7 December 15
On the 28th Of December 2015 I will realise a dream. Read more
A summary of Steven's eclectic and extensive acting experience.
Download his full résumé for further information.
|2013||The Time of Our Lives||V/Line Attendant||ABC Television|
|2012||Brynne: My Bedazzled Life||Himself||Channel 7|
|2012||Mrs Biggs||Lennie||Channel 7/Paul Whittington|
|2009||City Homicide||Businessman||Seven Network/David Cameron|
|2009||Blue Blood||Ray Kirkwood||Cornerbox Productions/Fiona Banks|
|2017||Dons Smallgoods||BBQ Don||OTTO Empire, Justin Reardon|
|2015||Moomba Promo TVC||Surveyor||Extropic|
|2012||NAB Stand In||Builder||Clemenger BBDO|
|2012||RaboDirect||Coach||Sweet Shop, Mark Lever|
|2011||Virbac Cydectin||Hero Farmer||Red Handed|
|2010||Piano Man — White Pages||Doctor||Prodigy Films, Brian Billow|
|2006||Good Sports||Football Hooligan||Bear Cage Productions, Oliver Campbell|
|2006||Morgans Cleaning||Husband||Bear Cage Productions Oliver Campbell|
|2014||Plague||Charlie||Burn the Ships, Kostas Ouzas, Nick Kozakis|
|2012||Any Questions for Ben||Old Boss||Working Dog, Rob Sitch|
|2011||Bound By Blue||Psychiatrist/Peep Show Manager||Blue Think Boy Think, David Hawkins|
|2005||Perfect||Mr Grape||Nineteenth Hole Productions, Christian Doran|
|2001||Strange James||Barry Baxter||Violent Velcro, David Doepl|
|2015||Jeremiah's Tuesday (Fairfax, Arts Centre Melbourne)||Jeremiah||Black Stamp Theatre, Stefan Mrowinski|
|2015||Jeremiah's Tuesday (New York)||Jeremiah||Black Stamp Theatre, Stefan Mrowinski|
|2014||MONOROTICA||Little B||Theaterotica, Steven Kennedy|
|2013||MONOROTICA||Father Frankenfurter||Theaterotica, Steven Kennedy|
|2012||Tinkertown||Chester||MKA, Tobias Mendelson-Galvin|
|2011||Revengers Comedy||Robert||La Mama, Stefan Mrowinski|
|2009||3 Sisters||Vershinin||PMD Productions, Paul Knox|
|2008||ALARM!||Seamus||Unkempt Theatre, Robin Davidson|
|2007||Bullshot Crummond||8 Various||Williamstown Little Theatre, Chris Baldock|
|2007||Grapes of Wrath||Floyd||Heidelberg Theatre Company, Chris Baldock|
|2006||Summer of the 17th Doll||Barney Ibbot||Free Reign Theatre, Cathy Clelland|
|2006||Ying Tong a Walk With the Goons||Peter Sellers||Rude Mechanicals, Ian Potter|
|2005||LOOT||Inspector Truscott||Paper Moon Productions, Adam Maher|
|2009||Titanic, Theatre Restaurant||Captain Smith/Andy||Titanic Productions, Leonie Chapman|
|2008||The Babes in the Wood||Aunty Avaricia||Leo9 Productions, Kelly Bray|
|2014||Opening Ceremony||Master of Ceremonies||REGROWTH Festival|
|2014||Rainbow Sustainability||Producer and Orator||Rainbow Serpent Festival|
|2013||Rainbow Serpent Festival Sustainability Culture Change||Producer and Orator||Rainbow Serpent Festival|
|2013||Opening Ceremony||Master of Ceremonies||REGROWTH Festival|
|2012||Opening Ceremony||Master of Ceremonies||REGROWTH Festival|
|2011||Opening Ceremony||Master of Ceremonies||REGROWTH Festival|
|2010||Austrade||Buinessman||Renegade Films, Rebecca Peniston-Bird|
|2010||Opening Ceremony||Master of Ceremonies||REGROWTH Festival|
|2009||Opening Ceremony||Master of Ceremonies||REGROWTH Festival|
|2008||Opening Ceremony||Master of Ceremonies||REGROWTH Festival|
|2004||Police Training Academy||Various Criminals||Australian Federal Police, Improvised|
|2015||Bumble, Symbiota||Vocals||REGEN Records|
|2014||Bumble, Polination Album||Vocals||REGEN Records|
|2013||Bumble, Bust and Bloom Album||Vocals||REGEN Records|
|2008||Arpege Hair||Frenchman||104.7 FM Canberra|
|2007||Canberra Mowers||Lawnmower Man||104.7 FM Canberra|
|2014/2015||Character Development||Melbourne Actors Lab|
|2008||Professional Acting||Verve Studios|
|2003—2005||Introduction to Acting||National Acting School|
Steven Kennedy is primarily an actor though he also has credits as a producer, director, writer, voice over artist, songwriter and public orator and is also a civil marriage celebrant.
