The latest Theatreview Weekly includes reviews of Six Bad Arthouse Plays, Tiny Deaths, The Good News, and [Presence].

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

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AN AWFULLY BIG ADVENTURE: Theatrical clarity with flashes of brilliance
Q Theatre Loft, 305 Queen St, Auckland
- reviewed by Vanessa Byrnes

This fantastic show for kids and adults alike is a clever, funny, highly accessible piece of theatre that deserves to be seen far and wide. ...

Using meta-theatrical, musical, symbolic, semi-Brechtian and other performance devices, the work centres on how to explain war and its effects to children. This is no mean feat, but it’s in the telling and playing that the real genius soars.

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BREAK UP [WE NEED TO TALK]: Sincere, clever, utterly uncontrived journey to raw discomfort
La Mama, La Galleria, 47 Great Jones St, NYC, USA
- reviewed by Sarah Burrell

The show charts the protracted fracturing of a couple, their subtle bickering and reliance on one another. Through their dialogue a picture begins to form. They are young, travelling to New York on holiday. They talk about what they might do that day in the overly familiar way of couples that have been together for possibly too long.

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BBEALS: All hail Jenny: Bbeals at the Maidment
Maidment, Auckland
- reviewed by Sarah Knox

The Footnote and Danses en L’R dancers are generous with their energy and committed in their performance. They are slick, rehearsed and look great in legwarmers. Manu Reynolds gives an epic farewell performance. Over his years with Footnote Manu has grown into a fearless mover with a strong presence, who should be comfortable on any international stage. But for me Emma Dellabarca is the standout performer of the evening, the underdog of the company, but with an unassuming and mature authenticity in her performance that is satisfying to watch.

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TINY DEATHS: This show is important
BATS Theatre, The Propellor Stage, 1 Kent Tce, Wellington
- reviewed by Charlotte Simmonds

I am not even eager to call it a feminist show. Certainly, we do spend 90 minutes listening to women speak uninterrupted by men, which almost passes the Bechdel test, but as the show consists solely of monologues with no dialogue, the Bechdel test cannot really be applied here.

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THE GOOD NEWS: Seamless ensemble ring bells
BATS Theatre, 1 Kent Tce, Wellington
- reviewed by Jo Blick

Luckily there’s no group sing-a-long in The Good News and it’s only a religious show in that the subject matter is religion. The polo shirts are a red herring and the three energetic performers – Amy Griffin-Browne, Harriet Hughes and James Cain – take us through some rather bizarre and wonderful re-workings of bible stories, utilising a fine supporting cast of stuffed toys and some rather fetching false beards.

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SLEEP/WAKE: Poetic, skillful and compelling
La Mama, Ellen Stewart Theatre, 66 E. 4th St, NYC, USA
- reviewed by Alison Walls

Difficult to pin down as a theatre piece, Sleep/Wake seems closer to visual — or rather sensory – art, but it is nothing if not atmospheric. The collaboration with Philippa Gander of the Sleep/Wake Research Centre at Massey University sleep is primarily apparent in the introductory section where the Orator (Arthur Meek) explains how sleep patterns are monitored and what research has revealed thus far.

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BETWEEN THE LINES (2015): Surprisingly full in every way
BATS Theatre, The Dome, 1 Kent Tce, Wellington
- reviewed by Jillian Davey

The show bounces with youthful enthusiasm between poetry, dance, solo aerial acts, and quirky interludes, including a black-light piece with dancing items of laundry. The pacing is quick and though its individual acts might not tie strongly back to any story or through-line, the themes are sustained.

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THE ROYAL NZ BALLET PRESENTS DON QUIXOTE: Effortless, vibrant and comedic
St James Theatre, Wellington
- reviewed by Ann Hunt

Kitri and Basilio are given bravura performances by Mayu Tanigaito and Kohei Iwamoto. They have never danced better and together are a beautifully matched partnership. Tanigaito displays effortlessly sure balance and high extensions. Her wedding solo was extremely elegant and although technically exciting, she was never showy. Likewise Iwamoto's wedding solo was quite brilliant. Together they radiated warmth and great charm

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ROTUNDA 2015 AUSTRALASIAN TOUR: Rotunda: Superb salute to courageous Anzacs
Soundings - Te Papa, Wellington
- reviewed by Ann Hunt

Rotunda takes us on an emotional journey as we see four excited young men get ready to go to war. It's all a bit of a lark. We see them later as war's ugly reality hits them. Then later still, as some of them return, traumatised, to loved ones who begin the healing process.

