• Home
  • Current Projects
  • About
  • Productions
  • impel theatre
  • Writing
  • Teaching & Workshops
  • Press
  • Blog
  • Blog Archive
Menu

Kendra Jones

director . writer . dramaturg . instructor
  • Home
  • Current Projects
  • About
  • Productions
  • impel theatre
  • Writing
  • Teaching & Workshops
  • Press
  • Blog
  • Blog Archive

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


Second Summer of Love @ Drayton Arms Theatre

September 23, 2025

Second Summer of Love reflects on what it is like to be a Gen X former raver, now serious responsible adult and parent, and what happened to those joy-filled and optimistic free spirits. Framed around a mom and her teenage daughter who is revising for a Social Studies exam about drug use, the majority of the show exists in a flashback to her experiences as a 16 year old, raving in fields in the South of England. The flashbacks are when the play is strongest, but it really highlights how the script struggles when the other two actors are on stage; which is no disrespect to them, but rather to the impact of the adaptation from solo show to three hander. While this was needed for the actor’s ability to continue performing, the integration of the other characters as separate bodies in space needs more attention to help the script work in this new form.

Despite a strong performance from the lead actor, the injection of the additional characters, along with multiple false endings undermined its overall impact, which is too bad — as in its strong moments, it really had a funny and self-referential spark.

Tags: new writing, drayton arms theatre, solo show, adaptations
← Fat Ham @ Royal Shakespeare Company Stanley Donwood & Thom Yorke - This Is What You Get @ Ashmolean Museum →
Back to Top