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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: L: Lara Arabian in promo still for 'Siranoush.' Photo by Robert J. Brodey.
R: Babz Johnston as Ginger Spice in Wannabe: A Spice Girls Tribute. Photo by Screamsmedia.
“It feels lovely to be in this curated window of [the festival],” says Siranoush writer-performer Lara Arabian. "We are excited to have a conversation with the Fringe audience.”
iPhoto caption: Photo courtesy of Luminato Festival.
REVIEW: Is Tim Crouch’s An Oak Tree worth seeing twice at Luminato?
Crouch tests the limits of theatrical representation, improvisation, and authorship. While I’m usually a sucker for exactly those types of experiments, I ultimately found An Oak Tree a bit underwhelming.
iPhoto caption: Jaime Lujan in 'Reina.' Photo by Eden Graham.
REVIEW: Documenting seven Toronto indie shows, from Factory Theatre to the Tranzac Club and beyond
I’ve started writing brief reviews of Toronto productions Intermission isn’t otherwise covering, and stowing them away until I collect enough to publish in a batch. And now here I am, with seven.
iPhoto caption: 'The Hound of the Baskervilles 'rehearsal photo courtesy of Lighthouse Festival.
Three actors juggle 17 roles in Lighthouse Festival’s The Hound of the Baskervilles
“[I’ll] be taking off a full tweed suit and putting on a Victorian dress,” says actor Andrew Scanlon. “There will be a lot of coordination that needs to go on.”
iPhoto caption: 'Queen of the Night' promo photo courtesy of Luminato Festival.
REVIEW: Two site-specific Luminato concerts explore the significance of daily ritual
Grounded in a heightened sense of time and place, both Dawn Chorus and Queen of the Night Communion express curiosity about how art can disrupt patterns of living.
iPhoto caption: Justin Collette in 'Beetlejuice.' 2022 photo by Matthew Murphy.
REVIEW: For a show about death, Beetlejuice is impressively full of life
It's a thoroughly entertaining musical that even improves on the original film, adding a far more cohesive storyline, clearer character motivations, and an updated sense of humour.
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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