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

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BADJELLY THE WITCH: Smart, whimsical, larger-than-life
The Pumphouse, Takapuna, Auckland
Based on the book by SPIKE MILLIGAN 
Adapted for the stage by TIM BRAY 
Incidental music by NICK GARRETT 
Staged by kind permission of Playmarket
- reviewed by Dione Joseph

Children’s theatre needs to appeal to all ages. It has to be curious and filled with wonder for the wee ones, intelligent and challenging for those a tad older, mysterious and fast-paced for the teenagers – and still has to have something to appeal to all the adults for them to actually bring their children to the theatre. 

Badjelly the Witch fulfils all those requirements. In spades.

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THE WHITE GUITAR: A seminal work of courage, forgiveness and reconciliation
Q Theatre Loft, 305 Queen St, Auckland
Written and performed by Fa’amoana John Luafutu, Matthias Luafutu and 
Malo Luafutu (Scribe) 
Directed by Nina Nawalowalo and Jim Moriarty 
With associate director Tom McCrory and script consultant Oscar Kightley 
Presented by The Conch
- reviewed by Tamati Patuwai

It is in fact Fa’amoana who, with help from many literary and creative supports, has compiled an anthology of sorts from his own life and writings with works from his two son’s Matthias Luafutu and Mālo Luafutu. The result is a searing and unrelenting depiction of Fa’amoana’s own life as told by his boys. It is raw, it is rough, and it is ready!

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EDGES: Could get closer
Galatos, Auckland
Script by Benj Pasek and Justin Paul 
Directed by Jason Te Mete 
Musical Direction by Josh Clark 
Presented by Rebel Theatre
- reviewed by Matt Baker

There are many edges at which we arrive in our lives; leaving home, losing friends, falling in love, breaking up, and while the gravity of each is justified with respect to the individual life lived, it’s difficult to take anything away from a show written by two 19 year olds when it doesn’t introduce anything new to, or beyond, the quarter-life crisis.

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EDGES: Quartet's vocal talents a fine start for new venture
Galatos, Auckland
Script by Benj Pasek and Justin Paul 
Directed by Jason Te Mete 
Musical Direction by Josh Clark 
Presented by Rebel Theatre
- reviewed by Janet McAllister

This beautifully sung song cycle follows the same unusual format as Brel: two guys and two gals singing songs without an overarching storyline. But instead of mid-century European folk music, Edges presents the quarter-life crises of self-conscious 20-somethings, in mid-2000s, clean-cut, American musical theatre style.

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PURAPURAWHETŪ: It is the Mana that shines through
Te Pou Theatre, 44a Portage Road, New Lynn, Auckland
Nā Briar Grace Smith i tuhi 
Ko Tainui Tukiwaho te kaitohu 
Kei te whakaaturia a Ruia Taitea Creative
- reviewed by Tamati Patuwai

Right from the very first te reo Māori utterance, this chiefly and magical language of ours rolls out of the theatre sound system like honey for the soul. The voice, as is written, comes from that of a little child, who gleefully pops kupu Māori into the air.

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THE EARLY EARLY LATE SHOW 2016: Totally engaging and enthralling
Court Theatre Pub Charity Studio, Christchurch
Directed by Dan Bain 
Featuring The Court Jesters with special guests
- reviewed by Naomi van den Broek

The show is based on a simple and effective premise of an invisible but omnipresent ‘Boss’ who issues his four Jester employees with a challenge: solve the clues in his suitcase of tricks.

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A DORIS DAY SPECIAL: Impressive
Regent Theatre, Palmerston North
Written by and Starring Ali Harper 
Director – Stephanie McKellar-Smith 
Musical Director & Arranger – Michael Bell 
Choreographer – Kirsty Allpress-Goudie
Produced by Ali-Cat Productions
- reviewed by John C Ross

Could anyone from within a certain age-range not be charmed, cheered and greatly chuffed by Ali Harper’s renditions of a selection of hit-songs and glimpses of the career of the American singing and film star of the 1950s and ’60s, Doris Day? It’s unlikely.

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GRIMM BEDTIME STORIES: Intelligently entertaining
Circa Two, Wellington
Directed by Lori Leigh 
Presented by PlayShop
- reviewed by John Smythe

What a splendid amalgam of pre-determined story structure and improv this PlayShop show is! 

Under the minimal guidance of PlayShop personnel, the Circa foyer is abuzz with children drawing pictures or handprints or writing their names and aspirations for the holidays on transparent OHP pages. Many of these will be integrated into the show to come.

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TRANSFER: Experiemental and traditional dance works face to face
Tea Gardens, Massey University, Wellington
Choreographers: Jeremy Nelson (New York/NZ) and Joshua Rutter (Berlin/NZ)
- reviewed by Tania Kopytko

Bridges and Doors by New York based New Zealander Jeremy Nelson, stood out. Inspired by NZ architecture, the work explored external and internal structures, places and nuances. With confident choreographic skill, the work extended the dancers showing their movement skill, strength and emotional engagement. This was Footnote as a dance company. Opening with a beautiful rolling sequence, the work explored design and form and throughout provided satisfying reading of complex choreography.

