The latest Theatreview Weekly includes reviews of A Christmas Carol, Pure And Deep, Famous Flora, and Rere Takiwa.

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

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The latest Theatreview Weekly includes reviews of A Christmas Carol, Pure And Deep, Famous Flora, and Rere Takiwa.

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

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FALLING AND OTHER SHORT PLAYS: Sharp, witty, and profound
A bookshop near you,
- reviewed by Robert Gilbert

FALLING and other short plays is a collection of 14 brilliantly penned ten-minute masterpieces. In each one, Angie manages to explore epic themes, complex characters, razor-sharp dialogue, and a unique sense of rhythm. Multi-layered characters cleverly voice each play.

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PURE AND DEEP: Successful Sequel
Herald Theatre, Aotea Centre, Auckland LIVE, Auckland
- reviewed by Matt Baker

Breathing and listening. They're key components to acting, and they feature in Toa Fraser's direction and latest script, Pure and Deep. Even for those who haven't seen Fraser's first full-length play, Bare, the nostalgia embedded in this, its sequel, along with performers Ian Hughes' and Mia Blake's trust and familiarity is enough to sense the successful completion – not often found in sequels – it permeates.

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LADIES NIGHT: Accidental extras stay clothed
Fortune Theatre, Dunedin
- reviewed by Barbara Frame

Strong men were needed, and strong, uniformed men came running. “Get it off, get it off!” yelled some audience members. The strong men smiled, and kept running.

None of this was scripted, the strong men were not actors, and the action was happening on the street outside the Fortune, about 15 minutes before the show would have ended if a smoke machine had not triggered an alarm that led to the theatre’s evacuation.

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FAMOUS FLORA: Madam’s colourful life laid bare
The White House, 371 Queen Street, Auckland
- reviewed by Paul Simei-Barton

An historical excursion into the salacious underbelly of Auckland's nightlife finds a suitably lascivious venue in the central hall of the White House - an "adult entertainment centre" housed in a neo-classical temple built for the Theosophical Society in the 1920s.

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ROGER HALL’S RED RIDING HOOD THE PANTOMIME 2014-15: Jokes galore in Hall panto
Circa One, Wellington
- reviewed by Laurie Atkinson

This year’s full-on, high energy, thoroughly enjoyable romp of a panto is threatened with closure right at the start when Grandma Hood (Gavin Rutherford) announces that she has received a text from Bill English announcing further financial cuts.

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A CHRISTMAS CAROL: Exuberant and joyous dancing
Regent Theatre (Dunedin), Dunedin
- reviewed by Hannah Molloy

The audience was full of children and it was charming to hear their people explaining what was happening, and the little cries of excitement, wonder, and occasionally a whimper of fear in the eerie parts. I think the highlight for me was the tiny guy in front of us who leaped to his little feet clapping and bouncing at the end – I put the two curtain calls down to his infectious enthusiasm for what he had seen. (Sometimes it takes a little unfettered joy to shake a Dunedin audience out of its complaisance.)

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LADIES NIGHT: Audience response verges on ecstatic
Fortune Theatre, Dunedin
- reviewed by Terry MacTavish

As soon as the stage lights go up, the chiefly female audience is in full cry. It is positively terrifying but no doubt about it, these ladies are hot on the trail of a fantastic evening and the pursuit never lets up.

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ROGER HALL’S RED RIDING HOOD THE PANTOMIME 2014-15: Rapt kids amplifies adult enjoyment
Circa One, Wellington
- reviewed by Lena Fransham

It seems to me that Red Riding Hood, ostensibly a children’s tale despite its bawdy folk origins, is ideal panto material. The genre, much like the Riding Hood tale, layers adult themes and humour under the childish appeal of its presentation: the hammy caricatures, garish colours, corny jokes and playful interactive narratives are traditionally laden with innuendo and adult sub-texts.

