REVIEW: The Audience (Auckland Theatre Company)

May 21, 2019
[God Save the Queen] Speaking to our fascination with what happens behind closed doors with one of the world’s most public figures, The Audience imagines and recreates Queen Elizabeth II’s weekly twenty-minute meetings with her Prime Ministers.  Written by Peter Morgan and directed by Colin McColl, The Audience spans a timeframe of over six decades, beginning with the Queen’s meetings […]

REVIEW: The Mournmoor Murders (NZ International Comedy Festvial)

May 17, 2019
[Missing Bodies] Created by Alice May Connolly and Maria Williams, The Mournmoor Murders is an ensemble murder mystery set in a small town in which everyone is a suspect. The hook is that this show is a two-hander in which Connolly and Williams play every role – from the cops investigating the case, through the mayor who becomes the chief suspect, to […]

CHRISTCHURCH REVIEW: Hedwig and the Angry Inch (The Court Theatre)

May 16, 2019
[The New Every(wo)man] The legacy of John Cameron Mitchell and Stephen Trask’s Hedwig and the Angry Inch is one of modest beginnings, with Mitchell playing the title character Off-Broadway back in 1998. That it went on to become a cult film and subsequently a Broadway and international success is a testament to the quality and originality of its material. Even […]

REVIEW: The Gangster’s Paradise (ATC Here & Now Festival)

April 29, 2019
[A New Turf] A bass beat plays and a rap song booms through the ASB Waterfront Theatre. Young actors dressed in school uniform rip up the stage with a hip hop number, battling it out in a Stomp the Yard set. Half of the students wear red bandanas and the other half wear blue bandanas with coloured shirts under their […]

REVIEW: 8 Reasonable Demands (ATC Here & Now Festival)

April 27, 2019
A sobering look at the underbelly of Auckland’s queer community In 8 Reasonable Demands, playwright Joni Nelson asks the audience to consider the extent to which we take fundamental living standards for granted. At the ASB Waterfront Theatre, six characters find their lives upended by a life-changing decision to hold the government to ransom using leverage acquired by the use […]

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 […]

WELLINGTON REVIEW: This Long Winter (BATS Theatre)

April 14, 2019
[Break the Cycle] James Wenley reviews Sarah Delahunty’s latest play This Long Winter, which issues a renewed challenge for how we do Shakespeare in this country, and whether we should be doing some of his plays at all. Here’s one version of the tale: a pregnant woman is falsely accused by her husband of being unfaithful. She remains dignified, even when […]

REVIEW: Woman of Citrus (Basement Theatre)

April 13, 2019
[Peeling back the layers of Aotearoa’s racial divide] Why do you bind our potential so close to our wrists that we slit them? In Woman of Citrus, we join Grace Bennett, a young black female raised in Aotearoa, as she grapples with racial prejudice and intolerance from the Kiwi community surrounding her. Written and performed by Toi Whakaari graduate Grace Bentley […]

REVIEW: The Goblin Market (The Dust Palace)

March 31, 2019
[The Market Will Decide] Created by The Dust Palace in 2016 and directed by Mike Edward, The Goblin Market is a narrative circus theatre production incorporating music, film, spoken word and acrobatics. Exploring the Victorian Christina Rosetti narrative poem Goblin Market, the performance aims to develop the original characters and storyline within a contemporary setting. Upon entering the theatre, audience members are […]

REVIEW: HeadSand (Fractious Tash)

March 29, 2019
[You Can’t Ignore It] Director Benjamin Henson has a particular knack for creating worlds. Since co-founding Fractious Tash in 2012, his astute interpretations of classic texts, and dramaturgical practice in company-devised works, have provided New Zealand audiences with ingenious imagery that is as unpredictable, and more often than not shocking, as it is apt. While his work as a director […]
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