[Moving into Light] Developed with support from Creative New Zealand and the well-respected Battersea Arts Centre, London, Working on My Night Moves is the latest offering from Julia Croft and Nisha Madhan, which promises to be ‘a journey into outer space and an attempt to diffuse power and hierarchy.’ Presented by Basement Theatre as part of the new Basement Visions […]
[Reclaiming Female Rage] Smashing all my preconceptions of what theatre and the mythological story of Medusa are about, co-creators Nisha Madhan, Julia Croft, and Virginia Frankovich have created an aural, visceral and mind-blowing ‘out-of-this-world’ theatrical experience. There were no snakes in this production, no monstrous females, no men being turned into stone — but there was a lot of female […]
[Revolution has its Price] Cult Show is the product of a group of women who are making their indelible mark on Auckland Theatre. From the minds of Saraid Cameron (Drowning in Milk) and Amelia Reynolds (Macbeth, The Comedy of Errors) and directed by Nisha Madhan (Fuck Rant, Your Heart Looks Like a Vagina), with dramaturgy from Kate Prior, it is […]
[No End in Sight] “It began with a pain in the neck, like I’d slept funny, a joke compared with what’s to come…” Your Heart Looks Like a Vagina is an autobiographical theatre show and a lyrical journey through Dominic “Tourettes” Hoey’s experience with developing and living with Ankylosing Spondylitis (AS). AS is a form of arthritis that over time […]
[Fuck Yeah] When I think of theatre company The Town Centre, the link from the agora (where the Ancient Greek public assembled for discussion) to the Theatre of Dionysus (where tragedians addressed social and political issues through mimetic representation) is unavoidable. So too are the words of Aristotle’s Poetics, where the rules to poetic writing were first composed. Over two thousand […]
[Charged Space] For those that have seen Julia Croft in If There’s Not Dancing in the Revolution, Then I’m Not Coming, you can think of Power Ballad as its angrier, less-forgiving sister. Back again after its season in the Auckland Fringe (reviewed by Nathan Joe), Power Ballad is fundraising to go all the way to the Edinburgh Fringe. It is intentionally difficult to […]
[Language Games] Julia Croft’s If There’s Not Dancing at the Revolution, Then I’m Not Coming used feminist film theorist Laura Mulvey as the jumping off point for a riotous deconstruction of female representation in our popular media. It put those common tropes we often take for granted under a critical lens and scrutinised the hell out of them, all while […]
[Stealing the Show] One good reason to appreciate Indian Ink is that they are an established theatre company that take genuine risks in their work while cohesively maintaining a focus towards the longevity of their art. This is by no means a simple or easy achievement. To refrain from resting on artistic laurels requires exploration into new and sometimes unsuccessful territory, which can […]
[by Matt Baker] Stumblr Based on last year’s Young & Hungry plays, it would be within reason to expect a 21st Century Narcissus to modernise the Greek myth through the complexities and perils of today’s youth’s navigation of online platforms. For Sam Brooks’ 21st Narcissus, it would also, however, be wrong. Unlike Uncle Minotaur, where mythology was ingrained in the narrative, […]
A fish worth kissing [by Sharu Delilkan] The foyer of Q Theatre was like a Who’s Who of Auckland’s theatre industry last night – alive with anticipation of Indian Ink Theatre Company’s opening night of Kiss the Fish. Just like the masks that are used in the majority of Indian Ink’s shows, where no two are alike, we knew we […]
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