Theatreview Weekly: 09/10/2014
09 Oct 2014
The latest Theatreview Weekly includes reviews of Hoki Mai Tama Ma, 1 IN 10 and Light of Bharatam.
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Theatreview
The latest Theatreview Weekly includes reviews of Hoki Mai Tama Ma, 1 IN 10 and Light of Bharatam.
See more recent reviews at theatreview.org, the NZ Performing Arts Review & Directory.
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TUAKANA: KIRI: A stunning artistic success
Q Theatre Loft, 305 Queen St, Auckland
- reviewed by Briar Wilson
Corneal moves into the oval to start the process of “wedging” - working the clay (i.e. Bryant) rolling her around and moving her about as if she had no bones. Corneal places her onto a turning plinth, and with reddish brown clay, works to sculpt a woman. Bryant, no longer passive, happily participates in this creation process and so moves more and more, as more and more clay is applied. In the after show talk, Bryant speaks of “kiriwai”, that is, it is as if she is moving the water beneath her skin, and indeed the strength and fluidity of her body in this part is not only amazing to see, but also very beautiful.
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EVERYTHING IS SURROUNDED BY WATER: Soulless Depths
The Basement, Lower Greys Ave, Auckland
- reviewed by James Wenley
An hour before the show, Uther Dean is sitting on a couch in The Basement foyer, playing arcade games courtesy of Young & Hungry. He later hangs outside the venue. When it’s approaching the 9pm mark, he goes to the door to usher us in.
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HUMAN FRUIT BOWL: Delightful, witty, intelligent, charmingly infectious
BATS Theatre (Out Of Site), Cnr Cuba & Dixon, Wellington
- reviewed by Deborah Eve Rea
Our unnamed model, has “a lot of time to think” during her life-modelling sessions. Through a mixture of storytelling and shared inner-monologue, Human Fruit Bowl flickers in and out of the character’s biography and the biographies of artists and their muse.
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THE F WORD: Naivety becomes dangerous
BATS Theatre (Out Of Site), Cnr Cuba & Dixon, Wellington
- reviewed by Deborah Eve Rea
The F-Word began as a “heated but extremely entertaining dinner party debate on what FEMINISM means”. Unfortunately, after 18 months of conversation, it appears that the company have yet to make any discoveries.
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EVERYTHING IS SURROUNDED BY WATER: Spirals out and snaps back
The Basement, Lower Greys Ave, Auckland
- reviewed by Cherie Moore
Uther is incredibly likeable and he's a joy to watch. There is a transparency throughout the show where he moves from being really in the story, to talking to the audience about what he's doing, or how parts of the story link.
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NASDA Theatre, E Block, CPIT, Christchurch
- reviewed by Erin Harrington
Judicious use of lighting draws from the lights and lasers of the radiotherapy process to create a conceptual space that acts as the battleground between cancer, treatment and individual. There is also extensive use of projected video, which portrays Karen’s time in treatment at Christchurch Hospital. It’s wonderful that she was allowed to film within the hospital and incorporate members of the oncology staff, and these filmed pieces beautifully augment the performance by providing harsh context for the more expressive parts of the work.
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THE TWO NOBLE KINSMEN: Many delicacies to be savoured
Studio 77, VUW, Wellington
- reviewed by John Smythe
Two men – the very best of mates – fall in love with the same woman. Who is the more worthy suitor and how is it to be decided? By a fight to the death, of course. That’s what men do.
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UNCLE MINOTAUR: Tying laces before loose ends #2
The Basement, Lower Greys Ave, Auckland
- reviewed by Matt Baker
Upon reflection, there are some inarguably risqué issues addressed in Uncle Minotaur, the problem, however, is that their impact is upon reflection – not during the drama.
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SECOND AFTERLIFE: Tying laces before loose ends #1
The Basement, Lower Greys Ave, Auckland
- reviewed by Matt Baker
No stranger to creating dramatic parallels with the real world, McCubbin-Howell explores the evolution of online profiles in what is more or less a theatrical adaptation of Scott Pilgram Vs. The World.
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JOURNEY OF THE CELTS: Dancing forward with the past
Aurora Centre, Christchurch
- reviewed by Emily Napolitano
Journey of the Celts is an energetic trip through the annals of time, honouring the courageous spirit of a gallant nation. The Highland Dance Company of New Zealand has a perfect vehicle in their blend of contemporary and traditional dance.
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THE SOUND OF MUSIC: Bloom and grow forever
The Civic – THE EDGE®, Auckland
- reviewed by James Wenley
If you’re not completely won over by the time the Von Trapp children are skipping along to Do-Re-Me, you should see a doctor immediately to check for a heart condition.