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[PRESENCE]: Calming, thought-provoking, enigmatic, beautiful
Turtle Lake, Hamilton Gardens, Hamilton
- reviewed by Debbie Bright

All dancers move slowly to the stage. Sound, dance and lighting change, but still hypnotically slow, continuous, haunting. Individuals in a group, slowly evolving, intertwining, yet with individual flavour, style and colour. Strength, control, and unity of movement, sound, vision and intent; individuals contributing to the whole. The lights move slowly, independently or together, changing colour, dynamic and atmosphere, as the day grows darker. All have presence.

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THE ROYAL NZ BALLET PRESENTS DON QUIXOTE: A light and frothy tale
Regent Theatre (Dunedin), Dunedin
- reviewed by Hannah Molloy

The characters are all beautifully and individually drawn, from Gamache’s outrageous green pants, purple shirt and shoes, set off by a yellow and black striped jacket and very sparkly bling to Lorenzo’s terrible toupee and buffoonish antics over the lack of payment of his no doubt exorbitant bill. Kitri and Basilio, although characters full of spirit and fire, strike me as a gentle pair who seem content with executing a perfect performance and wowing the audience in their wedding scene (no longer thwarted lovers). They looked delighted with the audience’s response.

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JAMES NOKISE IN SO–SO GANGSTA: Profoundly satirises fear-based power
La Mama First Floor Theatre, 74a E. 4th St, NYC, USA
- reviewed by Alison Walls

A fairly even mix of Americans and New Zealanders have braved the snow, slush, and wind to hear James Nokise expound in La MaMa’s small black box theatre on just what it is to be So So Gangsta. With such an audience, culture is inevitably going to offer both a point of interest and a challenge.

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SIX BAD ARTHOUSE PLAYS: Brilliant with something for everyone
Meteor Theatre, Hamilton
- reviewed by Liza Kire

Earth without art is just eh. Something so true and shown through the skillful and witty words spoken and performed by the small cast of Apocalypse Lounge’s Six Bad Arthouse Plays. The Meteor theatre in Hamilton has once again shown the beauty of blackbox theatre in an intimate performance that speaks to the generation we all co-exist with now.

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HOME / THE HILARIOUS COMEDY ABOUT HOW I NEARLY KILLED MYSELF / A PLAY ABOUT HOW I NEARLY DIED BUT DIDN'T THEN LEARNED A LOT ABOUT LIFE AFTERWARD: Deft storytelling and interaction delivered with gusto and honesty
Fresh ’n’ Fruity Gallery, upstairs 140 George Street, Dunedin
- reviewed by Alison Embleton

First of all, Freya Desmarais is hilarious. Absolute comedy gold. And second, she is very talented. 

Home is billed as a comedy about suicide which may sound callous and miserable, but surprisingly is quite the opposite. Desmarais has spun an eloquent and touching script from her own personal experiences with depression and suicidal thoughts.

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THE MOVIE STAR: Display of skills needs narrative spine
Fortune Theatre, Dunedin
- reviewed by Reuben Hilder

The Movie Star tells the story of Dan the Man (Danny Syme) and his quest to make it big in the world of cinema without ever actually speaking a word, with the pre-recorded voice of Dan’s technical adviser and voice coach Steven Hawking (also played by Syme) providing the running commentary.

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ITMOI (IN THE MIND OF IGOR): Auckland Arts Festival: iTMOi
ASB Theatre, Aotea Centre, Auckland
- reviewed by Bernadette Rae

Lighting and costumes are all superb, putting a fine professional patina to the creative genius,

talent, intellect and energy of Khan's company, in a truly outstanding and unforgettable performance.