In 2013 he founded his own company Theaterotica.Taking on the roles of Artistic Director, Producer, Director and Actor he created two seasons of Monorotica a series of comedic monologues, poems and songs with adult themes.He also directed the sound design, penned one of the monologues and wrote the finale song.
Other stage productions include Tinkertown, Revengers Comedy, Three Sisters, Babes in the Woods, Bullshot Crummond, Grapes of Wrath, Summer of the Seventeenth Doll and Loot.
Feature films include the Burning Ships independent feature Plague, Any Questions for Ben with Working Dog and Bound by Blue with Think Boy Think.
He has appeared in the television series The time of Their lives, Bryne: My Bedazzled Life, Mrs Biggs and City Homocide.
Since 2008 he has collaborated with Sydney electronic music producer Bumble, writing and recording voice content with environmental themes.Together they have released 5 albums and countless festival “sets”.
Most recently Steven has been involved in a project to address the sustainability culture of large outdoor music festivals in Australia, most notably the Rainbow Serpent Festival.Orating to audiences of up to 8,000 on waste management and sustainability.
Born in Glasgow to a docker and a seamstress, he arrived in Australia by boat, aged nine months. Steven was 11 when he experienced his first taste of alternative theatre. The production: his sixth grade teacher’s take on The Wizard of Oz. Steven’s role: The lion… with an addiction to Bex.
Who knows what impact the 1970s medication-tinged version of the famous story really had on the young boy?
"It would be more than 20 years before I would be on stage again," says Steven.
Growing up in Wollongong, there were plenty of other activities to distract him: surfing, skateboards and athletics (he was a state representative in high jump). Steven’s first job — straight from high school — was as a signals and communications technician with the State Rail Authority of NSW. When his four-year electrical apprenticeship was completed, he was posted back to Wollongong.
A brief but impressive reign as NSW Arm Wrestling Champion gave him a couple of trophies on his mantelpiece in 1990 & 1991 but Steven wanted more.
When the travel bug bit, he went to Europe, using Scotland as a base. Like so many job-hungry Australians abroad, Steven worked the bar and nightclub scene followed by a fly-in/fly-out stint on oil rigs in the North Sea.
Then theatre called again.
Scotland’s small north-east town of Fraserborough was a long way from Rydell High but it was a local production of the musical Grease, in 1992, that put the smell of greasepaint back in Steven’s life.
With no family or childhood friends to offer the usual comfort, the close-knit theatrical community gave him more than just experience handling the spotlight. A passion was born.
He studied science at the University of New South Wales and the irony that the same building houses the National Institute of Dramatic Art has haunted him since.
When he left there in 1999, it was with a Petroleum Engineering degree under his belt and, five years later, after what seemed like a lifetime working the harsh conditions of the Simpson Desert, Steven had an important epiphany.
Steven despised his job. What to do?
What was to become of someone so unhappy with their professional life? Steven took a job with the Government. Things do happen for a reason.
Steven looks back on his time formulating policy about safety in the Australian off-shore gas and oil industry as another stepping stone.
An advertisement on the departmental notice board gave him the spark to take his leap of faith.
Someone was looking for actors to appear in a short film, and Steven auditioned, successfully.
Steven’s acting career had really begun. He used what the short film gig had taught him to successfully audition for other film productions.
In 2004, he returned to the stage. The role was Inspector Truscott in Joe Orton’s Lootand Steven was nominated for a Canberra Area Theatre (CAT) Award.
It was the first of seven subsequent acting nominations for Steven, including one well-deserved win — Heidelberg Theatre Best Supporting Actor for his role as Pretty Boy Floyd in the contemporary classic, Grapes of Wrath.
