The latest Theatreview Weekly includes reviews of Mamil: Middle Aged Man in Lycra, Meeting Karpovsky, and James Nokise - Big Words.

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

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The latest Theatreview Weekly includes reviews of Mamil: Middle Aged Man in Lycra, Meeting Karpovsky, and James Nokise - Big Words.

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

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A DOLL'S HOUSE: Refurbished for the 21st Century
Maidment, Auckland
- reviewed by Matt Baker

Henrik Ibsen may have been aware of the controversy that A Doll's House would raise when he wrote it, but he certainly didn't intend the specificity of it to be projected onto its female lead.

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ADRIENNE TRUSCOTT'S ASKING FOR IT: Funny and knife-edge subversive
Fringe Bar, 26 Allen St, Wellington
- reviewed by Lena Fransham

‘I’m not into gimmicks’, quips Adrienne Truscott, having spent the first quarter of the show naked from the waist down. The nakedness is at first confronting, but becomes somehow a helpful mitigation of the riskiness of the material.

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MEETING KARPOVSKY: A beautiful story well told
Regent Theatre, Hokitika, West Coast South Island
- reviewed by Susan Prendergast

“I don’t dance,” Sylvia says.

Sylvia is too confused, scared, old and sore to dance. This is portrayed beautifully and clearly before Helen Moulder’s Sylvia utters her first words in the Sue Rider-directed play, Meeting Karpovsky.

Touring the country until mid-June with Arts On Tour NZ ... Just like Sir Jon Trimmer’s dancing, it will a leave an enthralled audience but a small foot print.

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GABRIEL PAGE & LUCY EDWARDS - TURNING ANOTHER PAGE: Does them and us good
BATS Theatre, The Propellor Stage, 1 Kent Tce, Wellington
- reviewed by John Smythe

If you have had, have, or plan to have children, if you’re still tossing up whether or not to, or even if you’ve decided you definitely won’t, Turning Another Page has something for you.

Lucy Edwards and Gabriel Page have a Page boy. He’s two. And now, in the hope the box-office will at least cover the cost of babysitters, they are sharing their experience ...

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TOM BINNS - IAN D. MONTFORT VS. IVAN BRACKENBURY: Magic and medicine
Q Theatre Loft, Auckland
- reviewed by Nik Smythe

Kicking off tonight’s double bill, mental psychic Ian D Montfort makes a welcome return to the Q Loft stage. He’s had a few pies since a couple of years ago, and sports a vaguely Eastern-mystical sort of gown to supplement his laissez-faire demeanour as he systematically impresses, perplexes and insults us.

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SPYFINGER! - A SHOW ABOUT SPIES: Jokes-per-minute ridiculously high
BATS Theatre, The Dome, 1 Kent Tce, Wellington
- reviewed by Shannon Friday

Spyfinger is a parody in the same way that Airplane is a parody of high-adventure movies. First of all, it’s a darn fine piece of theatre in its own right. Second, there’s obviously a ton of love for the source material stuffed into all the jokes. Third, the insight that comes from the study of the source material is fed back in funny. Lots of it.

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JAMES NOKISE - BIG WORDS: Suave, clever and funny
The Basement, Lower Greys Ave, Auckland
- reviewed by Stewart Lund

Big Words, Nokise’s latest offering, is a very apt title for this show, given it features a lot of big words. The show is structured around some of his favourites and he uses this to string together anecdotes from his travels around the United States, Australia and New Zealand. While this structure sometimes seems a little forced, for the most part it is both funny and clever.

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BEN TARGET - DISCOVER BEN TARGET: Oddly engaging quirky flirtation of wit
BATS Theatre, The Dome, 1 Kent Tce, Wellington
- reviewed by Emma Gatsby

A rather clown like, bearded man enters the stage and begins to ‘mind-handle’ the audience into what can only be described as a submissive, trance like state. Ben is quirky I’ll give him that; he is also very committed. And his eclectic, heavily prop-driven, egocentric style of comedic entertainment should have you suitably confused.

