Christine Rose Interview

Christine Rose Interview

This week, Naima Clarvis of Green Room Reviews interviewed Christine Rose, writer of Sanctuary, running from 26th – 30th November at Hope Theatre.

In a world teetering on the edge, Sanctuary tells the story of two women trapped in a basement as political violence erupts outside. Cassie, a disillusioned liberal, sees the rising fascism and male violence as inescapable, while Amelia, a conservative woman of faith, denies the severity of the situation, clinging to the hope that it will soon pass.

As the threat outside intensifies, the ideological differences between these lifelong friends begin to unravel their bond. With each clash, they confront not only the danger at their door but also the tension between survival and denial. When Amelia steps into the fray, believing she’s safe, the brutal consequences force Cassie to grapple with her guilt and fear in a world where no one is truly safe.

This powerful play challenges audiences to reflect on the dangers of political complacency and the human cost of ignoring the truth. Sanctuary explores survival, friendship, and the fractured state of today’s world, leaving no easy answers but raising questions that will linger long after the curtain falls.


Q. What was it that inspired you to write Sanctuary?

A. In 2020, while living in Portland, Oregon, I felt increasingly unsafe as the police brutality intensified and BLM protests escalated. Then the Proud Boys began parading armed convoys through the city. They even set up checkpoints during a fire evacuation, making the prospect of them patrolling streets feel chillingly real. By 2024, I’d moved to London, anticipating Trump’s return to power and the chaos it might unleash. His promise to pardon imprisoned Proud Boys inspired Sanctuary: a story of roving “Patriot Boys” terrorising neighbourhoods, told through the eyes of someone hiding in a basement, paralysed by fear…because that’s probably how I would be!

Q. Your play explores themes of white supremacy, male violence and rising fascism, all of which have come especially to the forefront with the recent US Election. How has the play adapted as a result? 

A. I often joke that my mother should’ve named me Cassandra because my “catastrophising” often proves true, though no one believes me at the time. That’s why the protagonist of Sanctuary is named Cassie. While I can’t see the future, I do have a knack for recognising patterns and radically accepting what others avoid because it’s too frightening to face. The play wasn’t updated to reflect recent events around the US Election or the rise of white supremacy, male violence, and fascism – I saw them coming. Trump emboldened these groups years ago, and I knew his return to power would only make things worse.

5. The play is also set during a new American civil war, which many believed was a dangerously close possibility had Trump lost the election. How do you think the play might have changed if that had been the case? 

It’s still a dangerously close possibility. I believe America has been in a cold civil war since 2020, with the divide between people growing deeper every year. Cassie and Amelia reflect this divide. If Trump had lost, there likely would have been a brief but intense period of violence before things settled. With his win, however, the danger feels far greater, with a very real potential for an actual civil war. We’ve already seen a surge in racism and misogyny within hours of the election results, and it’s likely to escalate. If Trump enacts his promises—pardoning the Proud Boys, using the military for mass deportations, and weaponising the DOJ against political opponents—what happens in Sanctuary could be just the beginning.

6. The two protagonists seem to be quite opposing in their views: one a right wing religious conservative, the other a despairing liberal. Do you find parts of yourself in both or do you identify more with one? 

There’s definitely more of me in Cassie, the ‘despairing liberal.’ I can’t relate to Amelia at all—her right-wing, religious, and conservative views are far removed from my own beliefs. But Cassie shares some of my experiences and the lessons I’ve learned from them. Like me, she’s fierce, opinionated, empathetic, and deeply kind. She faces hard truths head-on, refusing to deny or ignore them, like Amelia does. When confronted with a horrific situation, Cassie embodies radical acceptance, no matter how difficult or terrifying the reality may be.

7. What has it been like working alongside musical-legend Donna King!?  

Donna’s enthusiasm and creative energy are truly infectious, and she brings such a vibrant force to the production. She has a remarkable ability to inspire everyone around her while ensuring the story’s heart and message shine through. Getting to know her personally has been such a delight, and working alongside someone of her calibre has been a privilege. I’ve learned so much from her already.