Today, Steven’s success as a working actor continues. In the theatre world, he is regularly busy with recent performances in MKA’s Tinkertown, where he had the enviable distinction of sharing the stage with Brynne Edelsten for her 2012 reality TV show — My Bedazzled Life.
In 2013 Steven started a theatre company and produced and directed 2 shows for which he also designed the sound scape and operated lighting, and even managed to appear in both productions.
His appearance in the Working Dog film production, Any Questions for Ben — and soon to be released Plague, by the boys at Burning Ships, highlights Steven’s impressive screen presence.
Aside from acting, Steven hones his personable approach to his craft as a marriage celebrant and is a regular collaborator in the world of electronic music — co-creating two albums with local artist, Bumble — and orating to thousands of festivals goers on the subject of sustainability and waste management.
7 December 15
On the 28th Of December 2015 I will realise a dream. Read more
2 December 15
Jacquelyn Claire, NY Theatre Guide“heart wrenching reframing of the universal story of Power Corrupts”“Steven Kennedy was electric. I was a deer in the headlights unable to turn away”“a post modern, satirical masterpiece born through the labor of two exceptional theatre artists”“Mrowinski has Kennedy as a magnificent arrow pulled taut in a straining bow. His body committed to every moment with an intensity that was palpable and one had to remind oneself to breathe”“exquisite production… lightening bolt show”Tom Bensly, Theatre People“disturbing and captivating, always intriguing”“Brimming with passion”“Kennedy remains captivating. Every line is perfectly articulated, and he wholly embodies a difficult character”Lee Bemrose Australian Stage“It's intriguing from the start”“the kind of story that demands you pay attention”Particia Di Risio, Stage Whispers“profound beauty and richness”“truly exquisite example of Monodrama”Stacey Waters Pop Culture“His performance is captivating”“An actor with any less of Kennedy’s talents would be a disaster in this part, but Kennedy is superb and a delight to observe”Only an excellent theatrical magician is able in this way to mesmerize the viewer.Jerzy Krysiak - bumerangmedia.com Read more
28 April 15
Since 2011 I have been involved in the development of an amazing monodrama with master director Stefan Mrowinski. Earlier this year we applied to the United Solo Festival and we have been accepted! I am very excited to announce that we are heading to NYC in October 2015. Read more
17 March 15
In mid 2013 I founded a theatre company - Theaterotica. Here is an interview i did with Australianstage.com.au. Discussing the company and our first few seasons of MONOROTICA. Read more
2 April 14
Ever since my first short film audition at the beginning of the century I have been passionately and conscientiously shaping my career as an actor. Honing my skills, building my knowledge and experience and patiently planning the arc of this part of my life. Read more
7 December 15
On the 28th Of December 2015 I will realise a dream.
In October of 2015 I travelled 17, 000 Km's to perform one show. A single appearance in the United Solo Festival. It was a fantastic experience and one I am very proud to have been a part of. On November 23 I was excited to learn that I had won the award for Best Experimental Show. The New York gig was a great opportunity and a big deal for me... but when i returned i was discovered that Jeremiah's Tuesday had been selected as a feature event of the Polart Festival. This meant that i would be performing solo at the Fairfax Theatre, Arts Centre, Melbourne. Suddenly i was even more excited than i was about the New York appearance. I have been watching theatre at the Fairfax for some time and now i was going to have the stage to myself. Its a great buzz to be anticipating this performance. I can't wait for my friends and family to see what we've created, and for the public of Melbourne to see what poor theatre monodrama is all about!
2 December 15
Jacquelyn Claire, NY Theatre Guide“heart wrenching reframing of the universal story of Power Corrupts”“Steven Kennedy was electric. I was a deer in the headlights unable to turn away”“a post modern, satirical masterpiece born through the labor of two exceptional theatre artists”“Mrowinski has Kennedy as a magnificent arrow pulled taut in a straining bow. His body committed to every moment with an intensity that was palpable and one had to remind oneself to breathe”“exquisite production… lightening bolt show”Tom Bensly, Theatre People“disturbing and captivating, always intriguing”“Brimming with passion”“Kennedy remains captivating. Every line is perfectly articulated, and he wholly embodies a difficult character”Lee Bemrose Australian Stage“It's intriguing from the start”“the kind of story that demands you pay attention”Particia Di Risio, Stage Whispers“profound beauty and richness”“truly exquisite example of Monodrama”Stacey Waters Pop Culture“His performance is captivating”“An actor with any less of Kennedy’s talents would be a disaster in this part, but Kennedy is superb and a delight to observe”Only an excellent theatrical magician is able in this way to mesmerize the viewer.Jerzy Krysiak - bumerangmedia.com
Jacquelyn Claire, NY Theatre Guide
Jeremiah’s Tuesday, written and directed by Stefan Mrowinski, is a post modern, satirical masterpiece born through the labor of two exceptional theatre artists, Australian actor, Steven Jack Kennedy and theatre practitioner giant, Stefan Mrowinski.
