The latest Theatreview Weekly includes reviews of Beards, Beards, Beards, Squaring the Wheel, and Exit the King.

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

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HIRAETH: We are the river

The latest Theatreview Weekly includes reviews of Beards, Beards, Beards, Squaring the Wheel, and Exit the King.

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

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HIRAETH: We are the river
Nelson Musical Theatre, 95 Atawhai Dr, The Wood, Nelson
- reviewed by Lisa Allan

I am touched deeply by the bravery and honesty of these performers, in particular, Buddug. It is her story, she is the one who reveals herself, she is completely vulnerable though the presentation of this play.

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SQUARING THE WHEEL: Quirky, magical show amuses and delights
Baycourt X-Space, Tauranga
- reviewed by Karin Melchior

From the moment his eccentric, hobo-like character is blown onto stage, with a wonderfully Chaplinesque battling the wind routine, the audience is transported into a magical and hilarious world of circus, clowning, puppetry and magic tricks.

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ADAM MCGRATH SOLO: Sometimes poignant, sometimes hilarious, always interesting
Working Men’s Club, Reefton, West Coast South Island
- reviewed by Helen Bollinger

Adam is a consummate musician and entertainer: a poet, a story-teller, a song-writer. He sings from the heart. His voice and presence (6’3”) is large, he is engaging and relaxed. The audience is right there with him from the start and the repartee flows both ways. There’s lots of laughter. Punters dance in their chairs.

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OUT OF THE BOX (2015): Visually phenomenal inventive dancing
Theatre Royal, Nelson
- reviewed by Janet Whittington

Visual variety keeps every dance stunning. This style is about quick movements between one pose and another multiplied by 1000’s more separate moves. Slow and smooth are not common. Think action movie rather than rom-com. They vary the number of dancers on stage, and their attire as well, donning and shedding suit jackets and finishing with baseball caps. Vivaldi’s Four Seasons receives a hip hop do-over. Even the little boy in front of me sat up in his seat to watch the movements to the furiously racing violin section. A 1960s jazz number begins and gets a hip hop beat overlaid into it. They are an awesomely clever group.

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CAFE: A decaf feel over all
River Kitchen, Nelson
- reviewed by Daniel Allan

Cafe is a site-specific piece which flows in and around the assembled audience like a well-frothed crema. In its poetic explorations of the psychology of café inhabitants it does for coffee culture what Foreskin’s Lament does for rugby, albeit in a much lighter and more comedic way.

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BEARDS, BEARDS, BEARDS: Clever and delightful hirsute pursuit
Theatre Royal, Nelson
- reviewed by Lisa Allan

From the very first beat, Beards! Beards! Beards! delivers. Ralph McCubbin Howell (writer, lyricist and actor) and Paul Waggott (actor) are captivating and charmingly irreverent as they belt out the opening barbershop-style number, inviting us all (even the aunties) into their bearded world.

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MY OWN DARLING: Poetic lens gives fresh perspective on Auckland City’s secret lives
Mangere Arts Centre, Auckland
- reviewed by Paul Simei-Barton

Performance poet Grace Taylor has created a boldly experimental fusion of theatre and verse that offers a fresh perspective on the sprawling contrasts of Auckland City.

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THE WINE PROJECT: IT WAS THE BEST OF WINES AND THE WORST OF WINES
Refinery Artspace, Nelson
- reviewed by Janet Whittington

This performance has the “IT” factor! Sacha Copland’s choreography overdoses on champagne to raise the hour above the normal routine of dance experience. I am very impressed and would happily allow myself to be led again, through the intoxicated highs of love and alcohol and the lows of some of the seven deadly sins of avarice, jealousy and more...

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SECONDARY COLOURS (2015): Youthful dancers present a vibrant array of styles
Q Theatre, Rangatira, Auckland
- reviewed by Sue Cheesman

Pointy Dog Dance Company performs with commitment and vitality Now. Reveal Me, choreographed by Vivian Aue-Hosking, a stunning physical piece. A fast repetitive series of bouncing jumps frequently appears like a pulse throughout and strongly underpins this piece. The movement vocabulary has a raw quality to it and is less stylized than many other moves seen in the course of the show, which gives a unique strength and makes it interesting to watch. Precision timing coupled with well-rehearsed committed performers captures the audience.

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ON THE CONDITIONS AND POSSIBILITIES OF HILLARY CLINTON TAKING ME AS HER YOUNG LOVER: A garrulous, mad romp
Nelson Musical Theatre, 95 Atawhai Dr, The Wood, Nelson
- reviewed by Ruth Allison

Convincingly dashing away perceived obstacles such as the husband, scandal and the up-coming elections, eliminating the potentially eligible candidates (all Australians in one sweep because they have issues with alcohol), Mr Meros provides a watertight case in his favour.

