"Jenna Kuerzi, an actor who has lived in the Philly shadows for far too long, is fantastic as Lear’s Fool. She tackles the Fool’s dense language and circuitous logic deftly, providing a joyous and much-needed source of comedy. But she also lets the Fool’s inner life come forward, painting the portrait of a jester whose purpose is to bring emotional support in the form of laughter for an old man who is slowly losing his mind."
-Alix Rosenfeld, Broadstreet Review
New episodes every week!
With live theatre on pause, Jenna Kuerzi pivoted her show "Johnny Depp: A Retospective on Late-Stage Capitalism", started watching all of Johnny Depp's movies, created a podcast, and is inviting a bevy of interesting people to talk about those movies!
A discussion about all 91 of Johnny Depp's illustrious film, television, and music video appearances.
A celebration of the movies we love, the movies we forgot existed, and a complicated human being we're allowed to have complicated feelings about.
A way to fill the time void caused by the COVID-19 crisis.
Available on Spotify, Apple Podcasts, and Anchor.
Johnny Depp: A Retrospective on Late-Stage Capitalism
After sold out Pop-Up-Pub-Performances...
Johnny is coming back.
Summer of 2021, perhaps?
"Carrying around a bottle of wine, Kuerzi captures Depp’s Keith Richardsesque swagger. Kuerzi-Depp begins proceeds by asking us to name our favorite movie starring the actor. I struggled to think of his roles, but seeing the character run through his career film-by-mediocre-film, I realized how much of his up-and-down oeuvre I’ve subjected myself to over the years. I’m complicit. Depp’s excessive spending exemplifies late stage capitalism, but so does our patronage of his work in the form of movie tickets or Netflix subscription, interest in his lifestyle, and willingness to wait on the street to catch a glimpse of celebrity. " -Chris Munden, Phindie
"By herself, Jenna Kuerzi redeems the entire second act, which centers on a tribute to Woodstock. Here, she powers through three Janis Joplin tunes, thrilling with her own emotionally devastating take on “Cry Baby.” As someone that doesn’t care much for Joplin’s music (or persona), Kuerzi’s performance held me captivated in a way that the entire evening failed to accomplish."
-Jim Rutter, Philadelphia Inquirer