8. Do you think that friendship can survive deep political difference?

Similar to the first American Civil War, families are being torn apart. Children are cutting ties with their Trump-supporting parents, women are serving MAGA husbands with divorce papers, and lifelong friendships are dissolving. But people aren’t losing relationships over “politics”; they’re losing them over fundamental differences in morality and ideology. This isn’t about debates on taxes or infrastructure—it’s about the survival of democracy versus the rise of fascism. Supporting MAGA and Trump means prioritising policies that oppress people of colour, LGBTQ+ communities, and other marginalised groups over protecting democratic values and human rights. It’s about endorsing mass deportations, white male supremacy, and controlling women. It’s not a political disagreement—it’s a moral divide. When someone chooses authoritarianism, they make it clear where their values lie, and for many, that’s a line they can’t cross.

9. The themes your play explores are perhaps more starkly apparent in America, but certainly are also in many other parts of the world. What made you choose America as a setting? 

I chose America as the setting for Sanctuary because I’m American, and I’ve been deeply concerned about the direction of my country since the 2000 (s)election, when the Supreme Court halted the recount and handed the presidency to Bush. In 2004 and 2005, I made two political documentaries questioning US government policies and actions. But now, Trump has made Bush seem almost benign by comparison.

I specifically set the play in Portland because it’s where I lived during most of Trump’s first term, and I witnessed firsthand how his presidency impacted the city. Sometimes, I fear that if a new civil war does unfold, history may trace its origins back to Portland in 2020. The clash between the Proud Boys and Antifa was intense. Trump deployed the National Guard not to protect protesters from police brutality or intimidation by the Proud Boys, but to protect property. Federal officers used unmarked vans to snatch protesters off the streets and detain them without explanation, and police shot people with “less lethal” ammunition, sometimes causing lifelong brain injuries. The streets were filled with tear gas for over 100 days, leaving lasting health issues for those living in the hardest-hit areas. I even made a short video for YouTube called The Revolution in Portland, featuring footage from community journalists documenting the true events on the streets during that time.

10. Your own memoir One Reason to Live, seems to be ultimately a tale of hope. How important is hope in Sanctuary? 

Questions about hope are challenging for me because it’s often used as a crutch, an addictive way of avoiding action. People cling to hope, thinking things might improve, but it can prevent them from facing reality and taking responsibility. I find the word overused, often silencing those in pain because their experiences are uncomfortable to confront. In When Things Fall Apart, Buddhist monk Pema Chödrön discusses the concept of ‘Ye Tang Che,’ a state of complete hopelessness. She explains that only by fully accepting the absence of hope — no knight in shining armour, no saviour coming to rescue you — can you begin to understand who you are and confront the reality of your situation. This resonated deeply with me. In One Reason to Live, my survival wasn’t driven by hope, but by radically accepting that there’s no hope – only reality and how I choose to respond to it. This idea is reflected in Sanctuary, where Cassie echoes this belief, confronting the harshness of reality without relying on this elusive ‘hope’.

11. Finally, what has been your favourite part of this process? 

My favourite part of this process has been working with the creative team, especially the actors. As an introvert who works remotely, I can go days without much face-to-face interaction – partly due to my past experiences and resulting challenges with C-PTSD. These struggles have sometimes led to self-isolation, which can be dangerous for me, but supportive friends, a loving partner, and my rescue cat, Smudge, help me stay connected to the world. Working with this talented group of creatives has reminded me of the power of human connection. The collaborative energy has been both healing and inspiring, and I’m deeply grateful for this privileged experience.

Naima Clarvis interviewed Christine Rose

SANCTUARY
By Christine Rose

The Hope Theatre
207 Upper Street
London 
N1 1RL 

26th – 30th November 2024. Tues – Sat at 7.45pm 

BOX OFFICE
0333 666 3366

https://www.thehopetheatre.com/productions/sanctuary/

CREATIVE TEAM
Written by Christine Rose
Directed by Donna King

CAST
Laura Shipler Chico as Cassie
Andrea Milton-Furlotti as Amelia

CONTENT WARNINGS
This production includes offstage political and sexual violence, social and political issues, misogyny, threat, sounds of gunfire and explosions, and politically-charged dialogue.

More information about Christine Rose:  christineroseauthor.com



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