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Kemi King
Kemi King (she/her) is a writer, director, and performance artist. Her work has been produced by Obsidian and Canadian Stage. She has also created and performed works with Soulpepper Theatre and as a part of the Paprika Festival. She is one of the co-founders and artistic director of YIKES, a theatre company founded in her second year of undergrad. Kemi is passionate about the arts and how they can be used to help shape social consciousness.
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iPhoto caption: Photo by Dahlia Katz.
REVIEW: Psychology and ideology collide in Necessary Angel’s austere Winter Solstice
Winter Solstice left me in a state of tension — pondering whether, in a similar situation, I’d be more likely to flirt with or kill a potentially evil man.
Armchairs, tattoos, and an online theatre magazine
When I started at Intermission, my world was limited to the confines of an armchair. Arts journalism was a high it felt dangerously fruitless to chase. The life stretched ahead of me was amorphous and frightening, a chasm filled with hand sanitizer and immigration concerns. It was worth crying over a spilled kombucha and scrubbing at the stain.
iPhoto caption: Headshot courtesy of Marcia Johnson.
Speaking in Draft: Marcia Johnson
"The whole reason I started writing was to give myself work, because I just wasn't getting lead roles, I wasn't getting interesting roles, and I knew that I could carry them off," says Johnson. "My goal when I wrote You Look Great Too was for people to say, ‘Oh my gosh, yes, she can play a lead’ — and then I would never have to write again. Then it turned out that writers were more in demand. I thought ‘OK, maybe I’ll write a few more plays.’"
iPhoto caption: Photo by Ann Baggley.
REVIEW: Here For Now’s Dinner with the Duchess is an aching étude on the cost of creative passion
Dinner with the Duchess is a tallying of an artistic life’s costs that builds a symphony out of simple presentation, resounding long past the final note.
iPhoto caption: Photo by Dahlia Katz.
REVIEW: Wights sizzles with ambition at Crow’s Theatre
While the play’s genre-straddling form feels slightly too ambitious for its concept, this sheer ambition is exciting, challenging audiences to think, while warning us that we can only go so far with words.
Announcing the winners of the 2024 Nathan Cohen Awards
The Canadian Theatre Critics Association has announced the winners of the 2024 Nathan Cohen Awards for Excellence in Critical Writing, including two writers from Intermission.
REVIEW: Wedding Band at the Stratford Festival
The piece is not a “love triumphs” story, because sometimes love just isn’t worth it.
REVIEW: Cabaret Noir at MAYDAY/dance Immersion/Canadian Stage
Black histories and calls to culture within media (theatre, song, film, theory, poetry, language) ensure the culture endures as a living memory.
iPhoto caption: Image courtesy of Factory Theatre.
The Flight's storytelling warmed my heart: we do not often see stories of Black people accomplishing things without their trials and tribulations at the forefront.
REVIEW: ‘da Kink in My Hair at TO Live/Soulpepper
Black women have been going through the same shit for a stupid long time, yet through it there is also space for joy.
iPhoto caption: Original photo by Dahlia Katz.
REVIEW: Is God Is at Canadian Stage/Obsidian/Necessary Angel Theatre Company
As Black folk we often deal with our pains with laughter: both the text of Is God Is and its delivery afford space for that.
“Breaking, But Not With Age”: In Conversation with Crazy Smooth on In My Body at Canadian Stage
"The timeline of your body is different from the timeline of your spirit, and there's a world where if everything is aligned right, certain rules don't apply anymore," says Yvon Soglo, AKA Crazy Smooth.
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