The template for the New Zealand touring production is Sir Andrew Lloyd Webber’s 2006 production at the London Palladium ...
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THE SOUND OF MUSIC: Von Trapps in tune with 21st Century
The Civic – THE EDGE®, Auckland
- reviewed by Paul Simei-Barton
Right now The Sound of Music seems even more in tune with the times than when it premiered in 1959 and anticipated all the major themes of the 60s.
A young musician with an old guitar abandons the security of her cloistered home to embrace risk and adventure.
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THE PITMEN PAINTERS: Mapping the transformative properties of art
Circa One, Wellington
- reviewed by John Smythe
Given this based-on-a-true story play involves a bunch of blokes, their tutor, a collector and a life model exploring and debating the notion of ‘art’ in a series of relatively static, dialogue-driven scenes spanning 13 years (1934 to 1947), the phenomenal success of The Pitmen Painters may seem surprising.
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THE PITMEN PAINTERS: Great play thanks to first class cast
Circa One, Wellington
- reviewed by Ewen Coleman
Without exception each actor brings a depth and confidence to their performance that not only brings out the humour in the play but often the underlying moments of anguish, anger, animosity and many other emotions as they go on a rollercoaster ride to stardom.
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HOKI MAI TAMA Ma: Warmly recommended
Centrepoint, Palmerston North
- reviewed by John Ross
To the unfolding of a strange story about past happenings, during the Second World War, is added the liberating potencies of commedia dell’arte-style masks. Such masks can, as they do here, unleash new and intriguing ways of being and meaning, alternative levels of theatricality, extraordinary energies.
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THE SOUND OF MUSIC: A lot to take in
The Civic – THE EDGE®, Auckland
- reviewed by Kate Ward-Smythe
This London Palladium Production of The Sound of Music is a delightful, warm celebration of some of musical theatre’s most enduring and much loved songs. Beneath the stylised dialogue and derivative characters, a global cast of stunning singers, with well-known English soprano Lesley Garrett at the helm, pay a wonderful tribute to Rodgers and Hammerstein’s most popular musical.
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UNCLE MINOTAUR: Skilled production but left feeling empty
The Basement, Lower Greys Ave, Auckland
- reviewed by Jan Maree
Everything about this production is amazing: the players are talented; the set is lively, well thought out and makes the most extraordinary contribution to the performance; the properties department deserve a medal and the soundscape is inspired! ... I just wonder about the story...
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SECOND AFTERLIFE: A great story immaculately played
The Basement, Lower Greys Ave, Auckland
- reviewed by Jan Maree
Well here we are! A piece of theatre with its heart in the right place and its head screwed firmly on! This is the teenager I wish I had been. Man, talk about some good goofy proper laugh-at-yourself Kiwi comedy. This is the kind of comedy like we have seen so rarely, penned and played as well as some of the comedy of Billy T James.
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THE COHORT HOTEL: Engaging script imaginatively brought to life
Hawkins Theatre, Papakura, Auckland
- reviewed by Dione Joseph
Young Mika is a conflicted soul dealing with the pressures of parental expectation, life’s demands and her own self-esteem (no boyfriend, only 23 Facebook friends and no tumblr!?) when she is hit by a moving vehicle. While her body lies in a coma in hospital, the Grim Reaper – more colloquially known as Joe – has decided to scoop up her soul and bring it to join the current residents at his hotel.
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SGCNZ NATIONAL SHAKESPEARE SCHOOLS PRODUCTION (NSSP) 2014: Extraordinary experience
Maurice Joel Auditorium, Otago Boys’ High School, 2 Arthur Street, Dunedin
- reviewed by Terry MacTavish
The organisers modestly call it ‘work in progress’, but all three productions are astonishingly polished. I am amazed by the work that has been done and the standard achieved; the sheer gusto of a young company acting with extraordinary confidence after less than a week’s rehearsal. All the lines learnt are the least of it – the actors’ self-confidence must come from knowing they are in safe hands. The three professional directors with their scholarly in-depth knowledge of Shakespeare as well as their stage experience have done a fantastic job.
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LIGHT OF BHARATAM: Tales of Hindu deities elegantly conveyed
NASDA Theatre, E Block, CPIT, Christchurch
- reviewed by Emily Napolitano
Vigorous footwork is combined with poised balances and sculptural shapes to enact the depictions of each god or goddess. The dancers are elegant, flowing from one graceful and subtle hand pattern to another while fluidly stamping to the beat of the drums.