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THE OWL AND THE PUSSYCAT: The kids enjoy themselves
Tararua Tramping Club, 4 Moncrieff St, Mt Victoria, Wellington
Based on the poem by Edward Lear and 
Beatrix Potter’s The Little Pig Robinson 
Written by Rachel Henry 
Directed by Sherilee Kahui 
Presented by KidzStuff Theatre for Children
- reviewed by John Smythe

It was Beatrix Potter who invented the ‘prequel’ story about how the Piggywig who pops up in the middle of Edward Lear’s three-stanza poem came to live in “the land where the bong tree grows” and give the Owl and Pussycat their wedding ring.

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DEXTER’S AMAZING AFRICAN ADVENTURE: Educational escapism clamorously appreciated
TAPAC Theatre, Western Springs, Auckland
by Jess Sayer and Darlene Mohekey 
Presented by TAPAC and Blue Baths
- reviewed by Nik Smythe

Across the board the cast’s skills in comedy, song and dance are for the most part commendable. Styles of humour employed include puns, slapstick, innuendo, puns, reference humour (films, music, social media etc), puns, character humour, observational irony and puns.

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PURAPURAWHETŪ: One of New Zealand’s most absorbing plays
Te Pou Theatre, 44a Portage Road, New Lynn, Auckland
Nā Briar Grace Smith i tuhi 
Ko Tainui Tukiwaho te kaitohu 
Kei te whakaaturia a Ruia Taitea Creative
- reviewed by Dione Joseph

Almost ten years since its premiere Briar-Grace Smith's timeless classic of love, loss and legacies once again takes to the stage - except this time the prized taonga is performed in te reo Māori.

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EDGES: Earnest solos balanced with more playful, humour-driven songs
Galatos, Auckland
Script by Benj Pasek and Justin Paul 
Directed by Jason Te Mete 
Musical Direction by Josh Clark 
Presented by Rebel Theatre
- reviewed by Nik Smythe

Overall the cast gives confident, focused performances, each demonstrating notable vocal prowess as they portray a variety of characters. Generally each number is sung from the point of view of one or more twenty-something youngsters at some form of impasse in their relationship, career or other essential area of their life.

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THE WHITE GUITAR: Brutal honesty in fine performances
Q Theatre Loft, 305 Queen St, Auckland
Written and performed by Fa’amoana John Luafutu, Matthias Luafutu and 
Malo Luafutu (Scribe) 
Directed by Nina Nawalowalo and Jim Moriarty 
With associate director Tom McCrory and script consultant Oscar Kightley 
Presented by The Conch
- reviewed by Paul Simei-Barton

Theatre doesn't get much more real than this. Two brothers and their father stand onstage to give an unfiltered account of their lives. The hook is that one of the men is the rapper Scribe - who in 2003 enjoyed a meteoric rise to stardom on the back of the mega-hit Not Many.

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DUST PILGRIM – A TALE OF FREEDOM: Dust Pilgrim is innovative, visually arresting – but not everyone got it
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 Taryn Utiger

Dust Pilgrim is different. Really different. After the show some said they were transfixed, it was fabulous, unique and even cathartic. Others said it was strange, they didn't know if they liked it, or even if they got it.

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DUST PILGRIM – A TALE OF FREEDOM: Dusty yes, but fresh and original
Te Whaea National Dance and Drama Centre, 11 Hutchison Rd, Newtown, Wellington
Devised by Red Leap Theatre
Directed by Julie Nolan and Kate Parker 
Presented by Red Leap Theatre
- reviewed by Ewen Coleman

As one can imagine, dust is an essential element of the production, more specifically, the dust created by fine sand, which the stage becomes awash with during the show.

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DUST PILGRIM – A TALE OF FREEDOM: The truth works
Te Whaea National Dance and Drama Centre, 11 Hutchison Rd, Newtown, Wellington
Devised by Red Leap Theatre
Directed by Julie Nolan and Kate Parker 
Presented by Red Leap Theatre
- reviewed by John Smythe

At the heart of the narrative, Ella Becroft’s physically dextrous Panuelo compels our empathy, first in her trapped state then as the innocent abroad, navigating emotional and literal peaks and troughs in her pilgrimage.

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MANAIA - SHORT WORKS PREMIERE SEASON: New works in development
Q Theatre Loft, 305 Queen St, Auckland
Choreographers: Gabrielle Thomas, Kelly Nash, Nancy Wijohn
- reviewed by Dione Joseph

It is appropriate then that the Manaia is the inspiration for Atamira’s new season of three brand new works by female choreographers packed into an hour long performance.

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MANAIA - SHORT WORKS PREMIERE SEASON: Manaia-connected choreographies
Q Theatre Loft, 305 Queen St, Auckland
Choreographers: Gabrielle Thomas, Kelly Nash, Nancy Wijohn
- reviewed by Raewyn Whyte

Kelly Nash's boldly theatrical Mā seeks to revision the terms and outcomes of the demigod Maui's attempt to gain eternal life by re-entering the birth canal of the goddess Hine Nui Te Po.elry.

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TRANSFER: Unforgettable dance experiences
Tea Gardens, Massey University, Wellington
Choreographers: Jeremy Nelson (New York/NZ) and Joshua Rutter (Berlin/NZ)
- reviewed by Donna Banicevich Gera

As the black cylinders roll forward they take over, twisting, immersing, and covering the five dancers like giant black clouds. Hovering until these dancers can’t be seen anymore. This is skilful choreography and a precise dance execution that appears effortless. Then silence. Through this silence we gradually hear the rippling, rustling sounds of a plastic world moving like the wind. Then flowing like soft waves sweeping up the beach. It’s quite spooky but it is innovative and wonderful. And as we’ve already been told, it is Tomorrow After All.

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

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