[Like a Prayer] Grief, masturbation, and the catholic church – the holy trinity of Tatiana Hotere’s Skin Hunger, a one woman show that explores life after the death of a spouse and how grief can make you unexpectedly horny. Returning to Q theatre after a sell-out season earlier this year, the show has been reimagined — transformed from a three […]
[Breathing New Life] Silo Theatre Company’s first production after their almost year-long hiatus is one that blends cinema and theatre. It exposes the process of film-making, particularly that of foley and score which often go unnoticed by viewers, meant to provide realism and atmosphere that affect the audience mostly subconsciously. George A. Romero’s 1968 Night of the Living Dead is […]
[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 […]
[Not So Moving] Disco beats are all over today’s pop music. Flared pants are making a comeback. And the dance style of waacking is more mainstream than ever. So it seems appropriate to take a look back at 70s culture and where it really came from – that is, queer POC nightclub scenes. It’s natural that Prowl Productions, who specialise […]
Boom Shankar is a delightfully silly and immensely creative piece, which explores and subverts ideas around love and death. The play follows Shankar Shinde, an overconfident and arrogant bomb defusal expert, and Murray Murray, an overworked but conscientious bureaucrat in heaven. Writers and performers, Bala Murali Shingade and Aman Bajaj, must be commended for creating and embodying such complex and […]
I Want To Be Happy is a deeply human and often surreal exploration of love, loss, and the individuality of happiness. The play follows Binka, a guinea pig in a testing facility, who is wonderfully realised and commandingly portrayed by Jennifer Ludlam. Paul is the laboratory technician assigned to look after Binka, whose portrayal is a masterclass in subtlety by […]
Copyright © 2026 | MH Magazine WordPress Theme by MH Themes