Our first public showing was so well received. What a generous audience! Here’s a response, just arrived in the email:
“See it! It’s funny! Flloyd has a masterfull connection between herself and her character and immediately puts her audience at their ease, and then walks them down a journey of pain and hilarity.
Peter Rasmussen BA CGA- Casting Director”
Another showing is scheduled for Melbourne this week. Come along to Cecil Street Studios, 66 Cecil Street, Fitzroy 7.00 pm sharp. You can book your ticket in advance (donation only, totally voluntary!) here.
“Yes, Because…” will be available for touring from April, 2015.
Dame June Bloom is back! This time, she’s appearing in her own solo show, with ukelele. In fact, she has two, but she only plays one at a time.
Yes, because… is a brand new cabaret, or revue, or maybe a one woman variety show! Dame June Bloom – Shakespearean actor, scholar, poet, raconteur and singing clown has arrived back in town after an exhausting round-the-world lecture tour. But she’s always prepared to share her songs and poetry along with some of Shakespeare’s sonnets for anyone who shows up.
We’ve been in script development and rehearsal for several months, and now it’s time to try out on a few friends and relatives. After that – we hit the road!
Dame June Bloom is the alter ago of Flloyd Kennedy, who – like June – has been performing since the age of 6, when she danced and sang “Cincinatti Dancing Pig” at the Townsville Town Hall. Since then, she has lived, loved, studied, taught and performed in the UK, USA, Russia, Nigeria and NZ. Recent performances include Juliet’s Nurse in Romeo + Juliet, Mary’s Nurse in Maria Stuart, Juliet in A Tender Thing, Old Nun in Bullets for the Dead and busking on the green at the Royal Shakespeare Theatre, Stratford upon Avon.
I’m in a play. Just in case you hadn’t heard. And I’m pretty old. So why would you want to see a play with old people in it? Shouldn’t the arts, and theatre in particular (which, we are constantly being told, is dying) be about young people? Shouldn’t it be up to date with the latest technology, with lots of blood and explosions and examinations of 21st century issues?
How about a play about love that lasts a lifetime. Are young people interested in that, as a possibility? Or are they only attracted to a play about young people who die young? Is it true that young people don’t believe that old people understand love? Is it true that old people have all forgotten what young love is like?
This play I’m in was written by a young man. Ben Power is an English playwright and dramaturg who was in his twenties when he moved from one of the UK’s most dynamic, inventive theatre companies, Headlong Theatre, to become an Associate Director at the RSC, (in 2009) who then commissioned him to create a modern day adaptation of Shakespeare’s text of Romeo & Juliet.
In this new form, Romeo is in his seventies. It’s not the same Romeo. This one met his Juliet at a dance in town when they were both teenagers. They married, had a child, lost the child, worked, played, lived a full life, and retired to somewhere on the coast. So they didn’t die young. Does that make them any less romantic?
I don’t know the answers to any of these questions. I put them out there as a challenge. Ben Power’s play, “A Tender Thing” is a challenge, not because it is difficult – it’s not a difficult play. It’s clear, open, refreshingly different. It’s Shakespeare, Jim, but not as we know it. It’s difficult because it takes a highly contentious, contemporary issue that is very much in the news and on our minds in this year of 2013, and examines it through the passionate love story of two otherwise ordinary people. Yes, they could be your grandparents. But don’t stop there. They could be you.