REVIEW: An Organ of Soft Tissue (Basement Theatre)

November 6, 2019
[Continuing the #MeToo Conversation] Responding to the #MeToo movement, An Organ of Soft Tissue continues the conversation around perceptions of trauma, sexuality, and gender with an exploration of memory, identity, and sexual politics. At times this show cuts very close to home, the eyes of some audience members glittering with pain and recognition. A pre-show announcement has invited us to […]

REVIEW: Green Day’s American Idiot: The Musical (The Civic)

October 12, 2019
[Still feeling the angst 15 years on] An American musical, an English cast, a Kiwi audience: can the early 2000s hit pop-punk band Green Day deliver a musical that crosses both time and culture? Drawn from the 2004 rock-opera style album American Idiot which responded to American anxiety following 9/11, the public divide over the Iraq war, and the Bush […]

REVIEW: Rosencrantz and Guildenstern are Dead (Auckland Theatre Company)

September 17, 2019
[Rosencrantz and Guildenstern are Dead Funny] A chime is heard and backstage is onstage. The curtain has revealed an actors’ waiting room. Three plywood walls, a roll of green screen, a ladder leading nowhere, and a healthy scattering of exit signs, ominously glowing without their promised exits. Scaffolding is visible and there is a lighting bar lying across the back […]

REVIEW: I Didn’t Invite You Here to Lecture Me (Basement Theatre)

September 11, 2019
[Complete Education in 60 Minutes] What is the measurement used to gauge the success of a piece of theatre? Whether you laugh? Whether you are challenged into action? Is it measured by achieving the perfect level of audience participation, or by how skilled and flexible the actor is? Perhaps the yardstick is how many levels the script can operate on […]

REVIEW: The Blind Date Project (Silo Theatre)

August 30, 2019
[Swipe Right and Swipe Right Again] Improvisational theatre, ephemeral at best, becomes completely sui generis when you have a new guest performer each night; add in a hearty amount of alcohol, constant cellphone use, and some karaoke and you have The Blind Date Project, a wildly unique hour of entertainment. Natalie Medlock returns as Anna after a previous sell out […]

REVIEW: Read My Lips (Basement Theatre)

July 17, 2019
[These Lips are Smiling] Embers Collective have produced a wonderful second original work in Read My Lips, a devised piece which draws from stories from Auckland’s Deaf community.  Read My Lips is the bubble of laughter from best friends performing dance choreography together in the living room, it is the bowed head and slumped shoulders of sadness, it is the […]

REVIEW: Reuben Kaye (Auckland Live Cabaret Season)

June 16, 2019
[The Equalizer] If you are going to Reuben Kaye’s self-titled show just to fill the main slot in your cosmopolitan night out, looking for comfortable entertainment, you may be in for a shock. While the elements may be familiar – Kaye as a magnificent Master of Ceremonies, a supporting band consisting of grand piano, drums, and a moment of double […]

REVIEW: An Illiad (Auckland Live)

May 30, 2019
[I have Wept with Hecuba and Raged with Achilles] Standing on the ramparts of Troy we look out to sea, across the furrowed stretch of land between city and sand littered with bodies – the bodies of men and boys, mostly boys that we once knew – to the angry cluster of Greek ships; above us, the gods bicker. In […]

REVIEW: Watch Party (ATC Here & Now Festival)

April 27, 2019
[It is Watch Party my dudes] I hold the ATC ‘youth’ shows in high regard, attending in the past primarily to take a sneak-peek at the hot new talent rising within the ranks of the Auckland theatre scene. I also have a soft spot for devised theatre and the inclusive platform this type of theatre making can offer to a […]

REVIEW: Camille O’Sullivan ‘Cave’ (Auckland Arts Festival)

March 15, 2019
[The Canonisation of Camille O’Sullivan] I am compelled to begin with a confession. I love Nick Cave. I have attended Bad Seeds’ concerts in New Zealand and overseas, I own most of his books and films, and I often find myself playing through the riffs Cave and Warren Ellis have created because they are just so damn good. As you […]
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