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HAMISH PARKINSON - FLY OR DIE: Delightfully absurdist
BATS Theatre, The Propellor Stage, 1 Kent Tce, Wellington
- reviewed by John Smythe

Does he fly or does he die? A bit of both, I’d say. But Hamish Parkinson is experimenting here with his ‘personal clown’, and clowning has been described as succeeding through failure so either way he wins, provided his audience is fully enrolled in his quest. As his publicity puts it, his goal is “to become the greatest comedian of all time within an hour, or fail in a blaze of glory.”

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ED BYRNE - ROARING FORTIES: Observational, relatable, hilarious
Q Theatre, Rangatira, Auckland
- reviewed by Stewart Lund

Punchlines are unexpected. He lulls the audience into a false sense of security before hitting them in the face with something brutal, honest and hilarious. The comedy itself is observational in style, strung together with brilliant anecdotes and lots of little bites targeted at the New Zealand audience. His attempt at our accent is particularly clever.

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EASTEND CABARET - PERVERTS: Weird, sexy and funny
Fringe Bar, 26 Allen St, Wellington
- reviewed by Thomas Aitken

East End Cabaret comes to New Zealand for the first time ever following sell-out shows in London, Edinburgh and the Melbourne Comedy Festival. Billed as a “high-powered ‘Flight of the Concords’, dipped in acid, drenched in smut” the show is an in-your-face, audio-visual feast of psychedelia and comedy.

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SAM SMITH - LAUGHING GAS: Funny, warm and engaging
Q Theatre Cellar, Auckland
- reviewed by Dione Joseph

It’s simply impossible not to like Smith. His cheeriness radiates across the cosy confines of the cellar at Q and although the show does seem a trifle haphazard at times, his unquenchable joie de vivre carries it on a high.

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ONE MAN BREAKING BAD THE UNAUTHORISED PARODY: Hilarious distillation
Herald Theatre, Aotea Centre, Auckland LIVE, Auckland
- reviewed by Nik Smythe

The more you’ve seen, the more you’ll get, and if you don’t want to hear any of Miles Allen’s self-confessed 375 spoilers you will ideally have seen the entire five seasons.

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COLIN HAY - WAITING FOR MY REAL LIFE ...: Don’t wait. This life is worth tuning into.
Hannah Playhouse (previously Downstage), Wellington
- reviewed by John Smythe

Scottish by birth, Australian by choice (well his Dad’s but he’s glad) and lead singer /songwriter with Men at Work in his heyday, Colin Hay has named his show for a song he wrote in 1994: ‘Waiting for My Real Life to Begin’; a song people choose to get married to apparently.

But Hay seems very comfortable where he’s at and is full of stories about where he’s been.

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DES BISHOP - MADE IN CHINA: Infectious enthusiasm drives fish-out-of-water spin-off
SAN FRAN, 171 Cuba Street, Wellington
- reviewed by Simon Howard

Des Bishop isn’t your usual comedian. Most comedians wouldn’t decide to move to a foreign country for two years, immerse themselves in the culture and learn a new language all in the name of comedy. And most comedians certainly wouldn’t start their show with a Chinese hip-hop performance.

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THE SECRET POLICEMAN'S BALL NZ 2015: Catering to a homogenous middle class
Comedy Chamber, Town Hall, THE EDGE, Auckland
- reviewed by Dione Joseph

With an all boys club it would be tempting to assume that the night would ride high on jokes about sex, sex with women, sex with men, genitalia and maybe some more sex but it was actually better than that. Not much better, don’t get too excited, but marginally so.

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THE WATCHMAKER AND REAPER: Promising work
Meteor Theatre, Hamilton
- reviewed by Ross MacLeod

Remote Fiction has produced a diverse range of work in recent years but personally I find their more naturalistic work more accessible than the experimental. On display here are two short theatre pieces that, despite their fictionalised settings, focus more on relatable characters and story telling.

