[Let Me Wrap My Teeth Around the World] How does one communicate the starving artist through dance alone? W Dance Company takes on this challenging feat in Idle, an original contemporary dance production exploring the effects of artistic starvation. It’s no easy accomplishment, contemporary dance is endlessly interpretive therein lies the challenge to tell a cohesive narrative — but Idle […]
[Punctum’s punk-infused offering packs a punch] When entering Basement Theatre’s main stage, the first thing I notice is the set design by Minsoh Choi, as the back wall of the stage has been painted a bright, baby pink. Given the show’s punk aesthetic, it’s a bold and fairly bad-ass move and I’m silently impressed after estimating the cost for a […]
This collaboration between NZ Opera and Black Grace offers an intimate staging of Gluck’s 1769 opera Orpheus and Eurydice. The combination of Gareth Farr’s refined re-orchestration and Neil Ieremia’s guidance as both director and choreographer produces a largely accessible and compelling reimagining of the tragic Greek myth. The most striking changes in Farr’s re-orchestration is that the harpsichord and timpani […]
Director Alison Walls’ version of Dance Nation by American playwright Clare Barron is the strongest work staged at the Court Theatre this season. Much of this rests on Barron’s script, which is a work of interiority in sharp focus. Headed by their stereotypically authoritarian dance teacher, a group of pre-adolescent tweens compete to win a dance competition. Over the course […]
Kenangan Wangi (Sweet Reminiscence) Alamak! It’s such a treat to hear authentic Manglish at The Basement Theatre. For the uninitiated, Manglish is the ‘rojak’ (fruit salad) combination of English-Malay-Cantonese-Hokkien-Hindi-Tamil words that typically pepper everyday Malaysian conversations. And How to Throw a Chinese Funeral’s dialogue epitomises this Malaysian vernacular down to its core. The play captures a familiar slice of Malaysian […]
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