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EXIT THE KING: Promising but hangs back from the precipice
The Court Theatre, Bernard Street, Addington, Christchurch
- reviewed by Erin Harrington

There is a twin sense of exuberance and barely-muted panic that offers a high-energy entry point into the show, and the quick establishment of the farcical nature of the action in the characters’ brisk, silly entrances is a clever way of flagging the show’s comic intentions to an audience who might be a little uncertain as to whether or not death is a laughing matter.

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THE ANGRY BRIGADE: Deserves a longer season and tour
17 Tory St, Wellington
- reviewed by Maraea Rakuraku

It’s been a while since I’ve seen something that has such direct relevance to world events as they are happening right now. As conflicts flourish and the east and west collide so violently in ideology and practice, The Angry Brigade – which only premiered in 2014, at England’s Theatre Royal, Plymouth – is well worthy of the momentum it builds internationally. I hope this Samuel Phillips-directed production will also build nationally.

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MALAGA - DOUBLE BILL: Explorations of human zoos and original sin
Q Theatre Loft, Auckland
- reviewed by Roxanne de Bruyn

The expressions, vocals and breathing of the dancers fill in the spaces in the music, giving the performance form. A disturbing, arresting sequence shows the cold, clinical dissection of specimens, the dancers working sharply and in unison to reduce the human form to just another discovery or commodity. Their brutal, efficient movements embody the message of the piece as they remove all sense of humanity from their actions.

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FINDING THE SILENCE: Transporting
Theatre Royal, Nelson
- reviewed by Melanie Stewart

Finding the silence is a performance packed with mind-boggling feats of physical agility, totally uncluttered by flashy costumes or extravagant sets. The four members of Casus Circus tumble, hold, climb and balance their way through extraordinary acts of gravity defying grace.

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MY OWN DARLING: Arresting eloquence
Mangere Arts Centre, Auckland
- reviewed by Nik Smythe

Performance poet Grace Taylor presents her very personal experiences in and of Auckland with the consummate assistance of an exceptional crew. The result is a remarkably polished, warm and moody expression of feelings and observations, directly linked to the region and the people who inhabit it ...

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THE BOOKBINDER: Spellbound
Senior Citizens Hall, 6 Lyon St, Featherston, Wairarapa
- reviewed by Juanita McLellan

The Bookbinder transfixes his audience with the magic of words, reminding us all why is it so good to be caught up in a good book, or even a bad one. Told with all the voices of bedtime stories, puppets, tricks of the light and innovative staging, the play is not one that stands to be missed.

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LEO: Perfect mix of simplicity, humor and intrigue
Carterton Events Centre, Wairarapa
- reviewed by Adrian Renor

Some could argue that the hour long piece gets off to a slow start, but I disagree. The way the performer, William Bonnet, pays attention to every detail of his body captivates you as you begin to admire how the artist really perfects the illusions of gravity and then changes in it.

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30FORWARD - FOOTNOTE NEW ZEALAND DANCE: Take a deep bow, Footnote
Q Theatre, Rangatira, Auckland
- reviewed by Bernadette Rae

It is a tumultuous journey through time, space and artistic vision which the current company's six young dancers take in their fabulous stride, magnificently inhabiting each of the works, body, mind and soul.

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LEGENDARY DIVAS: A voice and stamina to be marvelled at
Clarence Street Theatre, Hamilton
- reviewed by Gail Pittaway

What great women they were and still are: Dianna Ross, Judy Garland, Dusty Springfield, Peggy Lee, Barbara Streisand. Like the old party game where we have to remember objects after they are flashed in front of us on a tray, Ali Harper’s ebullient switch between these legends of the stage and disc is mind boggling.

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TERROR PLANET: A whole new level of terror
Q Theatre Loft, 305 Queen St, Auckland
- reviewed by Hannah Stannard

Despite a lot of uniform dancing, and chopping and changing of roels, the cast of 5 all manages to maintain their unique characters. Hilarious solos are dotted throughout. The scene that has the audience in fits is filled with brilliant use of props, showing the rocket landing back on earth. Just as you might see a little kid do, a small, silver space ship bottle is moved around the stage with all seriousness and focus

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DANCE BITES: Bite sized dance chunks leave us hungry for more
Carterton Events Centre, Wairarapa
- reviewed by Gemma Begg

An array of nine selected pieces such as Opus 38, Rythme, Sarabande from Agon, and El Choclo cause the heart to flutter. But it is the work ‘Haru’ that is mesmerising with the manipulation of dynamics creating a powerful and unique quality which makes each movement look light and uncomplicated. Not so easy to do considering the uneven surface of the stage floor was an unexpected challenge, and the dancers' recovery and poise when taken by surprise was exceptional.

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OUT OF THE BOX (2015): Pushing the parameters of street dance
Q Theatre, Rangatira, Auckland
- reviewed by Camelle Pink

This year's Out of the Box is no disappointment. So many of the dancers shine in this show. All of the performers and choreographers should be proud of the show they have created for Tempo this year. It is testament to all the wonderful ideas, collaborations and dancing that is happening all the time.