In this “poetic, black grotesque, monodrama,” we unearth Jeremiah stripped bare, ruminating on the nature of power. His totalitarian democracy has shattered and revolution has driven him out of his created society and into a primal state, hiding, but waiting for his executioners. We have returned to the source, to the fecundity and ferocity of the forest man who is revealed in all of his raw emotion and vulnerability. As the planet floods and the rain erodes his dictatorship, he cannot escape the earths cleanse of the toxic. It is Tuesday, his last day of life.
We might think that this is a story we know well -dictatorship, the collapse of representative democracy, the maniacal drive for power, the unstoppable destruction of an over bloated ego but it is in the tapestry of the words that we find a new entrance into this familiar landscape. Mrowinski brings over 50 years of experience to this production, and it is witnessed in his turn of phrase, the unforgettable lines, (“They wanted to tax the rain”) and his heart wrenching reframing of the universal story of Power Corrupts.
Jeremiah is known as the weeping prophet — crying a fountain of tears for the slain of his people but here it feels like his tears are to wash away his own atrocities. It is a lamentation, a mournful complaint, a deep confession to reveal his sins and to warn the people of the ensuing consequences of a life detached from a connection to nature.
Steven Kennedy was electric. I was a deer in the headlights unable to turn away. Kennedy and Mrowinski have created an intimate dance where they circle their prey, bringing you in closer and closer, drawing you into the net due to the magnetism of a leader capable of spellbinding oration. Kennedy gives us a man fragmenting in front of us, rallying against nature, fighting death and still desiring the heady addiction of unlimited power.
Mrowinski has Kennedy as a magnificent arrow pulled taut in a straining bow. His body committed to every moment with an intensity that was palpable and one had to remind oneself to breathe. Kennedy gave us an impressive range of emotions and extremes of physical expression that shows evidence of a lengthy rehearsal process, an unwavering commitment to the message of the text and a trusting partnership between performer and director.
When you realize that you have watched a man with only a tin drum and pair of binoculars creating a metaphorical, complex, intriguing world that requires no spectacle, I find I am totally in love with the tenants of “Poor Theatre” again where a good story, a skilled performer, a visionary director and the energy of the live is all that is required to transport the audience into a transformative space.
Polish born Mrowinski, is a living legend who has dedicated his life to the creation of meaningful art as a director and playwright. He has collaborated with theatre greats like Grotowski and Peter Brook and is renowned as one of the directors of the avant-garde theatre in Poland. He was also founder of his own Open Theatre –Poetica Theatre co and co-founder of ‘The Church’ in Melbourne. As I write this review he is gravely ill at home in Australia. This production may be his last and in his own words he said, “I’ve saved the best for last.”
Although internationally renowned for his extensive body of work, Jeremiah’s Tuesday was the first of his productions to be performed in New York.
His directorial debut in 1966 was titled, I am One of Many, but I feel we can now say that he left an indelible mark on the psyche of the artist and stands out as a soul who reached his full potential over the course of a defining lifetime in service to the arts.
If the play is a reduced journey from birth to death, at the end we are standing with Mrowinski on a beautiful stretch of beach, overlooking an unfathomable ocean as the heat of the sun in the cloudless sky gives us the strength to unburden ourselves and strive to leave a memorable footprint behind.
Although, this exquisite production had only one lightening bolt show at United Solo, it moves on to the PolArt Festival at the Melbourne Arts Centre and I am sure will tour extensively. I urge you to make your way to Theatre Row so that you too could experience an unforgettable one night stand with one of these truly sensational solo shows.
Patricia Di Risio - Stage whispers
This is a piece of drama that was first written in Polish in 1990, however, its ability to be redrafted with more contemporary events and themes shows how its fundamental concerns are issues that will never be outdated. The wavering moral compass that guides the musings of the characters ranges from delusions of grandeur to touching and disturbing insight into the flawed and often rapacious character of humanity.
