The latest Theatreview Weekly includes reviews of Tiki Taane Mahuta, Justine Smith – Abroad, and La Cenerentola (Cinderella).

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

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The latest Theatreview Weekly includes reviews of Tiki Taane Mahuta, Justine Smith – Abroad, and La Cenerentola (Cinderella).

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

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PUBLIC SERVICE ANNOUNCEMENTS: WHO DUNNE IT?: All parties lampooned on an equal opportunity basis
BATS Theatre, The Dome, 1 Kent Tce, Wellington
- reviewed by John Smythe

the inciting incident is the sudden disappearance – right before our very eyes – of the United Future member for Ohariu, Peter Dunne.

The quest to discover who stole Peter Dunne and why – a classic whodunit – drives the narrative, along with the looming spectre of a by-election.

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JAMES NOKISE - BIG WORDS: Reflective, enjoyable and intellectual comed
VK's Comedy & Blues Bar, 60 Dixon St,
- reviewed by Maraea Rakuraku

The premise is that big words can be intimidating and hilarious and hilariously intimidating and well actually just plain intimidating. There is an obvious love of language here as we’re treated to various place names, their meanings and how that translates into a sociological context. Which of course means it’s perfect for ‘taking the piss’ and, in some cases, reflecting upon.

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DARK SIDE OF THE AFTERNOON: Good Schadenfreude to You
Q Theatre Cellar, Auckland
- reviewed by Tim George

Ashton Brown and Louise Beuvink clearly know what they are doing. Each comic has around 30 minutes for their set, and they both rise to the challenge in completely different, yet complementary, ways.

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CONARTISTS IN NEW ZOMBIELAND AN IMPROVISED MUSICAL: A bit of a muddle
The Horse and Trap, Enfield St, Mt Eden, Auckland
- reviewed by Chloe Baynes

Off to a promising start, the show opens with a small town meeting introducing us to characters based on rural New Zealand caricatures with suitably cringe-worthy Kiwi names. However after their opening chuckle-drawing song it seems the performers lose clarity with each successive scene.

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DARK SIDE OF THE AFTERNOON: A handful of LOLs
Q Theatre Cellar, Auckland
- reviewed by Nik Smythe

At least a fractional cross-section of today’s twenty-somethings are represented here by a bearded, heavy-set bitter and twisted male drama school graduate, and an attractive blonde female cynic with a background in advertising.

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JEROME CHANDRAHASEN - THE THIRD PINT: Laid back chat always engaging
Kitty O'Sheas, 28 Courtenay Place, Wellington
- reviewed by John Smythe

Jerome Chandrahasen barely sips past the froth of his pint of Guinness as he amiably delivers his stand-up show, The Third Pint. We few who have gathered upstairs at Kitty O’Shea’s form such a cosy group, he dispenses with the microphone and chats with us ‘au naturel’.

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CRAIG CAMPBELL'S THRILLING MIC HUNT: ability to shock, engage (or disengage) and crack up an audience
VK's Comedy & Blues Bar, 60 Dixon St,
- reviewed by Thomas Aitken

One punter, who has obviously had enough of Campbell’s in your face attitude, vocalises his thoughts, leading to a shouting and swearing match of epic proportions that causes a dozen or so audience members to storm out with 10 minutes to go.

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ONE MAN BREAKING BAD THE UNAUTHORISED PARODY: Great for any fanboy or fangirl going through withdrawal
Hannah Playhouse (previously Downstage), Wellington
- reviewed by Shannon Friday

Miles Allen explodes onto the stage with energy and enthusiasm. He's the uber-fanboy and his joy for the show is infectious. He throws just about every trick in the book at Breaking Bad, from jokes that both display and make fun of the conventions at play, to pop-culture references and mash-ups that are only tangentially, but hilariously, tied to the series.

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ANDREW WATTS - FEMINISM FOR CHAPS: An honest examination of the world we live in
The Classic, Auckland
- reviewed by Chloe Baynes

His commentary on social politics however, hits the mark. Watts unapologetically calls out The Classic's all male line up this festival season, and similarly the benefit of performing his material in strip clubs: he's reaching the audience who need to be hearing it. In the midst of a possibly alienating advocacy mission, Watts also isn't afraid to voice what it seems we're all thinking. What about when feminists don't make sense?

