With his face smeared with red ochre, that came off the lavatory walls, Lindsay Kemp made his debut dancing Salome as a pupil at an all boy’s boarding school in the north of England. Kemp had always wanted to dance the Seven Veils, ever since he had seen Rita Hayworth seduce on the cinema screen. That night Kemp was wrapped in toilet paper, and made his entrance from a cupboard in the dormitory. Bicycle lamps illuminated his performance, as he danced to the sound of a mouth organ.
This is Lindsay Kemp recalling his first performance in a TV interview. Kemp talks about his performnace, and how he takes everything that is inside and releases it, so that the audience can believe all that he performs is true.
This is a rare and incredible piece of archive, showing Kemp and his brilliant fellow dancers (including The Great Orlando) preparing and performing an extract from Salome, in 1977. In the interview, Kemp goes on to mention how a production of Turquoise Pantomime, caused offense to the Matrons of Galashiels, that led to a bun fight, and the headline “Blue Show Offends Matrons”. Kemp finishes flirtatiously telling the interviewer how some people think he’s impure, because he opens his mouth. Wonderful!
Curtain up on a starry night. Comets fire across the sky. Center stage, one star shines more brightly than the rest, its spotlight points towards a globe of the earth, as it spins form a thread. Glitter falls, as a white screen rises, the lights glow brighter filling the stage.
Single spot tight on a woman’s face
We are unsure if she is in pain or ecstasy. No movement until, at last, she exhales, then pants quickly, rhythmically. Her face glistens. The spot widens, revealing 2 nurses, dressed in starched whites, symmetrically dabbing her face.
The woman is Mrs. Kemp, and she is about to give birth. 3 mid-wives are guided by house lights through the audience to her bedside. Each carries a different gift: towels, a basin of hot water, and swaddling.
It’s May 3rd 1938, and Lindsay Kemp is about to be born.
Though this maybe a fiction, it is all too believable, for nothing is unbelievable when it comes to Lindsay Kemp.
Lindsay Kemp has agreed to give a telephone interview. He is to be called at his home in Italy, by Paul Gallagher from Dangerous Minds, who is based in Scotland. We never hear the interviewer’s questions, only Kemp’s answers and see his facial expressions as he listens to questions.
Photographs of Kemp’s career appear on screens. We hear a recording of his voice.
I began dancing the same as everybody does, at birth. The only difference was, unlike many other people, I never stopped. In other words, you know, I love movement. Movement gave me such a great pleasure, such a great joy.
Dance is really my life. I’ve always said for me ‘Dance is Life, Dance is Living, Dance is Life and Life is Dance’. I’ve never really differentiated between the two of them. It’s always been a way of life, a kind of celebration of living.
Kemp is an exquisite dancer, a fantastic artist, and a brilliant visual poet. No hyperbole can truly capture the scale of his talents.
In the 1960s and 1970s, his dance group revolutionized theater with its productions of Jean Genet’s The Maids, Flowers and Oscar Wilde’s Salome.
He shocked critics by working with non-dancers. At the Traverse Theater in Edinburgh, he often cast his productions by picking-up good-looking, young men in Princes Street Gardens - good looks, an open mind and passion for life were more important than learned techniques, or a classical training. His most famous collaborator was the blind dancer, Jack Birkett, aka The Great Orlando – perhaps now best known for his role as Borgia Ginz in Derek Jarman’s Jubilee.
Kemp was the catalyst who inspired David Bowie towards cabaret and Ziggy Stardust. He taught him mime, and directed and performed in Bowie’s Ziggy Stardust and the Spiders from mars. He also taught Kate Bush, and choreographed her shows.
As an actor, he gave outrageous and scene-stealing performances in Jarman’s Sebastiane, Ken Russell’s Savage Messiah and Robin Hardy’s The Wicker Man.
“I’ve never really differentiated between dance and mime and acting and singing. I’ve always loved all aspects of performing, though I still can’t play the trumpet, but I’d like too. Well, it’s never too late to learn.”
He has performed across the world, from department stores in Bradford, through the Edinburgh Festival, the streets and cafes of Italy, to London’s West End and Broadway.
Kemp is a poetic story-teller, and his performances engage and seduce as much as the words that spill from tell such incredible tales. His voice moves from Dame Edith Evans (“A handbag!”) to a lover sharing intimacies under the covers.
A house in Livorno. A desk with a telephone. A chaise longue. A deck chair and assorted items close at hand. Posters and photographs of Kemp in various productions are back-projected onto gauze screens.
Kemp makes his entrance via a trap door.
The phone rings once. Kemp looks at it.
Rings twice. Kemp considers it.
Rings three times. He answers it.
Lindsay Kemp is on the ‘phone.
Hello. (Pause.) Where are you in Scotland?
My grandparents are from Glasgow. I always pretend to be Scottish because I was born accidentally in Liverpool when my Mother was saying bye-bye to my Father, who was a sailor, and he was off to sea from Liverpool’s port, you see.
Well, I don’t quite know where that came from, unless I said it one drunken night, maybe when I chose to be more romantic than Birkenhead, where I was in fact born. I was born in Birkenhead on May the 3rd, 1938, but my family hailed form Scotland, between Glasgow and Edinburgh, and for many years I lived in Edinburgh, when I returned there for the first performance of Flowers, that show that put me on the map, you know.
Lindsay Kemp> debuts his new production Histoire du Soldat (‘A Soldier’s Tale’) by Stravinsky on 5th May, in Bari, Italy. You can buy tickets for the World Premiere here.
Lindsay Kemp – The Last Dance is a film currently being made by Producer / Director Nendie Pinto-Duschinsky – check here for more information.
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