Queerguru’s Jonathan Kemp reviews Nick Ishmale Perkins’ in A DOZEN THINGS I’D RATHER BE

    Presented in the form of thirteen poems, written and delivered in everyday speech, this one-person show details the journey of our protagonist, and presumably that of the performer delivering it, Nick Ishmael-Perkins. The performance is as much of the body as of the narrative that body lived through and there’s a wonderful physicality … Continue reading

Queerguru’s Jonathan Kemp reviews SALOME ‘full of sexual energy & spectacular dancing

  Salomé  ☆☆☆☆☆ EDIFICE Dance Theatre The Place, London Salomé is the biblical gift that just keeps giving, from Wilde’s scandalously decadent take on it and the Aubrey Beardsley drawings it inspired, to the curate’s egg of Ken Russell’s film version. Last year, I reviewed for Queerguru a production that cast Salomé as a pretty … Continue reading

Queerguru’s JONATHAN KEMP reviews Sean Matthias’s “unmissable play” A PRAYER FOR WINGS

  A Prayer For Wings  ☆☆☆☆ Written & Directed by Sean Mathias Kings Head Theatre, London Originally written as a commission for “a young actress who wanted a humdinger of a role”, according to Mathias’ programme note, A Prayer For Wings has been revived 35 years later, and retaining a freshness and relevance with its … Continue reading

Queerguru’s Jonathan Kemp reviews The Luncheon part of the Queer Season at London’s Tristan Bates Theatre

  The Luncheon ☆☆☆ By Kace Monney and Luis Amalia Curated by Otherland Theatre Tristan Bates Theatre “Do not come looking for answers”, the blurb warns. The performances are engaging and flawless, the two actors engaging with each other with vitality and energy and a great familiarity. It’s unclear how scripted this is, as there’s … Continue reading

Queerguru’s Jonathan Kemp reviews the World Premiere of Time and Tide

Time and Tide ☆☆ The Park Theatre London You might think a play set in a sleepy backwater British coastal town would be dull as ditch water, and you’d be dead right. With sledge-hammer subtlety and zero evidence of subtext, this play is set entirely in May’s Caff, which never seems to have any customers. … Continue reading

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