With
twenty years experience in the
media and performing arts Wednesday Kennedy has worked internationally in just
about every performance
environment imaginable. From theatres to cabaret
rooms, beer barns,
comedy festivals, conferences,
universities, weddings, backyards,
Buddhist temples, shop windows, Noh theatres, Art Galleries, pubs, jazz bars,
cafes, and a converted commie cargo
ship in Budapest.
Her poetry prose, essays and columns have
been
featured in HQmagazine,
Black and white magazine, SMH, Meanjin
Literary Journal
and various poetry anthology's including Short Fuse
-global anthology of new fusion poetry and 100 poets against the war. Salt
Press and Babylon Burning, Nthposition. Her shows have been performed at The
Seymour Centre and The Basement in Sydney and The Cherry Lane Theatre in New
York.
She
has performed in Tokyo, Paris, Prague, Amsterdam, Edinburgh, Budapest, New
York, Salem, Boston, Melbourne, Wagga Wagga and primary schools all over NSW, including a season with Theatre North, Lismore, performingTheatre
in Education.
She also teaches
drama at The Australian Theatre for Young people.
She
studied Kyogen Theatre with the Kenny/Odawa players in Tokyo And
in earlier years studied Drama at the Independent theatre, Ensemble Theatre,
Blackwattle Studios (Ronaldo Cameron) The Actors Centre and almost
completed a BA in Communications at UTS but then ran away to show
business.
She
was a reporter for Simon Townsends WonderWorld and travelled Australia and
Britain creating three minute life style stories for television. She has written, produced and
performed features for Radio Eye
and The Night Air on Radio National.
Her features,
most notabley ‘Last Night in New York’ and ‘Telling
Stories at the Algonquin Hotel’ were broadcast
across NPR America
and on Transom.org. She has also
written shows
for other performers, most notabley Intimate
and deadly for Christine Anu.
Reviews.
‘A
standard bearer at the front line
of spoken word artists. Ms Kennedy, launches an album of spooky and sensual tracks made potent by a
masterful sense of timing and post-everything sense of what performing artists
should be doing with their sound equiptment and the minds of their
audiences.’
Cal
Clugston. Seven Flat 5. Revolver Magazine. 1999.
‘Enter
Wednesday Kennedy, The Muhammad-ali of performance poetry.’
Georgina
Safe. The Australian. Aug 1999
It’s
not only the accuracy of her jibes. It’s the fact that, coming from 10 000
miles away she’s so pluperfectly spot on target. She’s wholly in the
moment as parodist. She inhabits everything she attempts, risky or broad. Almost as sharp as the stuff
Dennis Miller pulls off in his HBO half hour.
Marion
Dreyfus, Theme stream. NY 2000
“She
is a kaleidoscope of cultural
characters we understand. Kennedy’s outsider spin gives us a wonderful spin on
cultural mainstays we take for
granted. Welcome to America Wednesday. We’re glad you came around to see us’.
Christine Sparta Showbusiness Review Weekly NY NY Sept 2000.
‘Kennedy's
perspective helps make the unreal
real, and even if we cannot make sense of it, we can sense the making of
the America that would soon wage wars in response..It is sensational
filmmaking, which is lent an added
layer of density by Kennedy's lively spoken material.By John Shand. Sydney
Morning Herald. September 7, 2004