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TANGO FLING WITH SWING: Tango and Swing come together
Q Theatre Loft, 305 Queen St, Auckland
- reviewed by Dione Joseph

The highlight of the evening is the Pink Panther sequence (my choice of name since there was no programme and the music was instantly recognizable) where all six performers creatively and collaboratively brought the classic lets-steal-some-money-and-hide-from-the-copper gag to life.

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ONEONE: The Heart of it is Light
Auckland Art Gallery Auditorium, Auckland
- reviewed by Jennifer Nikolai

. The range of works and the venues they are viewed in are expansive and adaptable. As Belton showed us pieces originally performed with live musicians in proscenium theatrical venues, he also introduced us to a more recent optical experience he was commissioned to create on an upper façade, a new library in Denmark. His interrogation of space and scale, geometrics and light respectfully reference moving image experiments and historical discovery between light and space. They are adaptable to large-scale public instillations, gallery exhibitions, traditional theatrical spaces and as in his recent collaboration; of planetariums, expanding the peripheral optical experience.

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30FORWARD - FOOTNOTE NEW ZEALAND DANCE: Utterly enjoyable, bright and beautiful
Q Theatre, Rangatira, Auckland
- reviewed by Roxanne de Bruyn

Utterly enjoyable, 30 Forward is utterly engrossing. It manages to celebrate the past, rather than simply getting lost in it, while promising bright things for the future. Footnote is New Zealand’s longest-serving contemporary dance company and has a special place in the dance community. Seeing this snapshot of the scope and variety of the company makes it very clear why.

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HENRY V: Juxtaposing the heroic and horrific
The Dark Room, Cnr Pitt and Church Street, Palmerston North
- reviewed by Adam Dodd

Bucking the recent trend with Shakespearean performance, the Iris Theatre Company's rendition of HENRY V conserves the integrity of the period style. This can likely be attributed to DirectorSimon Herbert's fascination with the Battle of Agincourt, kindled from a telling of the battle by a longbowman encountered when Herbert was a small boy.

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ADVENTURES IN PIANOLAND: A wonderfully intimate, authentic experience
Circa Two, Wellington
- reviewed by Michael Gilchrist

Jan Preston’s one woman show Adventures in Pianoland is a delightful journey through some of the highs and lows of a talented pianist’s fascinating life and career. This is an evening out that will hold special appeal for older audiences and their appreciation on opening night is obvious. However, their mokopuna will find it just as enjoyable ...

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DAFFODILS [INSPIRED BY TRUE EVENTS]: Laughter, pathos and memories
Festival Mainstage, Founders Heritage Park, Nelson
- reviewed by Gail Tresidder

A really wonderful performance and it is a privilege to be here. Actually unforgettable and the best, truest, New Zealand production this reviewer has ever seen.

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SOCIAL CLIMBERS: Laughs and warm fuzzies
The Pumphouse, Takapuna, Auckland
- reviewed by Michelle Robinson

The stand out performer though has to be Louise Wallace, whose brazen character Maxine creates a stir as soon as she enters the stage. Her teasing, spewing and ‘histrionics’ are a welcome bit of mischief in the mix of slow-burning character and relationship development around her.

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THE MOONCAKE AND THE KUMARA: Has the bones of a very fine play
Theatre Royal, Nelson
- reviewed by Gail Tresidder

This play has powerful themes. Yee grieves for his village in China. Wae mourns her lost turangawaewae. The young find love, the grief-stricken Finlayson is an inconsolable drunk and somewhere, far away, there is a teller of tales: a metaphorical frog who lives in a well.

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PRIME CHOREOGRAPHIC SHOWCASE (2015): Containment a shared theme
Q Theatre, 305 Queen St, Auckland
- reviewed by Roxanne de Bruyn

A collaboration between Kristian Larsen and Georgie, Good Evening, Vietnam is the longest work of the night. Quirky, clever and sometimes awkward, it builds anticipation with slow movements leaving the audience waiting for something that never quite comes. This tension permeates the performance, the dancers ensuring every movement is precise, exaggerated and filled with effort.

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THE THINGS WE DO: Undoubted qualities yet to be liberated
BATS Theatre, The Dome, 1 Kent Tce, Wellington
- reviewed by John Smythe

Devisor-performer Sarah Tuck – abetted in The Things We Do by her director Bop Murdoch, sound designer/operator Finn Johansson – is clearly a creative, talented and entertaining performer ready to enrol in a fulltime physical theatre course.

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SQUARING THE WHEEL: Inspiring children
Nelson Musical Theatre, 95 Atawhai Dr, The Wood, Nelson
- reviewed by Lisa Allan

Right from the start, Jens develops a lovely relationship with the children. He knows just how to elicit responses from them and takes very good care of his audience volunteer. He has the audience roaring with laughter, calling out hilarious things and even helping him to construct his final masterpiece.

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

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