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Kendra Jones

director . writer . dramaturg . instructor
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impel theatre blog

Burgeoning academic.
Creator of things to read & experience. Thinks too much.
Analyzes everything. 

Reviews are meant to catalogue, interrogate, and challenge what I see.

All opinions are just that -- opinions. 

Pip Dwyer, Kaitlin Race, Jennifer Dysart McEwan in Watching Glory Die by Judith Thompson, directed by Kendra JonesPhoto by John Gundy

Pip Dwyer, Kaitlin Race, Jennifer Dysart McEwan in Watching Glory Die by Judith Thompson, directed by Kendra Jones

Photo by John Gundy


Sunny days ☀️
Happy Mother’s Day, Canadians 

#anarchyintheuk
Tangled.

Found in Commercial Street.
#london #spitalfields #streetart
Happy birthday @bonks21 ! If these pictures don’t exemplify our relationship, nothing does. Here’s to this summer’s European adventure which trades Scottish mountains for Parisian staircases.
❤️

Found in High Holborn, London
Just hanging out. 

Found in Commercial Street. 

#london #eastlondon #wheatpaste #streetart
Outside David Garrick’s house, on the banks of the Thames; his Temple to Shakespeare.

#hampton #temple #shakespeare
Saw Hate Radio at @batterseaartscentre - thought some things. You can read them on the blog, link in bio.

#theatre #archive #review #milorau #bac
Saw Book of Mormon the other week. Thought some things. You can read them on the blog- link in bio

📸: Prince of Wales Theatre ceiling
Our appetite and capacity to digest fragmented narrative is expanding.

@jordan.tannahill - Theatre of the Unimpressed 

#reading #theatre #mediums #mediation #experiences

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Photo courtesy of www.andrewjs.com 

Photo courtesy of www.andrewjs.com 

review. YOUARENOWHERE @ 3LD Studio (New York)

March 31, 2016

Andrew Schneider's YOUARENOWHERE is not your run of the mill theatrical experience. It is a merger of text and movement, technology and humanity, and conversation with existential interrogation. The play immediately immerses the audience in its world, demanding that we believe the truth of this place and time as we think we know it, and simultaneously challenges that notion of knowing.  We, the audience, are Heiddegerian beings flung forward from the very moment Schneider enters the performance space, and for days afterward. What are we experiencing? What is missing? Why aren't we more concerned about these gaps? 

Even the title evokes this questioning. You-Are-Nowhere? or You-Are-Now-Here? Both are relevant and appropriate and yet neither is quite right. This piece exists in the space between those two interpretations of its title, it seems. Here is a brief preview. Get tickets. This runs in NYC until April 10 after which it transfers to the Lift festival in London, which I have heard is sold out. 

Tags: review, theatre, performance art, new york, new writing, multimedia, Sound
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