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

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STAGE KISS: Skilled writing makes up for slight premise
Circa One, Wellington
By Sarah Ruhl 
Directed by Ross Jolly 
Presented by Circa Theatre
- reviewed by Ewen Coleman

Kissing on stage usually appears real and believable, but American playwright Sarah Ruhl wasn't so sure this was always the case so decided to investigate it further, to the extent of creating a play about it.

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MANAIA - SHORT WORKS PREMIERE SEASON: Manaia: thrice diverging
Q Theatre Loft, 305 Queen St, Auckland
Choreographers: Gabrielle Thomas, Kelly Nash, Nancy Wijohn
Videographer: Louise Potiki Bryant
- reviewed by Sarah Knox

Nancy Wijohn’s Pito is an exploration of maternal connection. She is marked by a ghostly silhouette, fading in and out of murky darkness. Is it a shedded former self, a mother long gone, or a guardian angel? In the heavenly otherworld a thick hanging rope descends to her earth, presenting a safe haven, an umbilical cord, dragging her to assess moments in time. It becomes burdensome, no longer serving her, like a grief that should have passed but which will always be there. At times however, choreographically, there might be a little too much arbitrary knot tying and swinging. I also yearn for Wijohn to put her body into positions of more risk so we can see the instigation for the many falls and collapses, moving them beyond appearing superfluous. She is a masterful performer though, and she has a way of looking at us with arresting authenticity and vulnerability. It is beautifully confronting, as art should be. The use of projection provides opportunity to connect with the ot her, and it creates a presence in the space that haunts her and us.

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SUNSET AFFAIR: Sunset Affair: A melancholy gathering
The Basement, Auckland
Choreographers: Georgie Goater, Tallulah Holly-Massey and Zahra Killeen-Chance
- reviewed by Sarah Knox

In Subject Matter Object Pink, Georgie Goater’s programme notes state that her work is about presence. She knows how to bring it, and I could watch her for hours. It is only an experienced artist like this who can do little yet be completely fascinating. She is a pink astronaut slowly circling, eternally drawing iridescent pink taffeta back across the space. It is mesmerising and magical and I hope it goes on and on. Joined by Alisha McLennan, we witness two hauntingly articulate perspectives on a shared movement vocabulary.

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THAT BLOODY WOMAN: Sheppard musical revival is a righteous, rocking instant classic
The Court Theatre, Bernard Street, Addington, Christchurch
Written by Luke Di Somma and Gregory Cooper 
Directed by Kip Chapman
Christchurch Arts Festival | Auckland Theatre Company | The Court Theatre
- reviewed by Charlie Gates

I first reviewed rock musical That Bloody Woman in August last year when it debuted in a speigeltent in front of a couple of hundred people during the Christchurch Arts Festival. 

It was immediately obvious that this show was something very special that deserved a bigger life beyond its three-night run in Christchurch.

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STAGE KISS: A production of two halves
Circa One, Wellington
By Sarah Ruhl 
Directed by Ross Jolly 
Presented by Circa Theatre
- reviewed by John Smythe

When they believe in themselves and we believe in them, it’s a great deal funnier because the comedy arises from the underlying emotional premise, which is something all of us can relate to. Danielle Mason is the first to settle into credibility with She, and her comedy crackles as a result.

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THAT BLOODY WOMAN: High-impact and finely-honed with a strong point of view
The Court Theatre, Bernard Street, Addington, Christchurch
Written by Luke Di Somma and Gregory Cooper 
Directed by Kip Chapman
Christchurch Arts Festival | Auckland Theatre Company | The Court Theatre
- reviewed by Erin Harrington

Esther Stephens’ delicious portrayal of Our Kate is a delight – by turns funny, sardonic, heartfelt, defiant, and triumphant. In the other corner is Geoffrey Dolan, marvellously bombastic as Richard ‘King Dick’ Seddon.

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GLIMMER: Funny and thought-provoking
Basement Theatre, Lower Greys Ave, Auckland
written and directed by Jason Te Kare
- reviewed by Leigh Sykes

We run through a range of modern tropes as we consider Maui making his story relevant through the twitterverse, or as a Banksy image, or as a Marvel Avenger (or in this case an Atua Avenger). As these images and ideas play out, the underlying idea of keeping our stories and identities alive becomes very clear ...

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THE ISLAND: Wonder-filled, poetic, engaging, profound and funny
Mangere Arts Centre, Auckland
Directed by Sam Scott and Miriama McDowell 
Presented by Massive Company
- reviewed by Lexie Matheson

The Island has evolved beautifully from a mist of shared stories of journeys, family, relationships, metaphors, sensations and the general detritus of youthful delirium that bursts forth like a cabbage tree flower in spring to expose what being a New Zealander means to each and all of these fine young performers.