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NOT ABOUT HEROES: Rich and satisfying
Uxbridge Centre, 35 Uxbridge Road, Howick, Auckland
- reviewed by Lexie Matheson

It’s a simple concept, this rather profound work. Yet-to-be-famous man meets already-famous-man who he unashamedly hero worships. Yet-to-be-famous man, Wilfred Owen ... has been sent home in disgrace and labelled a coward by his commanding officer. Already-famous-man, Siegfried Sassoon ... having caused considerable discord among his fellow officers with his 1917 ‘Soldier's Declaration’ in which he challenged the xenophobic jingoism of the war machine, is sent home to shut him up. By some stroke of fate, or bureaucratic misadventure, they both end up at Craiglockhart at the same time.

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THE IMPROVISORS THEATRESPORTS - THE SILVER JUBILEE SEASON: Small miracles abound
Circa Two, Wellington
- reviewed by John Smythe

It was in the summer of 1968-69 that director Ian Mune introduced ‘Yes Games’ to an actors’ workshop in Wellington. He had played with this new concept of improvisation, which counterpointed the received wisdom that ‘drama is conflict’, with Keith Johnstone at the Welsh National Theatre.

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SINGIN’ IN THE RAIN: What a glorious evening
Civic Theatre, Auckland
- reviewed by Paul Simei-Barton

With so many delightful moments leading up to the show's iconic tune there is never any doubt that it's going to be carried off in style - but Gene Kelly's song and dance routine from the 1952 film has such legendary status that reproducing it on stage is not without risk.

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A DOLL'S HOUSE: Adaptation clever and interesting
Maidment, Auckland
- reviewed by Janet McAllister

Emily Perkins' A Doll's House is to Henrik Ibsen's original what Clueless is to Jane Austen's Emma: it's a wonderfully assured, loose adaptation filled with sharp observations about a contemporary tribe.

Locations aren't specified in this drawing-room drama but Perkins' subjects have the Auckland obsession with property and anxiety about precarious success.

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A SERVANT TO TWO MASTERS: A colourful two hours of knockabout farce
Circa One, Wellington
- reviewed by Laurie Atkinson

An updated, freewheeling version of a 17th century classic French comedy opened a week ago in Circa Two. Now, a week later a more traditional presentation of a classic 18th century Italian comedy opens in Circa's main theatre.

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AT THE END OF MY HANDS: Short, cutting scenes beautifully staged
Playhouse, Gallagher Academy of Performing Arts, Hamilton
- reviewed by Mark Houlahan

This is the first public showing of work by Equal Voices; a series of beautifully staged and heartfelt vignettes, mostly focusing on the intersections between hearing and deaf cultures. Deafness in the theatre is mostly used as a trope in stories that assume actors and audiences with conventional skill sets and understandings. Mostly those roles will then be taken by actors who ‘act’ deaf. But there are other stories to tell, and other performers who ought to tell them.

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CONSTELLATIONS: Engagingly playful speculation
Court Theatre, Bernard Street, Addington, Christchurch
- reviewed by Lindsay Clark

An absorbing exploration of advanced physics and that quantum business most of us treat with caution, if not outright suspicion, this two-hander – which opened at The Royal Court a scant three years ago – is equally a thoroughly homely romance. Melanie Camp's direction achieves a nice balance, with her creative team and cast confidently aligned with both aspects of the play.

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SINGIN’ IN THE RAIN: Cloudy, with a chance of Glorious Feeling
Civic Theatre, Auckland
- reviewed by James Wenley

“Raining live onstage!” shouts the poster. Play back Singin' in the Rain’s most famous scene for a moment, Gene Kelly tap-splashing as only a man possessed by love (and a real life raging fever) can do. If there ever was a good argument for adapting the MGM film musical for the stage it would be the opportunity to see this iconic moment of care-free passion performed live.

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JOSEPH MOORE - 1989: Chinese Year of the Dragon, New Zealand Future of Comedy
Montecristo - Downstairs, Auckland
- reviewed by Matt Baker

Last year, comedian Joseph Moore wanted to be a billionaire. The year prior, he was a Billy T nominee. 24 years before that, he was born. And how lucky we all are that he was. Moore is a brilliant young comedian. He's funny, slightly awkward, and has a bright future in New Zealand comedy.