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JUSTINE SMITH - ABROAD: A cocktail of frank, caustic wit and quirkiness
The Classic Studio, Auckland
- reviewed by Kate Ward-Smythe

She’s back. With her trademark intolerance for silly, fluffy things (unless it’s a cat), Justine Smith launches her stand-up comeback, after a five-year absence from the Festival, to a happy, satisfied audience.

From the moment she announces she’s puffed out from her 3 meter jog to the stage, it’s clear that Justine has arrived back in full throttle and ready to rip into some entertaining yarns.

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LE COMIQUE 2015 - HOSTED BY CARL DONNELLY: A high-energy, jam-packed night
SKYCITY Theatre, Auckland
- reviewed by Dione Joseph

It’s the last week of the NZ Comedy Festival and if you haven’t had your bellyful of laughs then you’d better get in quick. For those who were at Le Comique on Sunday night the two hour event hosted by Carl Donnelly was the perfect comedy tasting platter.

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TIKI TAANE MAHUTA: With the ancestors looking on
Isaac Theatre Royal, Christchurch
- reviewed by Julia Harvie

Stylised acting is combined with a visceral movement language evoking a sense of melodrama. There are various dance styles called upon, including haka, Maori martial arts, ballet, aerial and a traditional style of contemporary dance. The focus of the movement is to depict the emotional journeys of the characters to tell this archetypal story of tragedy and loss. The dancers work incredibly hard and are successful in fulfilling Tanemahuta Gray’s vision. The audience are clearly impressed, delighted and thankful for their virtuosity.

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CLASS COMEDIANS SHOWCASE 2015 - AUCKLAND: Big issues amid the humour
Q Theatre Loft, Auckland
- reviewed by Kathryn van Beek

Hatched by the NZ Comedy Trust, Class Comedians is a brilliant plot to ensure that New Zealanders keep laughing for many years to come.

As part of Class Comedians 2015, high school students [in Auckland and Wellington] are given the opportunity to undertake a three-month crash course in comedy. The programme culminates in a showcase performance at The New Zealand Comedy Festival.

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LA CENERENTOLA (CINDERELLA): Unity of vision and ensemble spirit with the x-factor
St James Theatre, Wellington
- reviewed by Michael Gilchrist

Everything in this production is oriented toward one end: telling a compelling story. Every element makes a memorable contribution and the funnier it is, the better it succeeds. The choreography, as mentioned, is expert. When choreography is as well integrated as this, its value in comic opera can’t be overstated ...

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FEMINIST FRIDAYS: More ‘Girl Power!’ than Feminism but still a quality show
Dog with Two Tails, 25 Moray Place, Dunedin
- reviewed by Alison Embleton

Billing itself as Feminist Fridays is a bold choice for this production It sounds intimidating to those who are uninterested or hitherto uninformed about feminism and sets expectations high for those with existing feminist leanings.

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BOGAN YOGA: And now for something different …
Whitireia Performance Centre, 25-27 Vivian Street, Wellington
- reviewed by Shannon Friday

Bogan Yoga is a great idea. It is pretty much exactly what it sounds like: a yoga class developed and led by bogans. Audience are encouraged to both dress up and participate, and I would totally recommend doing both.

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JOSEPH HARPER - I AM A CAT: Exasperating, awkward and brilliant
Tararua Tramping Club, Wellington
- reviewed by Lena Fransham

Rambling and strange, like a somnambulist’s internal monologue, this story goes everywhere but where you expect it to.

Joseph Harper firstly launches into a discussion of Hellenistic astrologer Vettius Valens’ writings on the concentric wheels of the universe. The ninth wheel, beyond the stars and beyond the zodiac, was the wheel of fortune.

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GRIMM BEDTIME STORIES: Young audience delighted
Hannah Playhouse (previously Downstage), Wellington
- reviewed by Shannon Friday

The story starts with two parents (Isobel MacKinnon and Callum Devlin, who will later appear as the Brothers Grimm) trying to get their hyper-active children (Tom Clark and Freya Daly Sadgrove) to bed. However, the kids would rather stay up and make faces and fart noises.

