A selection of reviews from Theatreview from the last week including: Sydney Bridge Upside Down, The Young and the Witless 7: Small Town, Big Hearts, and The Brave.

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

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A selection of reviews from Theatreview from the last week including: Sydney Bridge Upside Down, The Young and the Witless 7: Small Town, Big Hearts, and The Brave.

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

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Q Theatre, Rangatira, Auckland - SYDNEY BRIDGE UPSIDE DOWN: A cocktail of surprise, dread and delight
- reviewed by Gilbert Wong

Ballantyne’s novel was republished in 2010, and is now rightly regarded as a literary landmark that few appreciated at the time. Taki Rua’s production honours a near forgotten work. More power to them for doing so and taking the raw content, a decidedly gothic and bleak novel, to create an innovative piece of theatre.

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Q Theatre, Rangatira, Auckland - SYDNEY BRIDGE UPSIDE DOWN: Macabre seaside psycho-thriller offers different rewards for two distinct audiences
- reviewed by Nik Smythe

The initial plainness of set designer Kasia Pol’s expansive stage, empty but for the sloping rise to the left, belies the extravagant, heady visuals that follow. Rob Appierdo and Johann Nortje designed the eclectic video material, regularly projected upon any or all surfaces as appropriate, beginning with the opening scene’s bizarre video collage of the title character, local racehorse Sydney Bridge Upside Down.

Ensuing imagery ranges from representational landscapes to abstract mindscapes, along with some highly appealing, if a tad distracting at times, closed-circuit gadgetry. The lurid visual splendour is heightened further by Nathan McKendry’s arrestingly dynamic lighting design, making as much use of darkness and shadow as it does of illumination.

The whole sensational package is then exponentially amplified by the composition and sound design of John Gibson, whose contribution is nothing short of a tour de force, enhancing his veteran know-how with modern holographic sound technology to superb effect.

As much as all those production elements are stars unto themselves, serving to provide a profound theatrical experience independent of its literary origin, there is still a well-appointed, accomplished cast to populate it and a story they and director James Ashcroft all have to tell together.

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Fringe Bar, 26 Allen St, Wellington - THE YOUNG AND THE WITLESS 7: SMALL TOWN, BIG HEARTS: Promising much
- reviewed by John Smythe

Forget the fancy Conference Centre planned for Auckland; Te Awaiti – just over the hill from Wellington – has all you could ask for in a Resort and Conference Centre, run by local boy builder Keith Grant (Steven Youngblood) and his bottler of an adoring Aussie wife Gracie (Christine Brooks). Perhaps.

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Mangere Arts Centre (return season), Auckland - THE BRAVE: The bare stage and passion of great theatre
- reviewed by Johnny Givins

A standing ovation from the full house rewarded the opening of THE BRAVE-Tour last night at the Mangere Arts Centre. What a show it is! Eight brave actors (21-32) breathe extraordinary life into the male landscape of life in the 21 century.

It’s brutally, honest, enthralling, moving, funny but above all it is a great piece of professional theatre by skilled craftsmen.

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Musgrove Studio, Maidment Theatre, Auckland - DEFENSABILITY: Excellent premise but messy direction
- reviewed by Heidi North-Bailey

Towler’s script has great promise and this is an excellent premise ... But unfortunately the lack of continuity in the direction leads to the humour getting lost in the messiness, while the tone of the piece verges between realism and melodrama. Some firmer directorial choices would have given this piece more shape.

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CBS Canterbury Arena, Christchurch - SWAN LAKE - THE ROYAL NZ BALLET: ‘Swan Lake’ a Classic Birthday Treat
- reviewed by Toby Behan

This is ballet at its best – make no mistake. So much dance is packed into the two-hour spectacle that no one could possibly leave the theatre wanting more. And whilst there is undoubtedly some splendid dancing (and acting) from the company, it has to be said that the star of this production is the choreography itself – primarily the sublime musicality and construction of the dance. This is one of those things that easily goes unnoticed – which is itself evidence of Kerr’s genius at work. The steps themselves match, anticipate, and provide completion to Tchaikovsky’s legendary score. The onstage formations of the swans convey imprisonment, strength and vulnerability. Practically speaking – the choreography being so complete (and yet subtle) in this way - lets us get on with the joyous task of watching the story portrayed before us.

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Fortune Theatre, Dunedin - ALTAR BOYZ: Revisit, enjoy, celebrate, shamelessly laugh at, or confess your love of, boy bands
- reviewed by Emily Duncan

The triple threats who play the roles of Matthew, Mark, Luke, Juan and Abraham give a high-octane performance and their endurance is to be applauded. The show is 90 minutes of mainly song and dance, and the actors barely have any down time. While not every note is pitch-perfect, and I did wonder at times about the quality of the sound system, they maintain the energy throughout the show.

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PARK THEATRE, Finsbury Park, London - SKIN TIGHT: Deeply romantic and fiercely brutal
- reviewed by Charlotte Everett

Skin Tight is a highly-provocative and intense piece of theatre. Actors Angela Bull and John Schumacher bring New Zealand playwright Gary Henderson’s work to life in a polished and unforgettable London performance.

Set in rural Canterbury, Skin Tight is the deeply romantic yet fiercely brutal story of Tom and Elizabeth, tracing their journey from young sweethearts in 1940s rural New Zealand up to the present day.

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The Riverbank Centre, Whangarei - PLAYING MISS HAVISHAM: Eccentrically entertaining quest for fulfilment
- reviewed by David Stevens

In Playing Miss Havisham, Helen Moulder gives us an archetypical Kiwi-ess, Claudia, who probably makes a good pavlova and who is, unquestionably, having a go. It is as if we have been invited to Claudia’s house for tea while she entertains us with a story. She treats us as friends, chats with us, involves us in games – scratchies and cobwebs – and passes photos among us. All that’s missing is a cup of tea and a nice piece of cake.

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Otago Pioneer Women's Hall, Dunedin - MOOSE MURDERS: So bad it is hilarious: a travesty of a travesty
- reviewed by Jennifer Aitken

But could Moose Murders really be that bad?

Abby Howells, with great insight, has taken Moose Murders and made it worse. Yes, that’s right WORSE! Using the cheapest gimmicks available and channelling Christopher Guest, Howells has triumphed in making Moose Murders so bad it is good.

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

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