Presented as part of Melbourne Fringe Festival. Written and Performed by Ryan Stewart
A multidimensional and moving performance about one man’s experience of growing up queer, neurodivergent and feeling like a massive burden.
Reviewed by Rachael Vassallo
Trades Hall: Gallery
02-20 October 2024
Tickets: https://melbournefringe.com.au/event/kinder/
There is forgettable theatre, little performances that entertain you for a short while and then fade into the dust of obscurity. Then there are performances that are the talk between your friends, you can’t help but recommend because they are good but don’t stick with you. And then there is theatre you will never forget; theatre that touches a nerve and leaves a lasting impression, theatre that speaks to you in an unforgettable way. For me, Kinder was one of those shows. Kinder (the german word for ‘children’) discusses how we as kids just wanted to fit in, be loved and be accepted, but how some parents seemingly did everything to make us feel as if we were the greatest burden of their lives.
Performed by Goody Prostate, (Ryan Stewart‘s drag persona), Kinder is a challenging performance, both in physical endurance and in development which maintains engaging freshness throughout. As it opens, it quickly became clear that what I expected to be a one-hour vibrant drag performance was to evolve into something much more. Kinder deals with the complexities of being different from day one, being born queer and neurodivergent and subsequently spending childhood isolated and ostracised.
Kinder follows the story of Goody Prostate a German drag performer as they take on a drag gig. Goody finds out they’re actually on their way to a controversial Drag Time Story Hour performance for children at the library and there are are also reports it will most likely be met with protests. Kinder depicts the dramatic exploration and preparation leading up to this performance. Drag Time Story Hour performances which emerged in 2015 are still controversial in Australia, and are usually met with protests and hatred, despite the ongoing popularity of the events.
Photography by Alex Winner
Located in an office building neighbouring the Trades Hall, we’re led to the performance space; a dark, grungy environment which evokes a sense of erratic unease where we take our seats in a black box space arranged in a thrust stage. The room is dimly lit and gloomy, appearing like an unkempt basement apartment with costumes and makeup strewn across the floor.
Our introduction to Goody is humorous, their costume being a brilliant sparkly lederhosen bedazzled with crystal gemstones. Their makeup is unique, and shows inspiration from clowning and 1920s European performance. This opening number, set to euro-pop, introducing a drag performer who is a far cry from those who perform in libraries.
At first, we assume that Goody doesn’t know where to start in creating a drag performance that fits this design brief. As the work progresses, we discover the reason it is challenging; exploring child friendly characters means coming to terms with the struggles of their own challenging childhood.
Kinder allows audience members who can relate to the stress of their parents’ separation and the humour Goody uses to cope.
Goody grew up queer and neurodivergent and was ostracised and isolated. Having suppressed childhood, Goody cannot relate to today’s children. Childhood is something they’ve blocked out as a self protective measure and delving into it it brings back memories of unease that all too many audience members can relate to.
Kinder explores the targeting of hatred towards drag and queer performers, and challenges the notion that it’s harmful for children. Giving us a little history of drag, Goody reminds us that non-sexual female impersonation has existed in panto dame and similar performance for hundred of years. They challenge the notion that queer people and families are inherently sexual and thus harmful and go on to share their feelings about having kids and their desire to remain childless; many consider parenting an obligation and view child-free people negatively.
Parental separation is traumatising and forms a large portion of the dialogue in Kinder. Goody can connect with the themes of a difficult childhood and the challenges of forging a life on your own but has no idea how to connect with kids of today. Exploring themes of divorce with sentimentality and humour, Kinder allows audience members to relate to the stress of their parents’ separation through the humour Goody uses to also cope.
It is a truly emotional experience watching Goody opening up boxes of childhood toys, and a collection of childhood drawings nestled around a costume that appears based on them. It is clear Goody seeks to use this costume to greater contextualise the finale. The final number uses the alphabet to list words and phrases with meaning to Goody and encourages children to celebrate the special things that have meaning to them.
The sheer multidimensional understanding and subsequent portrayal of complex and controversial issues sets Kinder in a league above.
Ryan Stewart, the writer and performer of Kinder has captured this lived experience beautifully. The performance was so connected and relateable it felt almost as if I was witnessing actual events of my experience, and so many audience members around me also resonated strongly with the work.
Kinder was truly moving. I cant recall experiences of growing up queer and neurodivergent so accurately as Ryan, so I found this particularly moving and powerful. The stand out work is multidimensional, surprising and moving – every part is unique and unexpected. The high praise this performance is receiving is well deserved and its appeal is wide. The sheer multidimensional understanding and subsequent portrayal of complex and controversial issues sets Kinder in a league above.
Created and Performed by: Ryan Stewart
Event Information
- Duration: 60 minutes
- Age suitability: M
- Event warnings: Contains Strobe Lighting, Strong Coarse Language, Sustained Loud Noises.
- Content warnings: Queerphobia Or Homophobia, Sexual References.