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HEATH FRANKLIN'S CHOPPER - THE LINE UP: Stop/start TV format subjugates live audience
SKYCITY Theatre, Auckland
- reviewed by Vanessa Byrnes

This made-for-TV-show that includes nine other acts has a strange setup, though; I could watch Chopper for two hours, but this stop/start format puts the live experience subservient to the camera needs. This is an odd thing to behold. A brilliant warm-up by Chopper dissipates as other comedians of varying quality come to the stage to do their thing.

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HARLEY, NATASHA & ISAAC - WHAT IT ALL COMES BROWN TO: A humble comic offering by imminent comedians
Q Theatre Cellar, Auckland
- reviewed by Aminata Hamadi

What It All Comes Brown To is a laid back show made by three friends – Harley, Natasha and Isaac – and you’re invited onto their shenanigans. Watching it is like sitting around the living room sipping hot chocolate while your cousins try their jokes on you. Occasionally something hilarious emerges out of their rambling and the hot beverage you’re drinking leaves your mouth in a spray of mist – but only occasionally.

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THE RITE OF SPRING (2013): Truly striking continuity
Allen Hall Theatre, University of Otago, Dunedin
- reviewed by Jonathan W. Marshall

More innovative is the way Martins and Lee present these danced samples. Typically, one of the dancers performs on his or her own a short section from one of these choreographies, whilst Brown and Larsen offer some comments and context via microphones on a table. As the evening continues however, different works are paired with each other: Bejart and Bausch for example, with one dancer dancing one piece (Lee does My Company) and the other a different work at the same time (Martins does Bausch). Moreover, whilst the gestures employed by Graham and Bausch are overall more more flowing than Nijinsky’s stochastic, isolated poses and leaps, all of the versions presented are highly physically demanding, especially when key climatic moments from the score return over and over again.

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CHRIS PARKER - NO MORE DANCING IN THE GOOD ROOM: Five Stars Plus
The Basement Studio, Lower Greys Ave, Auckland
- reviewed by Matt Baker

The show is billed as as Parker "putting on one of his silly little shows", but nothing could be further from the truth. While hilarious physical comedy is abound in The Basement studio, there is nothing silly or little about this show by the end.

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THE ADDING MACHINE: A mature and masterful insight into the past, present and future
Whitireia Performance Centre, 25-27 Vivian Street, Wellington
- reviewed by Thomas Aitken

Long Cloud Youth Theatre brilliantly executes the madness experienced by Zero with a cast of 18 talented actors. They expertly play with sound levels, creating deafening soundscapes of background noise, reinforcing just how much noise and stimuli we experience on a daily basis. The stark contrast between this and the silence of Zero’s inner-most thoughts illustrates just how easily one can lose grip of reality in a culture of over-stimulation and monotony.

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COMIC OR POET? OLIVER CRAFTER, JOEL HANSBY & MICHAEL GRAY: Yet to fulfill the promise of the premise
BATS Theatre, Studio, 1 Kent Tce, Wellington
- reviewed by Shannon Friday

I am picturing a raucous event in which the bastard children of Odgen Nash and Margaret Cho will take to the stage and duke it out for poetic and comedic supremacy.

Instead ‘poetry’ is used as a somewhat loose theme linking three disparate presenters: Oliver Crafter, Michael Gray and Joel Hansby. Aside from a very slick group intro and brief “Here's the next guy” from one performer to the next, the three never really interact.

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TIKI TAANE MAHUTA: Dark yet uplifting - not to be missed
Isaac Theatre Royal, Christchurch
- reviewed by Emily Napolitano

The cast are phenomenal, and repeatedly demonstrate their mastery of their craft through two hours of vastly demanding choreography in contemporary, Haka, M?ori Martial Arts and deeply poignant duets. Slow motion adds an extra layer of passionate depth to the most emotionally charged scenes. Highlights include the elegant and profoundly expressive aerial work, and an exquisitely managed homoerotic duet. Karen's personal demons are also beautifully portrayed in several chilling vignettes.

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JON BENNETT - PRETENDING THINGS ARE A COCK: If comedy’s a bargain he hasn’t held his end up
BATS Theatre, The Propeller Stage, 1 Kent Tce, Wellington
- reviewed by John Smythe

Fortunately what this Pretending Things Are a Cock device turns out to be is a peg on which to hang tales of his early life in a farm in rural South Australia – with stern and humourless parents, a tormenting older brother and loved pets – and his young adult adventures abroad. And most of the stories earn their keep.

