First review: Full Version:

This was for me, one of the most engaging and rewarding pieces of theatre I have seen for a very long time.

I found it startlingly and brilliantly unsafe. A pretend lecture on Shakespeare became an edge of your seat experience. What was being asked of me as audience member? Am I suppose to chime in? Am I supposed to respond? The apparent plant, yes. But other audience members fell under the spell and responded as well. Were they ruining it? Were they making it better?

“We need to stop asking rhetorical questions in the theatre”, the character of June tells us. And with a single line brings the whole show into perfect clarity. This is not a performance. This is not a lecture. This is now. This is a moment. And for the first time in a very long time, I felt that I (the audience) was part of that moment. Trying to capture a theatre that we have lost. Memories that are no longer our own. Rules and guidelines have replaced what once was skill and human instinct. We have become creators of oh-so-clever recitals. What Flloyd has captured is the importance of that all pervading, all-powerful question that (at least for me) all great theatre is based on – “What Happens Next”?

Matthew Ryan


About Flloyd Kennedy
Flloyd has performed as a traditional folk singer, cabaret artist and street performer, as well as being founding artistic director of Golden Age Theatre, Glasgow. She performed in Scotland with a number of touring companies before returning to Australia in 1997. Now based in Liverpool, UK, Flloyd shares her experience with student and professional actors, professional men and women, community groups and youth theatres. The human voice in performance is her passion and she is deeply committed to encouraging everyone to explore their potential, in all walks of life. Flloyd Kennedy's approach to actor training has been influenced by some of the world's foremost voice and theatre practitioners, including Valerii Galendiev of The Maly Drama Theatre of St Petersburg (Russia), Anna Petrova of the Moscow Art Theatre School (Russia), Shauna Kanter (USA), Krszysztov Miklasewski (Poland), Frankie Armstrong, John Wright (England), Harriet Buchan (Scotland), Marcia McCallum (Australia) and Ira Seidenstein (Australia). Flloyd also creates jewellery, using wire-sculpture, wire-wrapping and beading techniques. Find out more at

One Response to First review: Full Version:

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