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

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HEALR: Inescapable warmth and synergy
Basement Theatre Studio, Lower Greys Ave, Auckland
Choreographers/Performers: Rose Philpott and Jessie McCall
Lighting design: Paul Bennett
- reviewed by Chloe Klein

We are witnesses to creators and performers Rose Philpott and Jessie McCall journey through what feels like a warped spiritual science fiction yoga class, complete with Bikram temperatures. Repeated releases and swings reminiscent of warm up (excuse the pun) exercises are executed over and over. I find myself drawn into the cyclical patterns of the work. Endless flow and momentum. Both calming and eerie, somewhat damaging? But soothing. If we strip away layers of ourselves will we find healing? Will we be more fully and completely us?

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Edinburgh Festival Fringe 2016
PROMISE AND PROMISCUITY: A NEW MUSICAL BY JANE AUSTEN & PENNY ASHTON: Winning formula leaves audiences smiling
Assemby, George Square, Edinburgh, Scotland
Written by Penny Ashton and Jane Austen 
Workshops directed by Ben Crowder 
Music Written and Arranged by Robbie Ellis 
presented by Penny Ashton
- reviewed by Sally Woodfield

Ashton brings to life all eight characters of the story: her silly younger sister Cordelia, the posh Lady Wrexham and her braying son Reginald, his lisping cousin Thomasina, the pompous and mysterious Digby Darcy, and Elspeth’s rather revolting cousin Horatio who is ensconced in the familial home.

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MOM (MEET OUR MUM): Less than the sum of its parts
BATS Theatre, The Heyday Dome, 1 Kent Tce, Wellington
Devised and presented by Whitireia 3rd Year Applied Arts Students 
Devising Mentor: Richard Dey
- reviewed by John Smythe

Mother Earth is played as a grounded and very sick albatross, which the ensemble bathes gently from time-to-time, having stripped her of her plumage: an image that seems to confuse the metaphor somewhat despite its caring nature.

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THIRSTY: Impressive skills bode well for potential
BATS Theatre, The Propeller Stage, 1 Kent Tce, Wellington
Written and Performed by Ali Foa'i
- reviewed by John Smythe

Given the range of archetypes who pop up initially in the chat-room of Tyra “from the Dirty South” of Aukilani, and are personified elsewhere in Tamaki Makaurau, it takes a while to get the hang of whose stories are threading through the 45-minute show. But once “Spanish with a little bit of Tongan” Tyra exchanges her ‘stats’ with “rugged and pretty toned” Devonte, we sense this story may go somewhere – and it does.

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Edinburgh Festival Fringe 2016
BACK OF THE BUS: Incredible clowning and choreography
Assemby, George Square, Edinburgh, Scotland
Choreographer: Sacha Copland 
Java Dance Company
- reviewed by Acushla-Tara Sutton

Sacha Copland has the entire audience in fits of laughter as she navigates the awkwardness of the situation. Copland is charming, delightful and highly entertaining as she expertly navigates the confines of the bus aisle and by the end of the first song she has us eating out of the palm of her hand, metaphorically and literally.

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Edinburgh Festival Fringe 2016
THE BOOKBINDER: A delightful gem of a show
Pleasance Courtyard (Venue 33), Edinburgh, Scotland
Written & Performed by Ralph McCubbin Howell 
Directed by Hannah Smith 
Trick of the Light Theatre
- reviewed by Sally Woodfield

The use of metaphor and rhyme flows through the journey as our apprentice seeks “a thread of hair from your head, a knife from human skin, a needle from your tooth to bind the softest eyelid skin”.

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LEILANI: Giggles a work in progress
Q Theatre Loft, Auckland
Director: Pedro Ilgenfritz 
Script Developer: Gary Henderson 
Brought to you by Mahuika Theatre Company 
Presented by Q Theatre’s 2016 Matchbox Season
- reviewed by Janet McAllister

Leilani's "Aotearoa Dell'Arte" masks (made by Kate Lang) are clever, and the stylised acting that brings them to life is excellent but, after a promising prologue, this comic "melodrama" about serious matters doesn't quite hit the mark.

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VANYA AND SONIA AND MASHA AND SPIKE: Chekovian mash-up provides plenty of delights
Circa One, Wellington
By Christopher Durang 
Directed by Susan Wilson 
Presented by Circa Theatre 
Proudly supported by Paul & Danika McArthur
- reviewed by Ewen Coleman

And although it deals with the intricacies of family life with minimal plot and action, like a good Chekhov play does, and while some of the character names as well as ideas are taken from Chekhov, Durang's play is not a modern re-write or parody ...

