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Gentlemen Prefer Blondes ; and so does Queerguru’s Jonathan Kemp

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  Gentlemen Prefer Blondes ☆☆☆☆ Union Theatre, London Directed by Sasha Regan Anita Loos’ 1925 novel (famously championed by James Joyce) was first turned into a stage musical in 1949, and must have seemed dated even then, much of the original novel’s caustic indictment of the Jazz Age already softened or lost on its postwar … Continue reading



Golnoosh Nour: The Ministry of Guidance & other stories ‘queer in the truest & most profound sense’

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As this book’s dedication asserts, these stories are “for all the queers”, and a queerer collection of short stories you’re unlikely to encounter this year. These tales are queer in the truest and most profound sense, existing at the dangerous and fertile intersection of gender, ethnicity, class and sexuality. In the first story, set in … Continue reading



I Know That He Loves Me

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  Autoheart are a London-based indie-pop group consisting of Jody Gadsden (vocals), Simon Neilson (piano, keys and saxophone), and Barney JC (guitar, bass, keys).  Not that you will see any of them on this fab new video directed by one of Queerguru’s very favorite directors Joseph Wilson. His take on the group’s new single I KNOW THAT HE LOVES … Continue reading



Jonathan Kemp ☆☆☆☆☆ review of JOCK NIGHT : Adam Zane’s drama with emotional depth and savage wit.

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  JOCK NIGHT ☆☆☆☆☆ Hope Theatre Company King’s Head, Islington, London Adam Zane’s background is in verbatim theatre, and that commitment to verisimilitude is on clear display in his first full-length non-verbatim play, JOCK NIGHT. In the programme notes he details the months of researching chemsex, interviewing men whose lives have been affected by it. … Continue reading



Jonathan Kemp “absolutely loved this queer take on Ibsen’s “A Doll’s House” : his review of WIFE at London’s Kiln Theatre

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  Wife  By Samuel Adamson  ☆☆☆☆ KILN THEATRE, Kilburn The Norwegian Feminist theorist Toril Moi once commented that the slam of the door at the end of Ibsen’s “A Doll’s House” (1879) resounded throughout the twentieth century. Samuel Adamson’s new play explores the repercussion of that slammed door well into the twenty first century in … Continue reading



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