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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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Mnemonic - Complicité @ National Theatre London

September 07, 2024

Remounted 25 years later, Complicité’s Mnemonic continues to resonate. While the dramatic conventions of the piece have been replicated and copied by countless artists and in numerous productions since, they still feel fresh here; indeed, it was notable that in some ways, theatrical innovation has (in the main) stalled since, continually replicating flexible spaces, overlapping scenes, projection and live video interaction.

It was fascinating to see McBurney (and the company’s) trademark movements and choices in this early work, although this could be rework.

Having not seen the original, only read about it, it is difficult to say just how much has been adapted and refreshed versus the original. Obviously references are altered, particularly at the opening of the play, referring to the performers in this production, and even to the caché of the original and the company.

All of that said, the opening moments — blindfolded, opening the audience’s emotional relationship to memory are so simple and powerful that they will never stop working theatrically.

Tags: complicite, National Theatre, Remount, physical theatre
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