See more recent reviews at theatreview.org, the NZ Performing Arts Review & Directory

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KING LEAR: From nothing, whole worlds
Circa One, Wellington
By William Shakespeare 
Directed by Michael Hurst 
Starring Ray Henwood as King Lear 
Proudly sponsored by Christopher Finlayson and Cariad Productions
- reviewed by Peter Mechen

Shakespeare got his “King Lear” story from an early chronicler, Holinshed, (who had in turn got it from an earlier source). As well as this there had been an anonymous stage adaptation of the story “doing the rounds” and performed in London about ten years before Shakespeare’s play appeared.

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THE MAGIC FLUTE: Brilliant production, with mainly New Zealand cast of polish and energy
St James Theatre, Wellington
An opera in two acts by Wolfgang Amadeus Mozart 
Libretto by Emanuel Schikaneder 
Directed by Sara Brodie 
Conducted by Wyn Davies 
A New Zealand Opera production
- reviewed by Lindis Taylor

This production that has engaged a number of young and highly promising New Zealand singers (only three from overseas), was probably among the most spectacular (and expensive I imagine) ever seen in New Zealand.

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WHITE RABBIT RED RABBIT: Rose to the challenge splendidly
Centrepoint, Palmerston North
By Nassim Soleimanpour 
Presented by Centrepoint Theatre in association with Aurora Nova Productions
- reviewed by John C Ross

Remarkably clever, challenging, often funny, more often disturbing, thought-provoking – and you do go on thinking about it … All this is true of this show, yet the game-rules require that what happens in it is kept secret, even by reviewers.

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MY SHOUT: ANOTHER ROUND AT THE THISTLE INN: Highly committed, fully focused cast, astutely modulated
The Thistle Inn , 3 Mulgrave St, Thorndon, Wellington
Directed by Kerryn Palmer 
Assistant Directors: Hannah Banks & Finn Shepherd
- reviewed by John Smythe

A lot of history has passed through the Thistle Inn since 1840, when Scottish land and property developer William Cooper realised Port Nicholson desperately lacked a pub. He is one of the many identities we meet on a tour of the inn’s many rooms ...

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HAMLET: A very articulate production
The Boat Café, Freyberg Lagoon, Oriental Bay, Wellington
By William Shakespeare 
Directed by Ania Upstill 
The Lord Lackbeards Touring Company
- reviewed by Patrick Davies

This is a very articulate production with each of the eight actors clearly understanding their text, character and narrative arc. The words are easy to hear and delivered with clear motivations that make the story clip along at a good pace.

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THE MAGIC FLUTE: Consistently high standard at every level, through every detail
St James Theatre, Wellington
An opera in two acts by Wolfgang Amadeus Mozart 
Libretto by Emanuel Schikaneder 
Directed by Sara Brodie 
Conducted by Wyn Davies 
A New Zealand Opera production
- reviewed by Michael Gilchrist

“In vain you loved Mozart – now comes the deafness of spiders…,” wrote the Russian poet Osip Mandelstaam in the 1920s, contemplating the rise of social Darwinism in his time. But here again, in NZ Opera's most recent production, we experience the triumph of Mozart's musical vision over the current shapes of our nightmares, the terrors of darkness and death.

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EDUCATING RITA: Satisfying blend of hopes and fears
The Court Theatre, Bernard Street, Addington, Christchurch
By Willy Russell 
Directed by Yvonne Martin
- reviewed by Lindsay Clark

However, the real drivers of the play are the timeless themes of the quest for personal freedom and expression as well as the bitter-sweet consequences of changing personal relationships, and these are handled with refreshing zeal.

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EVITA: Experience her story while you can
Bruce Mason Centre, Takapuna, Auckland
Music by Andrew Lloyd Webber 
Lyrics by Tim Rice 
Originally directed by Harold Prince 
Direction by Richard Neame 
Musical Direction by Zac Johns and Mark Bradley 
Choreography by Karen Ruske 
Presented by Auckland Musical Theatre 
by arrangement with ORIGIN™ Theatrical on behalf of the REALLY USEFUL GROUP LIMITED
- reviewed by Leigh Sykes

As Eva grows in power, so does Wilcock’s performance and she is particularly effective in the later stages of the story, as Eva struggles with ill health. As events start to unravel for Eva and Juan Peron, Wilcock infuses Eva’s pleas to be loved with exactly the right amount of pathos to allow us to empathise with this driven, yet enigmatic woman.