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VANYA AND SONIA AND MASHA AND SPIKE: A wittily insightful play impeccably done
Circa One, Wellington
By Christopher Durang 
Directed by Susan Wilson 
Presented by Circa Theatre 
Proudly supported by Paul & Danika McArthur
- reviewed by John Smythe

Susan Wilson has waited three years for Circa to get the rights to Christopher Durang’s Vanya and Sonia and Masha and Spike, and – having directed Chekhov’s The Seagull (2000), The Cherry Orchard (2005) and Uncle Vanya (2007) – who better than her to direct this NZ premiere. And as usual she has assembled an ideal cast.

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VANYA AND SONIA AND MASHA AND SPIKE: A wittily insightful play impeccably done
Circa One, Wellington
By Christopher Durang 
Directed by Susan Wilson 
Presented by Circa Theatre 
Proudly supported by Paul & Danika McArthur
- reviewed by John Smythe

Susan Wilson has waited three years for Circa to get the rights to Christopher Durang’s Vanya and Sonia and Masha and Spike, and – having directed Chekhov’s The Seagull (2000), The Cherry Orchard (2005) and Uncle Vanya (2007) – who better than her to direct this NZ premiere. And as usual she has assembled an ideal cast.

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SANDY EDMONDS - SURE TO RISE: Add Baking Powder
The Classic Comedy Club, 321 Queen Street, Auckland
Presented by DIONYSOS
- reviewed by Matt Baker

There is no teasing out of the possibility of why she arrived to the decision she did, as Cassin/Edmonds concludes by telling us she simply wanted to do something other than music. There are fleeting moments that suggest the want of a more simple life, but they are not preceded by any conflict or tension that arise from her celebrity lifestyle.

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Edinburgh Festival Fringe 2016
ONE DAY MOKO: As touching and thought-provoking as it is entertaining
Gilded Balloon, Edinburgh, Scotland
Devised and performed by Tim Carlsen 
Directed by Leo Gene Peters 
Q PRESENTS
- reviewed by Acushla-Tara Sutton

As Moko, Tim Carlsen oozes charm and charisma. For the 60 minutes he occupies the stage, Carlsen performs with such honesty and authenticity it is impossible to look away. He works expertly with the audience to create content, lighting states, character, and before long we are just as much a part of this world as Moko is.

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LEILANI: Considerable heart and soul in truthful caricature
Q Theatre Loft, Auckland
Director: Pedro Ilgenfritz 
Script Developer: Gary Henderson 
Brought to you by Mahuika Theatre Company 
Presented by Q Theatre’s 2016 Matchbox Season
- reviewed by Nik Smythe

Each character is identified by a unique mask, as well as distinctive costumes ... and appropriately idiosyncratic physical and vocal characteristics as informed by the energy with which the masks imbue them.

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SANDY EDMONDS - SURE TO RISE: Songs, music and lighting a Go-Go
The Classic Comedy Club, 321 Queen Street, Auckland
Presented by DIONYSOS
- reviewed by Aminata Hamadi

Jessie Cassin does a phenomenal job as Edmonds with stunningly soulful vocals. She certainly hits the right notes with the audience – absolutely pitch perfect. At several points during the night I can hear the echo of Christina Aguilera in her prime (for lack of my having a 60s pop star to compare her to).

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MIA BLONDE ICE DAGGER: Madcap capers in Bond tradition
Basement Theatre, Lower Greys Ave, Auckland
Choreographed and directed by Thomas Sainsbury and Lara Liew 
Presented by Dynamotion
- reviewed by Raewyn Whyte

The action rollicks along, a madcap series of capers borrowed from James Bond movies, given a satirical twist, intermixed with musical comedy cliches and broadly-played social stereotypes.

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MIA BLONDE ICE DAGGER: Kiss Kiss Bang Bang Ha Ha
Basement Theatre, Lower Greys Ave, Auckland
Choreographed and directed by Thomas Sainsbury and Lara Liew 
Presented by Dynamotion
- reviewed by Tim George

There have been a few times I’ve watched an old James Bond movie (generally one starring Roger Moore) when I’ve wondered what a James Bond musical would look like. Mia Blonde in Ice Dagger is probably as close as we are going to get.

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MIA BLONDE ICE DAGGER: Gleeful subversion brings infectious pleasure
Basement Theatre, Lower Greys Ave, Auckland
Choreographed and directed by Thomas Sainsbury and Lara Liew 
Presented by Dynamotion
- reviewed by Leigh Sykes

The homage includes a theme song that manages to remind me of the last three or four Bond theme songs, but which is specific to this show, illustrated by the cast resplendent in matching mini-dresses or white shirts and very serious expressions.

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THE MIXTAPE VOL 2: A refreshing approach to the art of improv
Fringe Bar, 26 Allen St, Wellington
Improvised by Best on Tap 
Directed by Wiremu Tuhiwai
- reviewed by Dianne Tennent

But along with the silliness comes a thematic element: our main character Amy coming to terms with her identity. I’m impressed that this idea is built on and developed throughout the performance.

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

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