run at Southwark Playhouse - can audiences expect any changes when Kenrex comes to The Other Palace?
We’re absolutely thrilled to be bringing the show back and to even bigger audiences at The Other Palace this Christmas. It’s a slightly different space, so we’ve been having fun reconfiguring the production to really suit it. We’re also scaling everything up: expect it to be bigger, bolder, louder, and more thrilling than ever before.
2. What is it like directing your co-writer?
Jack and I co-wrote KENREX over about seven years, so it’s been quite a journey. That long development means we know the world, the characters, and the story inside out, which makes directing much easier. In a way, I’ve been “directing” the piece all along as we wrote it. We share such a deep understanding of the material that rehearsals feel very instinctive. Plus, Jack’s an extraordinary actor. Because he knows the piece so intimately, I can really push him to find detail and nuance in every moment.
3. How does it differ directing something you’ve written to another writer’s work?
Directing your own writing is a real joy. It feels like a far more holistic way to make theatre. Usually, the playwright’s voice leads and everyone else responds to that. But when you’re both writing and directing, you can think more fluidly about creative problem-solving. In rehearsals I often found myself asking: “Who can solve this moment?” Sometimes it’s Jack, through performance; sometimes it’s lighting, or sound, or music, or staging; and occasionally, the best fix is simply to rewrite the line. It’s a very dynamic, collaborative way of working.
4. You’ve worked on a number of comedy shows, how does it differ to directing drama?
Comedy and drama share so many of the same muscles. They’re both built on rhythm. In comedy, the rhythm of a joke often determines whether it lands. In drama, rhythm carries the audience through the emotional highs and lows of the story. The biggest difference is the audience’s response: theatre audiences usually clap politely at the end, whatever happens. Comedy audiences? If the material isn’t right they don’t laugh and sometimes they’ll even tell you about it! It’s a much more direct (and humbling) feedback loop.
5. Kenrex is based on a true story. What was it about this particular story that inspired you to write the play?
I’m a total true crime obsessive. I’ve devoured podcasts and documentaries for years. When we started writing KENREX, Jack and I were both listening to S-Town (from the makers of Serial and This American Life) and we asked each other, “Why is theatre rarely this thrilling?” We wanted to create a theatrical language for the true crime genre. While researching unsolved cases, we stumbled upon the story of Ken Rex McElroy and the town of Skidmore: a fascinating real-life mystery about justice, revenge, and moral grey areas. The small-town Americana setting was so specific, yet the themes felt completely universal.
6. Jack Holden is your co-writer, how did you come to be working together on the writing of Kenrex? Then how did this expand into the work you’ve done with the composer John Patrick Elliot to create its soundtrack?
Jack and I first met at Bristol Old Vic Theatre School. He was training as an actor, I was training as a director. We worked together on Annie Baker’s The Aliens, a beautiful play about two dropout stoners hanging around behind a coffee shop in small-town Vermont. I brought in John Elliott, a folk musician I’d met at university, to write the music. That collaboration was the start of our creative partnership and the beginning of a long love affair with stories set in small-town America.
8. The true crime genre has a huge following. Is there another story that you would like to tell?
I think crime stories and theatre are a perfect pairing. Just look at The Mousetrap, still running strong in the West End! Jack and I are currently adapting a notorious British true crime story for the stage, and I’d love to bring more of these twisty, gripping tales to theatre audiences. I’m a huge fan of the podcast Criminal, which tells extraordinary true crime stories from throughout history (including an episode on the Ken Rex McElroy case). It’s a treasure trove of dramatic, human stories just waiting to be reimagined for the stage.
9. What’s next for you?
As I mentioned, Jack and I are back at it writing an adaptation of a true British crime story. We’re also writing something about space, which has been a blast. Beyond that, I’ve got a few other things on the go: a radio adaptation of a classic film, some comedy collaborations, and the early stages of a new musical. It’s a really exciting, busy time.
10. What can audiences expect from Kenrex and why should they book tickets?
KENREX is a gripping, edge-of-your-seat thrill ride. True Crime meets Western with a live Americana bluegrass soundtrack. It’s a two-hander performed by the unstoppable and virtuosic Jack Holden and the ridiculously talented multi-instrumentalist John Patrick Elliott. Part cold-case investigation, part live gig, part cinematic epic. It’s a bold, high-energy night out. We like to think of it as theatre for people who don’t think they like theatre.
Kenrex plays at The Other Palace from 3 December to 1 February 2026.