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JOEL DOMMETT - FINDING EMO: Quietly frenzied, pointedly tangential, confessional musings
The Classic Studio, Auckland
- reviewed by Nik Smythe

The main narrative thread concerns his quest for the woman of his dreams. More specifically, the woman he saw on the tube recently on the way to a Crazy Town concert. Apparently his show was going to be about proving he can focus by becoming a world champion at something before he got distracted…

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PAUL EGO - PHENOMENUTS: A genius in his own inimitable way
Q Theatre, Rangatira, Auckland
- reviewed by Vanessa Byrnes

Paul Ego is a funny, intelligent man. This hour-long show at Q Theatre draws on stories, random anecdotes and tales of excess and failure in a charming and accessible way.

Dressed as a giant squirrel that has ridiculously phallic overtones, Ego sets the tone for the show: eccentric, slightly boysie ‘dick’ humour combined with clever observations about midlife realities.

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ED BYRNE - ROARING FORTIES: Shredded it Bro!
Q Theatre, Rangatira, Auckland
- reviewed by Sharu Delilkan and Tim Booth

There’s no doubt that Ed Byrne has definitely roared into his forties. His entrance onto stage began with a hiss and a roar and what followed is testament that he has totally embraced entering his fourth decade on this planet.

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SLEEPING AROUND: An ideal premise for comedy
Little Theatre, Library Bldg, 2 Queens Drive, Lower Hutt
- reviewed by John Smythe

“The Beating Heart of Art is set to start at The Little Theatre on the 6 May, forging a cultural pathway from The Hutt to Wellington and beyond,” trumpets the media release. And now this new initiative of the indefatigable Geraldine Brophy and friends has been launched, with the premiere of her new play, Sleeping Around.

The branding for Nextstage Theatre Company recalls the original Downstage logo ...

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SLEEPING AROUND: Unusual and stimulating comedy
Little Theatre, Library Bldg, 2 Queens Drive, Lower Hutt
- reviewed by Laurie Atkinson

Odd couples create comedy. Neil Simon’s Felix and Oscar are proof of that, and so are Geraldine Brophy’s Jen and Barbie.

Sleeping Around is an eccentric odd couple comedy with which Geraldine Brophy launched her Nextstage Theatre Company at a gala opening on Wednesday night.

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NEIL THORNTON - BEARLY KIWI: More teddy bear than grizzly
VK's Comedy & Blues Bar, 60 Dixon St,
- reviewed by Shannon Friday

The attempts to understand Kiwi-ness work most strongly in contrast with Thornton’s own American-ness. I particularly love the bit about “why New Zealand” and observations on how different the USA looks from the outside than from the inside, including comparing the different American media groups to members of a dysfunctional family. It’s comic genius.

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NIC SAMPSON - NATIONAL TREASURE: Fast paced and surprising
Cavern Club, 22 Allen St, Wellington
- reviewed by Thomas Aitken

The National Treasure is a prestigious award, presented to some of our most notable citizens throughout New Zealand history. Famous recipients include Captain James Cook and Sir Ernest Rutherford however a recent decline in the calibre of Kiwis has seen Richie McCaw’s garage flooded with National Treasure awards, and of course, unwanted boxes of Favourites.

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LAURA & TOM - SNAP, CRACKLE, POP: Frequently hilarious, sometimes shocking and purposely painfully awkward
The Basement Studio, Lower Greys Ave, Auckland
- reviewed by Nik Smythe

The simple premise is that this is the inaugural Snap-Crackle-Pop fest (not, as it transpires, sponsored by Kellogg’s): a contest for standup comedy ‘first timers’ ... The palpable chemistry between Laura and Tom appears to consist mainly of passive-aggression and mutual egocentricity.

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URZILA CARLSON - MAN UP: Lights up the room
Hannah Playhouse (previously Downstage), Wellington
- reviewed by Emma Gatsby

This beautifully crafted, seamless, non-stop flow of gags, sitting neatly in observational comedy at its best, is full of non-gender-detrimental, seriously funny, punchlines. From falling off bikes to wrestling with musical preferences, Carlson breezes across the stage, like she has been there forever, tossing the audience self-reflective incidents which amuse to a high degree.

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

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