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ITMOI (IN THE MIND OF IGOR): Dark and dynamic with periods of ritual madness
ASB Theatre, Aotea Centre, Auckland
- reviewed by Raewyn Whyte

The main body of the work is presented by eight circling, dashing, capering, rapidly moving figures with elaborately detailed hand and arm gestures, perhaps all members of the same village. They are watched over by the Robed Man, with the Horned Man prowling restlessly on all fours behind them, or occasionally walking upright like Nijinsky’s famous Faun. They passionately, vigorously, rapidly wheel and whirl and circle and fall and roll and leap with feet jumped up underneath their bottoms, constantly waving their arms and making intricate patterns with their fingers. Dressed individually in layered garments of a single colour, at first they seem a strongly communal ensemble, dancing together though not in unison, but individual personas steadily emerge as events roll on, and you have the choice to sit back and let it roll over you, or pay attention to what happens to the individuals.

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ROTUNDA 2015 AUSTRALASIAN TOUR: Searching for an identity
Soundings - Te Papa, Wellington
- reviewed by Lyne Pringle

We are invigorated by the awesome power of the New Zealand Army Band parading onto the stage, instruments blasting, to deliver some fine choreography, the light bouncing off their shiny shoes whilst they keep playing. There is fun to be had and tricky moves to be made with the Drum Major’s mace. Four boys/men play at war with childish gags and guns made from fingers before the theatrical gravitas arrives and the verisimilitude of war is play acted. Elegant women, all dressed exactly the same in poppy dresses, cavort with the soldier boys, and it seems as If we are watching a village enact a ritual of the loss of innocence.

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BBEALS: Warmth, intimacy and virtuosic versatility
Isaac Theatre Royal, Christchurch
- reviewed by Julia Harvie

The collision of Flashdance and The Tower of Babel as texts for this work is an unlikely duet of ideas but it does capture the imagination and the connections are made between the two. Religious fanaticism is timely (as it always has been) and to quote one of the dancers, Emmanuel Reynaud quoting Eric [the choreographer]: “Hold your judgement until the end, what can you expect from an aging choreographer in his 50s trying to stay relevant?”. I liked this statement and it rang in my ears for the duration of the work.
http://www.theatreview.org.nz/reviews/review.php?id=7965

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I AM: Cosmological figures in play
ASB Theatre, Aotea Centre, Auckland
- reviewed by Raewyn Whyte

Ponifasio’s highly immersive I AM is his most thoroughly integrated production to date, and well-deserving of the acclaim it has earned around the world for foregrounding the futility of war and its corrosive effects on humankind.

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STORM WARNING: From haunting and evocative to high melodrama
Meteor Theatre, Hamilton
- reviewed by Gail Pittaway

As part of the Hamilton Fringe Festival, this collaborative work by three devisers focuses upon climate change. Each brings different skills and offers alternating vignettes throughout the hour, from graphics created live, to spoken word, and then to staged performance.

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SYMPATHY FOR THE DEVIL: Uneven but diverting
Meteor Theatre, Hamilton
- reviewed by Gail Pittaway

This play comes with an age restriction, with adult themes and language, and works very hard to insult several religions and sensibilities, with some success! Written by Hallam Woolfrey and directed by Bevan Thomas, who both also act in the play, it’s subtitled “An intelligent comedy for naughty Catholics.”

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CLOSE ENCOUNTERS: PAH: Flickering entities
Pah Homestead, TSB Bank Wallace Arts Centre, 72 Hillsborough Road, Auckland
- reviewed by Raewyn Whyte

The performers constitute something akin to time-shifting, moment-by-moment persona-morphing entities, too fully present to be accepted as equivalents of the ghosts in many of the Star Gossage paintings hanging on the walls. They flicker between orphans, nuns, homeless women, colonial masters and their servants, teachers, pupils, and those with hopes of a better life. Rapid changes of clothing and movement styling indicate the different eras in the building’s human habitation, but the fragmentary, spliced nature of the movement vocabulary which intermixes gestural reference, literal and figurative movement, and lyrical responses to musical phrases, becomes a barrier to anything beyond glimpses of their lives.

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

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