Monday, 10 July 2017

Kaye Dramaturgy: Reuben Kaye @ Edfringe 2017

Dead Man presents
Reuben Kaye

Assembly Checkpoint
21:00, August 2-27 August

no shows 14th & 28th Aug

Launching himself upon the Edinburgh Fringe, Reuben Kaye is here to tell his story.

Filthy, funny, smart – Reuben Kaye’s first full length show comes to the Edinburgh Festival Fringe. Fizzling with obscenities taken from the banned section of any good book shop, video library or adult store – Reuben Kaye is what happens when you tell your children they can be anything.

This isn’t just cabaret - yes, there are divine costumes, perfect makeup, a band and a demigod - but this is a ‘statement piece’ that isn’t just about glitter (there will be glitter). 

What was the inspiration for this performance? 

A desperate need for approval that reaches far beyond the capabilities of prescription narcotics... 

Is performance still a good space for the public discussion of ideas?

If you don't think that you shouldn't be performing, right? If it's not about something its not art.  And it doesn't have to be preaching. Or even have a point of view. It just has to present an idea for it to be under discussion. Even my show... My self absorbed, camp, anarchic, mental breakdown meets broadway musical kaleidoscopic, glitter tornado of a show has a tiny kernel of actual substance.  You've just got to look hard enough. 

The real problem for me is questions like this because it asks me to examine something I'm busy doing. Can you really be outside something you're in?  Which also happens to be the slogan for my lecture on Sex In The Modern Age.

How did you become interested in making performance? 

I had no choice. My mother was a ballet dancer turned film maker and my father was a painter and sculptor.  If I didn't do something creative the only option was being left on a hilltop to be raised by wolves.

Is there any particular approach to the making of the show? 

You've seen the Hindenburgh footage?  Like that but with glitter.  It's my first "One Man Show" so I had no process to compare it with. Also the show involves a lot of off the cuff, improvised material. 

So really I just created the spine of the story and my Musical Director, Shanon Whitelock and I created the arrangements of the songs. Everything else I dance around and create on the night depending on the audience. A show is a living thing right? The audience, myself and our relationship are different each night so every night is a chance to play with that, and as a result the show changes each night. So come more than once! (Subtle Marketing Strategy right?)

Does the show fit with your usual productions?

In that it mainly centres around me trying not to injure myself or set the place on fire, so yes.  But in this show dare I say it, I show... Depth. (Am I spelling that correctly?) But depth surrounded by solipsistic extravagance.

What do you hope that the audience will experience?  

Laughter, hysterical laughter and an uncontrollable urge to either throw FOLDABLE money and/or go to bed with me.  But in reality, I'll be happy if someone looks at the show and sees their child. And if their child isn't the "typical" boy or the "typical" girl... They love that child and nurture it. 

What strategies did you consider towards shaping this audience experience?

Well I made sure the doors to venue lock from the outside so they can't leave for the duration, and I've found a way to pump diazepam through the air vents so I'm sure the audience experience should be just fine.  

I can't tell you strategies because I had/have none. It's a balls to the wall hour of jokes and music. I'm very lucky to perform  with such a phenomenal band. If I wasn't in it. I'd see it.  Maybe that's my strategy... Create the show you'd want to see.

In a world where experts are derided and it’s not so in vogue to have smarts, Reuben’s on a quest to remind us why they matter via the stage. A rich cultural critic with a show layered with word-play all delivered at the speed of a, well, someone on speed, come out to play. A gay superhero necessary for the modern age.

For fans of vaudeville and drag - think Charlies Pierce and Danny La Roux; for fans of books think Bronte sisters and novels read after dark under the covers; and for fans of just pure cabaret? There will be songs.

Part runway show, part mental breakdown - Kaye’s the new guy in town, and it’s already a success story.

Kaye has graced the stages of the Berlin Opera House, State Opera of Hamburg and Royal Albert Hall, alongside luminaries such as Barry Humphries and Meow Meow. Feted as a “quintessential cabaret performer” (Herald Sun), a blink of his long lashes and a twist of his painted mouth will have you gagging... for more.

WINNER: Best Cabaret Adelaide Fringe 2017

Assembly Checkpoint, 3 Bristo Place, EH1 1EY
21:00 (70mins)
Dates: 02 – 27 August. Previews 2-3 August. No show Mon 14 Aug,

Tickets: Previews £8; 4-6, 9-10, 15-17, 21-24 Aug £12, 7-8, 11-13, 18-20, 25-27 £13

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