So this man is sheer genius . He is the marker of how great a piece of real theatre is . Nobody matches him ! He is magical spiritual and goes into realms beyond the mortal man So miss you !
There was a comment left on The Guardian website underneath Lindsay's obituary which I'd like to copy and paste: "That final, stunning pieta at the end of 'Flowers' with Kemp's bloodied mouth howling an endless silent scream as he cradles the lifeless boy... and as Puck, painted green and dusted with glitter, as if he'd just stepped out of a fairy painting by Richard Dadd, peeking out from behind the patchwork frontcloth and pulling it down to start the show... And let's not forget the members of his extraordinary company too - Jack's unforgettable solo as the old Music Hall comedian in 'The Big Parade' singing 'I Didn't Raise My Boy To Be A Soldier', Christian sashaying on stilts as Juliet in the rude mechanicals' version of 'Romeo and Juliet' (sic), Francois as an unearthly Changeling Boy in 'A Midsummer Night's Dream' and the flirtatious Jazz Baby in 'The Big Parade', Javier channeling Garbo in 'The Big Parade', and David as the Angel in 'Flowers'... It seems as though Kemp's company has spent the last few years gradually relocating itself to the other side - Michael Matou, Atilio Lopez, Neil Caplan and Javier Sanz were early losses, and more recently Lindsay lost John Spradbery (the lighting designer responsible for those intense colours and trademark chiaroscuro effects), Carlos Miranda (his long term composer and musical director) and Jack Birkett aka The Incredible Orlando, his "sister" in many adventures since the late 1950s. Let's remember them all as they were at the end of every show... advancing towards the front of the stage at a decelerating pace, slowly lifting their arms in unison - an indelible and mesmerising gesture of thanks. Kemp was a creator of spellbindingly total theatre, a true original."
Unfortunately Kemp was very much of an era, his work didn't age well, a product of the late 60s, 70s, mind expanding, counter culture, literate, ultra camp and political, it was a symptom of the time rather than an exemplar.
@@oliviakirby1409 nonsense. He created a recognisable style, much copied, and left a legacy of technique. Your comment makes no sense, contextual or otherwise.
I saw the Melbourne production back in 76, and the Sydney video brought back some wonderful memories. The show received well-deserved resounding applause from its Australian audience. [The RUclips video of the expanded 1982 Rome production was also a fine treat.] R.I.P. the great Lindsay Kemp.
![Tee Grizzley - Robbery 8 [Official Video]](http://i.ytimg.com/vi/34_vkNV6wrU/mqdefault.jpg)
Lindsay Forever ✌️👋👍🎇💖💝❤️💙💯
Lindsay mai ti dimenticheremo. Mai!
So this man is sheer genius . He is the marker of how great a piece of real theatre is . Nobody matches him ! He is magical spiritual and goes into realms beyond the mortal man So miss you !
Thank you
There was a comment left on The Guardian website underneath Lindsay's obituary which I'd like to copy and paste:
"That final, stunning pieta at the end of 'Flowers' with Kemp's bloodied mouth howling an endless silent scream as he cradles the lifeless boy... and as Puck, painted green and dusted with glitter, as if he'd just stepped out of a fairy painting by Richard Dadd, peeking out from behind the patchwork frontcloth and pulling it down to start the show...
And let's not forget the members of his extraordinary company too - Jack's unforgettable solo as the old Music Hall comedian in 'The Big Parade' singing 'I Didn't Raise My Boy To Be A Soldier', Christian sashaying on stilts as Juliet in the rude mechanicals' version of 'Romeo and Juliet' (sic), Francois as an unearthly Changeling Boy in 'A Midsummer Night's Dream' and the flirtatious Jazz Baby in 'The Big Parade', Javier channeling Garbo in 'The Big Parade', and David as the Angel in 'Flowers'...
It seems as though Kemp's company has spent the last few years gradually relocating itself to the other side - Michael Matou, Atilio Lopez, Neil Caplan and Javier Sanz were early losses, and more recently Lindsay lost John Spradbery (the lighting designer responsible for those intense colours and trademark chiaroscuro effects), Carlos Miranda (his long term composer and musical director) and Jack Birkett aka The Incredible Orlando, his "sister" in many adventures since the late 1950s.
Let's remember them all as they were at the end of every show... advancing towards the front of the stage at a decelerating pace, slowly lifting their arms in unison - an indelible and mesmerising gesture of thanks. Kemp was a creator of spellbindingly total theatre, a true original."
Unfortunately Kemp was very much of an era, his work didn't age well, a product of the late 60s, 70s, mind expanding, counter culture, literate, ultra camp and political, it was a symptom of the time rather than an exemplar.
@@oliviakirby1409 nonsense. He created a recognisable style, much copied, and left a legacy of technique. Your comment makes no sense, contextual or otherwise.
I saw the Melbourne production back in 76, and the Sydney video brought back some wonderful memories. The show received well-deserved resounding applause from its Australian audience. [The RUclips video of the expanded 1982 Rome production was also a fine treat.]
R.I.P. the great Lindsay Kemp.
there was one woman in that company .... me !