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SEP ARATE: Beyond the Binary
The Basement Studio, Lower Greys Ave, Auckland
- reviewed by Matt Baker

Isobel MacKinnon's character draws on the core, child-like perception of the clown, which prevents the exploration of the phallic symbol being crudely dealt with – an all too common trait on stage. MacKinnon's joy is infectious, and her ability to hold an audience (no easy task) is laudable.

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FAMOUS FLORA: Famous Flora Fascinates
The White House, 371 Queen Street, Auckland
- reviewed by Sharu Delilkan and Tim Booth

Choosing to stage Elisabeth Easther’s premiere about Flora Mackenzie, one of Auckland’s most notorious Mesdames, at the White House was a stroke of genius. The venue not only gave the show added dimension, being totally apt, but also acted as an eighth character in the 7-strong cast that entertained us at the opening of Famous Flora last night.

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SEP ARATE: Cross-referentiality and visual disorientation
The Basement Studio, Lower Greys Ave, Auckland
- reviewed by Christina Houghton

Including D.Js and an after party this event encompassed what it is to bring people together as art and community. Once again I am reminded that this kind of event promotes a way of being that is supportive, subversive and outside social constructs of power and authority, encouraging creativity resistance and strength. Such an outlook is particularly important for the development of young people's identity but also encourages ways of thinking that support the performing arts as valuable for the growth of our community.

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PURE AND DEEP: Great substance and wonderful comedy
Herald Theatre, Aotea Centre, Auckland LIVE, Auckland
- reviewed by Kate Ward-Smythe

Because of the skilful way Toa weaves references of Dave and Venus’ past into this independent sequel, Pure and Deep is a stand-alone enriching experience for people who missed Bare (such as myself), as well as a fascinating catch up, for those who met the couple back in 1998, or at any of the subsequent productions of Toa’s iconic first play.

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2 ONE ANOTHER - SYDNEY DANCE COMPANY: A stunning and incredible performance
ASB Theatre, Aotea Centre, Auckland
- reviewed by Kerry Wallis

The entire work evolves from ensemble work to trios, duets and solos like a well-oiled machine and the change in ‘who is on stage when’ is often unexpected. This works well for the piece as I am left watching intently for the entire duration. It is clear that the dancers are highly skilled athletes and the strength and intensity within each movement is incredible to watch. No one dancer is a favourite as I feel that I am watching a Company of Movers, which is a refreshing experience. Their sustained jumps and movements are breathtaking and their impeccable use of floor phrases leaves me wanting more.

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RERE TAKIWA: Impressive abilities, excellent performance standards
Raye Freedman ARTS CENTRE, Gillies Avenue (Cnr Silver Road) Epsom, Auckland
- reviewed by Briar Wilson

All Mine, choreographed by Paul Young for Year 2 dancers had them all clad in gold – a reference to mining, meaning that all had to dig deep to contribute. The piece was full of action, with jumps, handstands, throws, somersaults, flips, that the dancers carried out with energy and enthusiasm. We saw short dances from couples, a line of thirteen started off a lovely modulated wave, a body was lifted up high on the hands of a group that then turned it, and it was a lot of fun for both dancers and viewers.

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FAMOUS FLORA: Cheers, laughter, tears
The White House, 371 Queen Street, Auckland
- reviewed by Naomi Cohen

Although a play about New Zealand and its war efforts is not unheard of, it is interesting to get a slightly different side to exactly what our war efforts were. The politics and legality of brothels is something I feel few theatre go-ers will be familiar with, but brothels in a time of war are a whole separate commodity.

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SEP ARATE: Skilfully crafted subversion, sublime parody
The Basement Studio, Lower Greys Ave, Auckland
- reviewed by Jesse Quaid

SEP ARATE is both a hilarious and enchanting night out, and a thought provoking subversion of commonly held ideas around identity. Gender becomes a pastiche, a montage, a fluid and unreliable guide and the Basement Studio becomes a strange universe where depressed fur headed people are logical, and the possibility of a sex marathon between a human cloud and a hair monster is not particularly far fetched.

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

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