Mrowinski’s view of the dire state of politics comes from somewhere beyond mere cynicism or jaded perspectives. The dark and grotesque scourges such as corruption, totalitarianism and the threat of Armageddon render the play elegiac yet this is finely balanced by its profound beauty and richness. This is a truly exquisite example of Monodrama and the influence of practitioners such as Jerzy Grotowski and Peter Brook upon Mrowinski’s oeuvre is extremely palpable.
Kennedy brings this incredibly lyrical text to life in a manner that matches the passion and intensity of the language. He is fully in command and control of every syllable and expertly controls the complex rhythm and pace of its poetic quality. The experience is enormously visceral while also stirring the imagination, allowing the characters or figures to be fully conjured in the space and present on stage. This brings him in direct dialogue with the spectator and produces a captivating and engrossing theatrical event.
Lee Bemrose – Australian Stage Online
One hour. One actor. A whole lot of words and ideas. That's mono-drama, baby, and it has to be hard work making it look this easy.
Stefan Mrowinski provides the text and direction, actor Steven Kennedy brings the story to life, on this occasion in the downstairs theatre at the wonderfully quirky Butterfly Club. Set and sound design are minimal, so the focus really is on this one performer and his arsenal of words. He'd better be damned good if this is going to be any good.
It's raining. Lots of rain. Biblical rain, as the biblically named Jeremiah tells his story. The situation is not completely clear in the beginning. Who is Jeremiah? What is it with Tuesdays and rain and what is he looking for with those gold binoculars? Where is he? Is he hiding? Who from?
It's intriguing from the start as this strange, Catweazle-like character (but better looking and with a more impressive beard) tells us a story, his story, stories within stories. But Jeremiah ain't no Catweazle. He is something far darker, more of this world even though there is something more of-another-world feel to Jeremiah and his current situation.
Jeremiah's Tuesday is an observation of politics, humanity and power, and how dangerous and ultimately – perhaps inevitably – fragile the mix is. Apparently first written 25 years ago, it would appear to have been updated somewhat to include some current world affairs, whilst at the core of the thing... lets just say some things never change. There is plenty to recognise here from history old and recent.
The play is well paced and well structured with the text often poetic and playful, as well as slightly surreal. In fact there was a faintly surreal feel about the whole thing. Maybe not surreal, just otherworldly. Think Catweazle as a dethroned despot in hiding, finally accepting the fact that you and I and he together brought about his downfall.
I have it on good authority that the narrative during this performance might have been occasionally confusing due to opening night jitters and forgotten lines. I simply thought any minor plot obscurity was due to the nature of the thing, the kind of story that demands you pay attention. Overall the narrative came together and I certainly saw no sign From Mr Kennedy that he had fluffed anything. It was a seamless and thoroughly engaging performance.
So was it any good? Yeah, it was pretty damn good.
Black Stamp Productions have been invited to take Jeremiah's Tuesday to the United Solo Festival on Broadway, no less. It was a brief run here (last chance to see it tomorrow if this review goes up tonight) but hopefully it will do well in New York and see another run here.
Pop-y Culture – Stacey waters
Jeremiah’s Tuesday writer & director Steven Mrowinski describes it as a black grotesque satirical production that relates heavily to today’s political scene despite being written in the past.
Steven Kennedy stars in this one man piece, spending an hour speaking upon the stage with very few props and very little movement. His performance is captivating, words resounding strongly around the intimate setting of The Butterfly Club. The minute movements that he makes over the stage are purposeful and enamouring, drawing the audience’s attention with every step. An actor with any less of Kennedy’s talents would be a disaster in this part, but Kennedy is superb and a delight to observe.
The writing of the play is well structured; it steps through various metaphors in a coherent manner enabling the audience to easily follow and understand its direction. I was able to have a brief chat with writer and director Steven Mrowinski after the performance about some clear themes and meanings throughout the show. The character of Jeremiah hales from a biblical setting, with an unnamed character in the performance filling the spot of Jesus.
Mrowinski describes the writing as a throw back to a different time, but with current political elements placed throughout, the idea that a different time still has the same political dramas and issues, as well as individuals bringing their own wants and needs to the forefront.