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MIDDLE EASTERN MEMORIES: Charismatic dancer brings Cairo to Auckland
Raye Freedman ARTS CENTRE, Gillies Avenue (Cnr Silver Road) Epsom, Auckland
Guest artist: Joana Saahirah (Egypt)
- reviewed by Raewyn Whyte

The dancing of international guest artist Joana Saahirah closes both halves of the show with extended solos. Her Egyptian Oriental dance straight from Cairo is avant-garde and very contemporary, informed by all the kinds of movement she encounters every day, as well as all the forms she has learned through many years of research and study.

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DUST PILGRIM – A TALE OF FREEDOM: Inspirational, odd, moving, challenging and full of inventive curiosity
Theatre Royal, TSB Showplace, New Plymouth
Devised by Red Leap Theatre
Directed by Julie Nolan and Kate Parker 
Presented by Red Leap Theatre
- reviewed by Holly Shanahan

Dust is a gorgeous metaphor; it speaks of entrapment and desolation. It has the potential to create mystery, surprise and oppression through haze, explosion and ‘rain’. It’s lightness or weight can enclose us or bear down on us. It is a wonderfully theatrical material.

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TRANSFER: Footnote NZ draws upon talents of overseas artists
Q Theatre Loft, Auckland
Choreographers: Jeremy Nelson (New York/NZ) and Joshua Rutter (Berlin/NZ)
- reviewed by Dione Joseph

In a well curated 70 minute production, Transfer features the talents of Joshua Rutter (Berlin/New Zealand) and Jeremy Nelson (New York/New Zealand). Bringing an international flavour these two works responds to and reflects a global perspective and for anyone interested in the development of contemporary NZ dance these are worth seeing.

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NEDERLANDS DANS THEATER: Towards Perfection
The Civic - Auckland Live, Auckland

- reviewed by James Wenley

Let's get one thing out of the way, even as someone who can't claim to know much
about dance, I can confidently say Nederlands Dans Theatre have created some of the best pieces of theatre you'll see all year. The evening is made up of four
distinctly different works of varying lengths

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TRANSFER: Forward thinking Footnote fashion
Q Theatre Loft, Auckland
Choreographers: Jeremy Nelson (New York/NZ) and Joshua Rutter (Berlin/NZ)
- reviewed by Hannah Stannard

‘Tomorrow After All’ is a brave and interesting take on what can happen as this virtual world becomes a repetitive, menacing presence one may be exposed to, as Rutter puts it, ‘waaay too many times.’ ...Jeremy Nelson’s work ‘Bridges and Doors’ contrasts Rutter's with its stunning sophisticated simplicity. It is a work with ideas and inspiration arising from architecture, and architecture’s final purpose as dwelling place.

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NEDERLANDS DANS THEATER: Dancers provide exhilarating viewing
The Civic - Auckland Live, Auckland

- reviewed by Raewyn Whyte

The splendid dancers of Nederlands Dans Theater's company NDT1 received a standing ovation on the opening night of their Auckland season, an acknowledgement of their stellar performance. Their New Zealand debut, this almost three-hour show presents four extraordinarily complex contemporary ballets created in the past 15 years, providing much to think about.

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NEDERLANDS DANS THEATER: Absolutely beautiful to watch
The Civic - Auckland Live, Auckland

- reviewed by Roxanne de Bruyn

The works are relatively abstract, with less form than many local productions. They seem to tug at fleeting ideas and emotions, leaving the audience uncertain about just what they’ve seen that speaks to them so powerfully. The production explores ideas of possibility and loss, yet the overall is effect is peaceful, serene, and absolutely beautiful to watch.

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TRANSFER: Rigorous, recondite and occasionally ribald
Q Theatre Loft, Auckland
Choreographers: Jeremy Nelson (New York/NZ) and Joshua Rutter (Berlin/NZ)
- reviewed by Sarah Knox

Transfer showcases the works of two unique choreographers, living in two dissimilar creative cities, working in two very different modes of performance. They complement each other well, and provide two ends of a performance spectrum for the ever faithful Footnote audience. The programme is also potentially a great entry into contemporary dance for newbies, featuring an insightful look at pop culture through Josh Rutter’s Tomorrow After All and a pure dance vocabulary in Jeremy Nelson’s Bridges and Doors.

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MILKY BITS: A highly entertaining and therapeutic gift
BATS Theatre, 1 Kent Tce, Wellington
By Leon Wadham, Chris Parker and Hayley Sproull 
Presented by The Bakery
- reviewed by John Smythe

The publicity promises a “thrilling pageant of millennial terror” and The Bakery’s ever-rising buns – Leon Wadham, Chris Parker and Hayley Sproull – deliver as much. As an expose of existential angst, this could be described as Waiting for Godot for well-educated, socially-aware, middle-class millennials.

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MILKY BITS: Original and innovative
BATS Theatre, 1 Kent Tce, Wellington
By Leon Wadham, Chris Parker and Hayley Sproull 
Presented by The Bakery
- reviewed by Ewen Coleman

One of Shakespeare's most famous lines, from his play King Lear, is "Nothing comes of nothing", which most people, even if they don't know Shakespeare, have heard of. Yet it would appear that the three actors from Auckland performing in Milky Bits, currently playing early evenings at Bats Theatre are not aware of this famous quote.

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

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