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COLIN HAY - WAITING FOR MY REAL LIFE ...: Real life entertainment
SKYCITY Theatre, Auckland
- reviewed by Matt Baker

Hay not only continues to maintain the essence of his introspective storytelling that made him an internationally appreciable musician, but also continues to advance this narrative in his music, bringing years of extraordinary life experience and crafting it into universally recognisable material for his audiences

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MAMIL: MIDDLE AGED MAN IN LYCRA: Splendid verbal dexterity and comic versatility
Fortune Theatre, Dunedin
- reviewed by Terry MacTavish

Hopefully the adoring fans will come in droves, although there will be no meticulously plaited grey hair and bulbous nose, because this is a play that is entertaining, yes, but given its true agenda, also vitally important for men to see. There’s even some illumination for women like me, made palatable by Hadlow’s undeniable craggy charm in the role of the middle aged man in lycra, Bryan Cook.

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SINGIN’ IN THE RAIN: Slapstick, cliche, cheese and ham with uniform brilliance
Civic Theatre, Auckland
- reviewed by Kate Ward-Smythe

If you let nostalgia wash over you and embrace this lavish depiction of Hollywood in 1927, a time when the industry is a whirl of uncertainty and insecurity as ‘talkies’ start replacing silent movies, then this honorable retelling of a simple upbeat love story, made famous by the 1952 MGM movie, will fully captivate your imagination.

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A SERVANT TO TWO MASTERS: Highly entertaining with just enough character complexity and social commentary bite
Circa One, Wellington
- reviewed by John Smythe

“The world is full of tragedy,” a character says early on, in A Servant to Two Masters: Lee Hall’s adaptation of Carlo Goldoni’s 18th Century classic, Il Servitore di Due Padroni. And as always, tragedy offers a splendid foundation for comedy.

The tragic status of Federigo’s death, before the play begins, is questionable however ...

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A DOLL'S HOUSE: A visceral production that moves us to question
Maidment, Auckland
- reviewed by Heidi North-Bailey

Ibsen’s A Doll’s House is famous for highlighting the societal roles and expectations that stifle us, and for its feminist (arguably humanist) agenda. This version stays faithful to the original’s structure but goes right to the play’s heart to tease out the themes that most shock us. In Ibsen’s time, it was a woman walking out on her husband; now, it’s a woman walking out on her children

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THE 5PM PROJECT 2015: Vaguely amusing but less than impressive
Q Theatre Loft, Auckland
- reviewed by Aminata Hamadi

This show has the potential to be extremely good. It has all the right things going for it: a fantastic line-up of comedians, and a specially targeted teen audience. But it’s missing the x-factor. Overall, it over-promises and under-delivers.

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STAND-UP FOR KIDS 2015 - BIG LAUGHS FOR LITTLE MONSTERS: Unpredictable and brutally honest audience
Q Theatre Loft, Auckland
- reviewed by Aminata Hamadi

Stand Up for Kids is an ingenious addition to the Comedy Festival line-up and I cannot recommend it enough. If you have kids between the ages of four and eight then this is a show you must see. What you get when you add comedians to a room chock-full of energetic kids is authentic unscripted comedy in its purest form.

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COLIN HAY - WAITING FOR MY REAL LIFE ...: Cool comic and musical icon
SKYCITY Theatre, Auckland
- reviewed by Dione Joseph

Remember that classic Aussie anthem ‘Land Down Under’? Or ‘Who Can It Be Now’? Yep, that’s right that’s Colin Hay. He was part of ‘Men at Work’ the 80s group who took Australia by storm and certainly their songs travelled well across the world. And that’s putting it mildly.