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BARE: Less is More
The Pumphouse, Takapuna, Auckland
By Toa Fraser 
Directed & Produced by Taylor Griffin & Rhian Firmin 
Presented by Simple Truth Theatre
- reviewed by Nathan Joe

Playing 24 different characters, including a parking warden, Burger King worker and Shakespeare-loving grandfather, Brianna Jude and James Corcoran show off their capable acting chops as chameleons, each and every interpretation driven by clear characterisation and idiosyncrasies, both vocally and physically.

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HĀKARI: DINNER PARTY: Colourful but colour blind performance executed with humility and aroha
Nga Purapura, Te Wananga o Raukawa, 144 Tasman Road, Otaki, Otaki
Co-directed by Jan Bolwell and Annie Ruth
- reviewed by Kahukura Kemp

While the focus of each individual segment requires one performer to carry the theme and seek attention from the audience, this is no way relegates the rest of the supporting troupe. Beautifully costumed, they are as important as the principal dancer, all being graceful in movement and serene in expression.

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HĀKARI: DINNER PARTY: Celebrating women's stalwart commitments
Whitireia Performance Centre, 25-27 Vivian Street, Wellington
Co-directed by Jan Bolwell and Annie Ruth
- reviewed by Jennifer Shennan

The Crows’ large cast present a line-up of their own list of ten celebrated women of Asia and the Pacific, including New Zealand, who by stalwart commitment to their visions of how to make the world a better place, did just that and earned a place in history. Before you read on, make your own list of who you think ten such leading women might be.

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HĀKARI: DINNER PARTY: Celebrating famous women from our region
Whitireia Performance Centre, 25-27 Vivian Street, Wellington
Co-directed by Jan Bolwell and Annie Ruth
- reviewed by Ann Hunt

As Dame Whina Cooper, Annie Ruth accomplishes a coup of her own. Her portrayal of the much-loved Maori land rights activist and founder of the Maori Women’s Welfare League is carried out with dignity and love. Accompanied by the music of Moana and the Moa Hunters, the Crows 1 dancers carried placards reading “Not One More Acre!” This section seems to resonate with the audience, since so much of our land has latterly been given away or sold to overseas buyers. We need you now Whina!

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BARE: A solid, worthy rendition
The Pumphouse, Takapuna, Auckland
By Toa Fraser 
Directed & Produced by Taylor Griffin & Rhian Firmin 
Presented by Simple Truth Theatre
- reviewed by Nik Smythe

Instead, nearly two decades later, the script is unchanged and Bare is now a period piece: Titanic is at the top of the box office, Reality TV is a rapidly growing new-ish industry and minimum wage is $8.50. Far from alienating, it simply highlights the strength of Fraser’s extraordinary, convoluted, hilarious and sensitive play.

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LUMINA: Transformation. Tribe. Technology
TSB Showplace, New Plymouth
Choreographers Louise Potiki Bryant, Malia Johnson and Steven Shropshire
- reviewed by Holly Shanahan

The highlight for me was the frenzy of sound, image and movement that is ‘Brouhaha’ by choreographer Malia Johnston, musician Eden Mulholland and AV artist Rowan Pierce. It is in this work that the company’s elements for the show fully interact, divine and divide. The play between performers, projection and score is abstract magic, simple yet refined. The angle of a line or a strip or shaft of light comments differently on the choreography, and the performers play with projections, shadow and light, as a part of the physical choreography itself.

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MY DAD'S BOY: Insightful distillation
BATS Theatre, The Propeller Stage, 1 Kent Tce, Wellington
By Finnius Teppett 
Directed by Ryan Knighton
- reviewed by John Smythe

This play is so simple, its story so common (initially at least) and its self-referential deconstruction so obvious it may seem surprising that it works so very well. The answer lies in its truth; in how its reductive dramaturgy distils the perspectives of two generations. Plus there are some surprises.

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MOVE: Significant cultural tāonga
Mangere Arts Centre, Auckland
Written & directed by Heto Ah Hi and Leilani Clarke 
A Kinetic Wayfinding Theatre Production
- reviewed by Taamati Patuwai

The narrative of Move itself is a simple and fairly universal one. It revolves around the journey of brother and sister, Lupe and Mark, as they struggle to deal with the death of their much loved Father. Both of them collapse into deep emotional turbulence as they grapple with who they must become.

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BLUE MAN GROUP: Childlike energy, driven by discovery and fun
The Civic - Auckland Live, Auckland
Co-founded by Chris Wink, Matt Goldman and Phil Stanton 
Presented by Lunchbox Theatrical Productions
- reviewed by Jan Maree

I am a fan, first really learning about the group in the cult classic television show Arrested Development, and as we wait to be admitted to the stalls, I am excited to see their spectacle unfold live. The excitement amongst other patrons awaiting admission is audible.

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See more recent reviews at theatreview.org.nz, the NZ Performing Arts Review & Directory

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