|Photo by Teniola Komolafe|
Darlinghurst Theatre Company and Green Door Theatre Company present SEVEN METHODS OF KILLING KYLIE JENNER, by Jasmine Lee-Jones, at the Eternity Theatre, Darlinghurst. 17th April - 15th May (an extended season).
SEVEN METHODS OF KILLING KYLIE JENNER, is a 2019 play, by Jasmine Lee-Jones. It premiered at the London based ROYAL COURT THEATRE - a theatre company that is a factory (meant in a complimentary way) producing some of the best new work that there is to see. If we are ever are able to get over to London again in our lifetime, this is a theatre that should always be on your list of must attend no matter what is showing. (In fact, I advise, no matter what you have read from the British critics, go. The standard of work is always impressive even if the particular production is regarded as a dud. The Australian stage, rarely, reaches that quality of presentation we see over there. It is always rewarding somewhere, somehow.) With the available National Theatre productions the quality of work one can see in London is immensely impressive and, mostly, awe inspiring.
The National Theatre can be seen on the Net, so, some of the Royal Court repertoire can also be seen. The productions are also screened in the Art House Cinemas: The Palace and the Dendy.
SEVEN METHODS OF KILLING KYLIE JENNER, after reading the London reviews, seemed to be an impossible wish to see in Sydney. It is written for two black female Londonites: Cleo (Moreblessing Maturure) and Kara (Vivienne Awosoga), arguing in a difficult regional dialectical demand debating black politics, and using a youthful cultural entry point of the twittter/internet sphere. All this may have presented as obstacles for attempting to produce this play in Sydney as an Independent Production. Darlinghurst Theatre Company and Green Door Theatre Company were not deterred. Bravo their courage.
A twitter announcement from Kylie of the Kardashian/Jenner cultural juggernaut as the cause of triumphalism as the first self made billionaire infuriates a low earning citizen, Cleo, to retaliate with a reply that burgeons a dynamic lighting up of the 'gadgets' of contemporary communication. Cleo's best friend Kara joins her at Cleo's small flat/home where the 'twitter war' ignites a cauterising battle of political ethics that are at once, universal, and personal, between the two women. Covering, amongst much else then just colour/race, blackness, feminism and queerness, the play becomes a crucible of hot confrontation and telling of truths that flay the two women to the central core of their joint beliefs - challenging their friendship. Kara is forced to leave the friendship, and standing alone, Cleo must confront the pedestal that she has placed herself on. The play is brilliant in its furious argument, a stimulant for intellectual awakenings and compassionate empathies, rawly exposed for the characters and, I believe, for the audience. The play, I must add, is a comedy as well as a confrontation - bracingly funny.
SEVEN METHODS OF KILLING KYLIE JENNER, in this jubilant, bold production by Shari Sebbens is the best theatre that I have sat through in ages. It is a theatrical, intellectual cyclone of energetic thoroughness that makes one feel that the theatre is not dead as a contemporary means to stir an audience to thought, word and hopefully, deed.
Now, reading some other reviews of this production it has been interesting to see the authors declare their cultural age/heritage in assessing this play, to justify their owning and loving the material, treading delicately around the social appropriation, by them, (HA!) for having enjoyed it so much. I have to declare that I'm an elder of the tribe, an old, near dead white guy, who has passionately pursued his life goals and is quietly satisfied, and I wish to declare my identification with the conversation action of this play. I am unequivocal in my love of it.
This text had a third character on the stage : a live action video by Wendy Yu that vitally flashes the internet conversations in their encrypted language and emoji images, above the stage, accompanied by an adept Sound Design by Kim "Busty Beatz" Bowers, both, helping to sustain a flow of energy that ensnared our concentration. It was no matter that I had to 'learn' what was going on above my sight lines, for while I sat there, I became a quick learner - because the energy of this production made me to want to be in the know, not to be left out of it or behind. Nor did the fact that the dialect used by Ms Maturure was almost, to begin with, a foreign language, to my ear, for, similarly, I gradually 'tuned' in, and I used the distinctive contemporary cultural gestural offers that both the women used, as an accompanying tool to assist in my translating. Nothing much was lost in translation - though I saw this production late in its season and I wished - wish - I could see it again.
The Set and Costume Design by Keerthi Subramanyam, fitted this space as best I have seen it used, lit well by Kate Baldwin.
Both Ms Maturure and Ms Awosoga, as individual artists and as a comic duo - ensemble - were brilliant in all their courageous flamboyances. Ms Sebbens should and ought to take great credit for her whip smart, daring Direction. Jasmine Lee-Jones was brought to life with assuredness to bring contemporary theatre life in Sydney into the next age. This production should find a further extension. I, personally, have many, many theatre going friends who missed it in this first showing and I would like them to be able to see it and grow. I, definitely, want to see it again.
It is interesting to see that the Royal Court has announced that a revival of SEVEN METHODS OF KILLING KYLIE JENNER will be the opening production of the Theatre after the long stop hiatus caused by Covid 19.
Bring it back to Sydney. We can learn from its urgency.