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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

tweets


To Be You @ The Glitch

August 17, 2026

Esohe Uwadiae’s new play To Be You is a one woman show following the journey of two young women learning to embrace themselves as they are, over the course of a lifetime. Shifting seamlessly between present and past, the incredible Efé Agwele moves deftly between the two main characters as well as a host of additional individuals. Her movement and physicality is detailed and nuanced, while her vocal work creates a multitude of characters, each of whom is distinct from one another. She holds our attention in the tiny Glitch basement studio with ease, taking us in as if speaking with friends, a playful connection with each of the audience members, drawing us in.

Shakira Newton’s direction is at the core of this truly exceptional production; she guides Agwele musically through Uwadiae’s script, finding delightful shifts in pace and energy, and using the space to create dynamic depth that transports us away from the low ceilinged basement to the edge of a cliff, and beyond.

This is a really outstanding piece of work, well worth your time - and I hope to see it remounted for a longer run.

Tags: new work, new play, new writing, The Glitch, reviews
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