Jeremiah’s Tuesday is a superbly written and acted performance that deals with the nature of a dictator and the demise of a democracy.
Theatre people – Tom Bensley
A man stands alone on stage. A heavy, grey beard hugs his face and he squints. Gold binoculars hang round his neck and he wears an open vest, tattered brown cut-offs and shining gold boots. Eerie wails cackle out of the speakers and torrents of rain slap down, drowning the earth outside this man’s cave.
He is Jeremiah, and this is Jeremiah’s Tuesday, a monodrama performed by Steven Kennedy and created by Stefan Mrowinski. Jeremiah’s Tuesday tells the story of Jeremiah, an ex-dictator of a “totalitarian democracy” who has watched his world fall to pieces. Now he rants and raves inside a non-space while rain falls forever outside.
The play is at times disturbing and captivating, often dull and incomprehensible, yet always intriguing. Mrowinski’s dialogue alienates its audience and invites them to think about the meaning, potential irony and dubious sincerity of Jeremiah’s words.
Mrowinski’s script borrows heavily from the legends of the Theatre of the Absurd. Themes of alienation, yearning, desire and loss take centre stage as Jeremiah laments the loss of his democracy, which he calls “she”, before describing their very torrid relationship full of slavery, “fucking” and power struggles.
In his 1960 essay “The Theatre of the Absurd”, Martin Esslin said that absurd theatre might be the “theatre of our times”. It pushed back against the realism of playwrights like Henrik Ibsen, who believed in the evolution and progress of humanity. A precursor to Postmodernism, the theatre of the absurd challenged its audience’s ability to understand what it was seeing. Dialogue was often meaningless, actors alienated the audience (especially in Brecht’s case) and it presented “a world without faith, meaning and genuine freedom of will.”
Emanating out of Europe, a lot of absurdist theatre was politically and socially charged. It professed a deep dissatisfaction with political authority, an abandonment of God and disillusionment with human progress. Coming at the end of World War Two, licked by the flames of such tragedies as Hitler’s reign and the bombing of Hiroshima, the absurd movement made sense. It was a kind of speechless reaction to the terrible things humans were capable of. It seemed no longer fitting to celebrate our progress when we had caused so much pain.
But is it still relevant? Jeremiah’s Tuesday is undoubtedly politically charged and brimming with passion. The apocalyptic, rainy setting suggests some sort of global warming disaster, though the cause of the rain that started “that Tuesday…” is never explained. Jeremiah likens detention centres to concentration camps, compares himself to history’s most infamous leaders and blames humanity for alienating and imprisoning itself.
To borrow from that old creative writing adage, it threw a bowl of spaghetti at the wall and let everything stick.
Though it was a valiant effort on Kennedy and Mrowinski’s part, their supercharged attack on totalitarianism swirled around in its own dreamscape and failed to break out. It was specific enough that it took place in some place and time, but too vague to make it clear where that actually was. As a result the totalitarian satire felt dated and irrelevant, much like Jacobs’ and Griffiths’ interpretation of Antigone this August.
Despite the misfires, the play’s performer gives it his all.
Kennedy’s performance is eccentric and nervous. He opens his eyes wide, his hands shake and he barks out his lines like an army general losing his marbles. With only a bucket for a prop flood lighting for atmosphere, Kennedy remains captivating as the possibly crazy, maybe just a hallucination Jeremiah, speaking for all of humanity and embodying a character for himself.
A human sounding box, Kennedy slaps his body and stamps a foot for emphasis, displaying some real, old-school talent as a trained actor. Every line is perfectly articulated (if contextually absurd) and he wholly embodies a difficult character, who is with and without individuality.
Jeremiah’s Tuesday is a brave and strange project. It provides a lot of food for thought but it’s difficult to swallow. The thematically rich script is often too far removed from the world, like Jeremiah himself who babbles to an audience about his lost kingdom, his words drowning and disappearing in the falling rain. As a result the play is more like a soapbox lecture than an entertaining performance, but still worth the watch for its energetic performer and attempt to revive absurdist theatre.
28 April 15
Since 2011 I have been involved in the development of an amazing monodrama with master director Stefan Mrowinski. Earlier this year we applied to the United Solo Festival and we have been accepted! I am very excited to announce that we are heading to NYC in October 2015.
Here is a little bit about the play....
Jeremiah - the "Weeping prophet" 655 BC - 586 BC.