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DOUBLE DERELICTS: Extraordinary athleticism playfulness and tenderness
Hagley Open Stage, Christchurch
- reviewed by Lindsay Clark
Promoted as physical theatre, with clowning, dance, and improvisation as part of the mix, the production builds a world of changing fortunes around a trio of characters and an old couch, up for grabs on a city street. There are few actual words then, with mime, backing sound and occasional vocalised expression carrying the narrative.
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IVY – SAVIOUR OF THE DINOSAUR: Energetic and skilful trip through history
TAPAC Theatre, Western Springs, Auckland
- reviewed by Bronwyn Elsmore
After an episode of peekaboo activity (always guaranteed to warm up the tinier tots in the audience) and fifteen minutes into the play, the action takes off – virtually literally (suspension button pressed so that’s allowable) as Ivy casts off her apron, dons her explorer’s hat, and fires up her trolley-cum-time machine, and sets out on a mission to save dinosaurs from extinction.
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SHORELINES: Uplifting and inspiring
Middleton Grange School Performing Arts Centre, Christchurch
- reviewed by Jess Probert
I was hugely impressed by the way that all of the dancers, regardless of disability, captured the dynamic and quality of all the movement within the show. The live music really enhanced the movement, just as the movement enhanced the music. Each section of Shorelines has a different tone, and the way that each of the dancers responds to the change in tone is wonderful to see. From a solo about the invasion of litter on the beach, to a group section about rowing to get to the shore and exploring the new land, the sections are clearly defined through movement, music, poetry and storytelling, each dancer responding to, and embracing, that change. The connection between the dancers on stage, not only with each other but with the musicians, the music itself and with the audience is something very inspiring.
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GO SOLO 2014 GROUP D: Original, complex, elemental
Te Whaea - SEEyD Space, 11 Hutchison Rd, Newtown, Wellington
- reviewed by Lena Fransham
A visceral and accomplished set to round off the season, the performances of the final group in the 2014 Go Solo series have left a real imprint on me.
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GO SOLO 2014 GROUP C: Contrasting textures
Te Whaea - SEEyD Space, 11 Hutchison Rd, Newtown, Wellington
- reviewed by Lena Fransham
The third instalment of the Go Solo season, Group C are good for some real belly laughs but also take us to some unexpected and ethereal places.
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BBE: THE NIGHT SKY RETURNS: Exuberant, enterprising, cosmic extravaganza
Q Theatre, 305 Queen St, Auckland
- reviewed by Raewyn Whyte
Q Theatre’s Rangatira auditorium takes on the guise of planetarium for The Blackbird Ensemble’s enterprising, exuberant, cosmically themed extravaganza The Night Sky, with a 28 member big band playing an extraordinary array of mostly contemporary vocal music against a backdrop of similarly extraordinary visuals.
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GO SOLO 2014 GROUP B: Daring, layered and subtle
Te Whaea - SEEyD Space, 11 Hutchison Rd, Newtown, Wellington
- reviewed by Lena Fransham
The second group to strut their stuff at Toi Whakaari in this season of Go Solo confirms the quality talent coming out of the place.
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GO SOLO 2014 GROUP A: Impressive devising and characterisation, and some startling originality
Te Whaea - SEEyD Space, 11 Hutchison Rd, Newtown, Wellington
- reviewed by Lena Fransham
Go Solo’s first group of shows – ‘Group A’ – is a set of four twenty minute pieces presented end-to-end in the Spartan ‘SEEyD’ performance space at Te Whaea.
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IN FLAGRANTE: Tableaux that mix femme fatale with fetish
Mashina Lounge, Christchurch Casino, Christchurch
- reviewed by Emily Napolitano
Humorous and raunchy, elegant and sophisticated, In Flagrante is sleek and provocative ‘erotica noir.’ All five dancers display exceptional technique with beautifully executed contemporary and jazz dancing. Strong use of choreographic elements supports and enhances the themes within each piece, while distinctive movements are carried throughout the show. Minimal, often stark, costuming allows the dancers and their subject matter to take centre stage.
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GASLIGHT: Victorian manners impede engagement
Gryphon, Wellington
- reviewed by Shannon Friday
Patrick Hamilton’s Gaslight premiered in 1938, and actually spawned the term ‘gaslighting’, meaning to mentally torture someone by convincing them they can’t trust their own perceptions. And with that, we have our first spoiler, because that is basically the plot of the show.
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See more recent reviews at theatreview.org.nz, the NZ Performing Arts Review & Directory
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