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SNORT - WITH FRIENDS 2015: Pretty reliable late-nite improv laffs
The Basement, Lower Greys Ave, Auckland
- reviewed by Nik Smythe

Host Guy Montgomery enters with a broad grin and some cheeky banter to explain the concept of Snort to any first-timers present, like me. Six accomplished local young performers from the Snort collective join him on stage, tonight being Nic Sampson, Laura Daniel, Edward Dever, Rose Matafeo, Joseph Moore and Brinley Stent.

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CORI GONZALEZ-MACUER - WHITE BACKGROUND CONFUSED FACE: Uneven
VK's Comedy & Blues Bar, 60 Dixon St,
- reviewed by Maraea Rakuraku

Some are dragged onstage to act out a play. Again, that’s amusing but I’m unsure about the worth of the payoff. When a notebook makes an appearance with jokes to test on us, I’m starting to seriously lose interest. I’ve seen this all before with another comic and - you know, when you feel something that you haven’t felt in ages and you don’t remember what it feels like but you remember when you felt it? Well ...

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PACO ERHARD - WORST. GERMAN. EVER.: Intelligent political entertainment
Cavern Club, 22 Allen St, Wellington
- reviewed by Maraea Rakuraku

Erhard is entertaining and I’m reminded why comedy is addictive; how generously comedians (good ones that is) give of their energy. He is effervescent. He feeds off the audience and we off him. It’s love. Like, in the throes of honeymoon-period-love. I hear the range of different types of laughing from the audience: tittering, head back mouth open, giggling, giddygiggling and not once that all-too-familiar-cringe/groan laugh.

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RETROLOST - A NUGGET OF PUREST GREEN: Seasoning trad Brit silliness with local relevance
Fringe Bar, 26 Allen St, Wellington
- reviewed by Lena Fransham

A Nugget of Purest Green as a titleis an attraction for any Blackadder fan and an apt indicator of the show’s debt to some of the legends of British comedy. Retrolost’s Hugo McKinnon and James Jobe are immediately likeable, confident but self-deprecatory – very Kiwi somehow – as they open with a witty musical intro to get us comfortable. The duo’s relaxed and accessible charisma is a gift.

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SIX DANCE LESSONS IN SIX WEEKS: Characters parry well and dance even better
The Pumphouse, Takapuna, Auckland
- reviewed by Joanna Page

It’s the tale of Lily and Michael’s friendship which starts, and almost stalls completely, when Lily arranges to have private dance lessons – one per week for six weeks — in her home. The play explores the facades strangers hide behind and the power of first impressions. Lily toes the line when it comes to keeping up appearances whereas Michael goes through life with his foot in his mouth.

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DES BISHOP - MADE IN CHINA: From China, with love
Herald Theatre, Aotea Centre, Auckland LIVE, Auckland
- reviewed by Dione Joseph

During the course of a breathless and adrenalised sixty minutes, Bishop offers pictorial lessons on tones, the repercussions of using slightly different inflections (especially when one’s new name is potentially connected to sexual references), the disappointments of tourist attractions and the plight of trying to find a suitable wife amongst the domestic Chinese marriage market.

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SANJAY PARBHU - BECAUSE I SAID I WOULD..: Stories, songs, impressions, laugh-out-loud clever one-liners
Kitty O'Sheas, 28 Courtenay Place, Wellington
- reviewed by Maraea Rakuraku

Explanations of the show’s title, Because I said I would, are then followed by examples of how it has played out in Parbhu’s life through the maze of relationships both online and real. It is endearing but not saccharine. There is still enough edge for some geek swag.

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TRYGVE WAKENSHAW - NAUTILUS: Engaging, challenging and at times confronting
Herald Theatre, Aotea Centre, Auckland LIVE, Auckland
- reviewed by Kate Ward-Smythe

Trygve Wakenshaw’s latest solo show, Nautilus*, makes it abundantly clear that if you give this bold, fearless, talented artist an empty space, he will both entertain and expand your mind ... In the same vein as his previous sell-out solo shows Kraken and Squidboy, Nautilus is a fantastic mix of Wakenshaw’s trademark physical comedy, cheeky expressions ... and extraordinary impressions.

