Don’t Worry, seven methods of killing kylie jenner Isn’t About a Kardashian After COVID postponements, Jasmine Lee-Jones’ two-hander plus the internet finally makes its U.S. premiere where it tackles much more than trolls.

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Some stories are eternal—evergreen, we call them in news—others capture a moment in time. Finally making its U.S. premiere at Woolly Mammoth Theatre Company (after a COVID delay), seven methods of killing kylie jenner is the latter—a play that bills the internet as its third character in a two-character story. At face value you could say it’s about Twitter and trolls, but that would be selling Jasmine Lee-Jones’ writing and understanding of the world short. In reality, seven methods of killing kylie jenner, a British play produced by London’s Royal Court Theatre, tackles appropriation, Black womanhood, queerness, colorism, and best friendship.

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It is not, however, about Kylie Jenner or any part of the Kardashian regime. Written by Lee-Jones in 2019, the play responds to Forbes’ declaration that Jenner became a “self-made” billionaire earlier that year (“about as self made as my bed,” Cleo, played by Leanne Henlon, deadpans). It recalls that much of Jenner’s personal wealth stems from appropriation of Black women’s features—who can forget 2015’s lip plumping Kylie Jenner Challenge—and puts the spotlight on a young Black woman. Cleo, played passionately by Henlon, does what many do when reading appalling headlines—she takes to Twitter to share her rage, creating a thread of the ways in which she believes the famous-for-being-famous celebrity deserves to face retribution for appropriating Black culture and beauty.

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The play is set on a mostly empty stage with a smaller platform at the front and is surrounded by the audience on three of its four sides. It would be stark except for the amoeba-like blob—the internet?—that hangs above and sometimes glows a brilliant neon. Made out of what appears to be ropes of various thickness, with twinkling lights scattered throughout, the shape, which looks like something out of the Matrix sequels, adds a level of gravitas to the theater.

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For a play about the internet, it might come as a shock that there are no screens, especially since screens have become quite commonplace on stage these days. Instead, the characters—Cleo is soon joined by her friend Kara (Tia Bannon)—act out the Twitter replies, hashtags, and gifs. For anyone even moderately versed in the online world, it’s a marvel to behold. (Although between their quick remarks, acronyms, and thick British accents, you might find yourself wishing for subtitles.)

Over the course of 90 minutes, the play shifts between Cleo and Kara’s bickering and Henlon and Bannon embodying internet culture under the shape’s bright, changing lights. In the moments when the internet takes over, the talents of lighting designer Jessica Hung Han Yun, sound designer Elena Peña, and movement director Delphine Gaborit dazzle. You’re transported to another place that certainly isn’t a young woman’s bedroom or a black box theater. There are so many dance elements in seven methods of killing kylie jenner that I can’t help but describe it as beautiful to watch. Bannon moves ethereally across the stage all backbends and gyrating hips and smooth jumps. The choreography shared between the two friends is enchanting—a clear demonstration of how movement can tell a story as well as words.

Don’t Worry, seven methods of killing kylie jenner Isn’t About a Kardashian After COVID postponements, Jasmine Lee-Jones’ two-hander plus the internet finally makes its U.S. premiere where it tackles much more than trolls.

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