Jeremiah’s Tuesday was first drafted in Polish in 1990. It was translated to English in 1997 by Robert Reisner and published in The World of Monodrama – Stefan Mrowinski in 2007.
In early 2011 Mrowinski cast Steven Kennedy after the two had worked together on Leonard Radic’s The Revengers Comedy.
In 2012 it was redrafted by Mrowinski and Kennedy – modernizing the language and adapting the play for the stage.
The pair spent 2013 working on other projects and in 2014 their focus returned to Jeremiahs Tuesday, meeting regularly to discuss the piece and strategize on its staging.
During those discussions they both recognized the political landscape in Australia was changing and that there was a hint fascism in the air. The arab spring was also a hot topic of conversation.
The 2012 redraft was set 25 years in the past… It became logical to reverse the setting to the future and change the protagonist at the core of the piece from a socialist/communist dictator to a democratic dictator.
Power corrupts. Absolute power corrupts absolutely. This postmodern, poetic, black grotesque monodrama explores dictatorship with metaphysical satire. Creator of his own political, social, military and religious system, Jeremiah’s international “totalitarian democracy” has crumbled and he is in hiding, post-revolution. He patiently awaits his executioners as a second deluge floods the planet.
The essential theme of Jeremiah’s Tuesday is the unquenchable thirst of the human ego and the tendency towards delusions of grandeur under the influence of all encompassing power.
The piece uncovers the satirical nature of a dictator in a metaphysical way. Set in the future, it poetically explores the vertical cliff face we are hurtling towards – the demise of representative democracy.
The play is a prophetic treatise on the current political zeitgeist ie: the use of mass media propaganda to fool the masses into supporting totalitarian creep and believing in the concept of a “New World Order”.
Dramatically the piece works due to the creation of an oppressive atmosphere, signaling the approaching death of our protagonist, and of his regime. With Jeremiah’s death so dies democracy.
Jeremiah, in his dreams and ambitions is a prophet and savior. He is the supreme dictator. Comparisons could be made between Jeremiah and history’s most ruthless leaders – Caligula, Nero, Stalin, Hitler, Amin etc… However, some or perhaps all that the character says could be the product of fantasy and imagination.
The text and style is, at times, harshly visceral and confronting at others beautifully lyrical and compassionate.
The action of “ The Jeremiah’s Tuesday “ takes place in nature. On a golden sandy beach, by the deep blue sea, under an intense blue sky.
17 March 15
In mid 2013 I founded a theatre company - Theaterotica. Here is an interview i did with Australianstage.com.au. Discussing the company and our first few seasons of MONOROTICA.
2 April 14
Ever since my first short film audition at the beginning of the century I have been passionately and conscientiously shaping my career as an actor. Honing my skills, building my knowledge and experience and patiently planning the arc of this part of my life.
I didn't want to launch this website until I knew I could meet the demands placed upon a professional actor. Until I knew with certainty that I would not let anyone down by being unprepared or out of my depth.
I am thankful for the journey so far and excited by what lays ahead!
Steven Kennedy was electric. I was a deer in the headlights unable to turn away.Jacquelyn Claire, NY Theatre Guide., 27 October 2015
Kennedy remains captivating. Every line is perfectly articulated, and he wholly embodies a difficult characterTom Bensly, Theatre People, October 2015
His performance is captivating, an actor with any less of Kennedy’s talents would be a disaster in this part, but Kennedy is superb and a delight to observe.Stacey Waters, Pop Culture, October 2015
Outstanding performances from Rebecca Mezei and Steven Kennedy., MELBOURNE OBSERVER,
Steven Kennedy as Chester had a commanding stage presence., Australian Stage Online,
Kennedy and Mezei are both good but trapped in their characters’ lack of progression.Elly Varrenti, The Age, 28th February 12
Kennedy’s Sellars is a real treat to behold and he saved his best performance for when he appeared as the famous Sellars character Dr. Strangelove. Actors could take note of Kennedy’s portrayal of a real-life character...Jorian Gardener, The Canberra Review, September 06
It was Steven Kennedy who stole the show as Truscott, the head kicking inspector... His attack and immaculate sense of comedy are a pleasure to watch.Jonathon Thomsen, The Canberra Review, 26th June 06
Steven Kennedy as the most devious inspector stood out as an exponent of the Orton style.Frank McKone, Canberra Times, 21st June 05