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TRYGVE WAKENSHAW - NAUTILUS: Alone in the spotlight: a thespian equivalent of a one-man band
Herald Theatre, Aotea Centre, Auckland LIVE, Auckland
- reviewed by Janet McAllister

In this stripped-down show, one of New Zealand's most talented clowns makes magic out of nothing, alone in his spotlight, tights and singlet. Trygve Wakenshaw – a 3m beanpole sprouting a shock of blond cockatoo hair – holds our attention for 80 minutes using only short skits.

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ELI MATTHEWSON - FAITH: Effacing, insightful, affirming and fun
BATS Theatre, The Dome, 1 Kent Tce, Wellington
- reviewed by John Smythe

He’s very proud of his shirt from Uniqlo Australia, censorious of the One Square Meal brand and the Men’s Right’s movement ... But it’s when he apologises to girls, other boys and Jesus for having a boyfriend that Eli Matthewson gets on to his central quest. Being a lapsed Christian from Christchurch who is gay and living in Auckland, what can he put is faith in now?

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DEFINITELY NOT THE BABY SITTERS CLUB: So many delightful moments
BATS Theatre, The Dome, 1 Kent Tce, Wellington
- reviewed by Shannon Friday

There's a subtle but important contrast between this show and any single book in the series. Each BSC book picks one member of the Baby Sitters Club and focuses on her, with the other characters playing supporting roles. Definitely Not the Baby Sitters Club spreads its focus over all the different members, with several tangentially touching plot lines that all need to be resolved.

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KADE AND JEREMY - YOU, ME & O.C.D: Relaxed and fluid yet exemplifies OCD
BATS Theatre, The Propellor Stage, 1 Kent Tce, Wellington
- reviewed by John Smythe

Having broken the ice in more than one way to get the show started, they pursue their Obsessive Compulsive Disorder (OCD) theme with, you guessed it, obsessive compulsive zeal, to the extent that audience members openly express their dismay when a kink in a table cloth offends their eyes.

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WILSON DIXON - FOR THE FIRST TIME AGAIN: Brilliant parody
Montecristo - Upstairs, Auckland
- reviewed by Dione Joseph

Laced throughout is a subtle parody of Americans and their trademark Americanism but done with such cleverness that it never veers into caricature or stereotype.

Dixon also acknowledges that country music might not be the best genre for protest songs and cites how certain notorious names severely limit the scope for rhymes.

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PAUL EGO - PHENOMENUTS: Falls short of expectations
Hannah Playhouse (previously Downstage), Wellington
- reviewed by Simon Howard

The parts of the show which most strike a chord for me revolve around squirrels, sharks and wasps. When he is talking about birthday sex, calling home after a few drinks and discussing the nativity story I can empathise and go along with the story, but only to a point.

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JOSEPH MOORE - 1989: A darkly witty take on the world
Montecristo - Downstairs, Auckland
- reviewed by Nik Smythe

1989 is ... a stripped-down, back-to-basics one-man observational comedy hour, and a solidly entertaining one at that.

Sharing a varied number of his life experiences thus far, like any non-self-respecting standup, he tends to dwell on the more ironic, perplexing and downright traumatic moments that have shaped who he is today.

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THE KISS INSIDE: Un-missable
Theatre Royal, Nelson
- reviewed by Janet Whittington

Wright's frequent use of humour to provide lighter moments in many pieces is another unexpected pleasure. Half-way is not marked by intermission, but rather the introduction of orange quarters on a dish for the ‘players’, gobbled greedily without offering any to the audience. We receive just a smug orange peel grin at us before the next piece. This provides necessary pace and shows good judgement on Wright's behalf as not all his pieces are light to absorb. To me he had a little piece of ANZAC in the middle. The music score revolving out of staccato and into gunfire, while the dance moves slowly from modern dance to marching, the dancer’s faces move from ecstasy, to passivity, smiles, grimaces, horror and dropping in death to the final gun barrage. Every dawn parade should have had that piece in place of a speech in my opinion.

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

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