The latest Theatreview Weekly includes reviews of Dead Tragic, Sheep, Hou (2014), and Embody.

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

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The latest Theatreview Weekly includes reviews of Dead Tragic, Sheep, Hou (2014), and Embody.

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

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SHEEP: A rich, convoluted work of extraordinary depth and power
Q Loft, tickets collected at The Basement, Auckland
- reviewed by Nik Smythe

Arthur Meek’s monumental, frequently poetic (I hesitate to use the descriptor ‘Shakespearean’) 2011 script is complex in detail but broadly coherent enough to follow, and remarkably relatable given said complexity. Eight scenes explore seven time periods set around multiple generations of two rival families from the same Canterbury district: the sheep-farming Pykes and the entrepreneurial Albrechts.

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HOU (2014): An atmosphere of give and take
Shed 1, Corban Estate Arts Centre, Auckland
- reviewed by Kerry-Ann Stanton

This one off show, as part of Southside Arts Festival - Urbanesia, nurtures talent and provides opportunities for upcoming Maori choreographers and foster the development of new work in the community. And along the way Jack Gray, Bianca Hyslop and Kelly Garnham Nash bring us with them. We are welcomed, as always by Atamira, grounded in the moment and ready for the performance. The shed at Corban’s Estate Arts Centre (CEAC) is buzzing with a good gathering of Atamira whanau and friends. The vibe is willing and friendly as we stack one upon the other up the bleachers.

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EMBODY: Committed, well-conceived, generously gifted dance works
Te Whaea National Dance and Drama Centre, 11 Hutchison Rd, Newtown, Wellington
- reviewed by Sam Trubridge

It is a fantastic evening of committed and well conceived dance works. The informality of the presentation is somewhat distracting, with dancers scurrying back and forth to prepare each new presentation. But it is a programme with great spirit. The short introduction that the artists make before the programme begins communicates some of the intentions behind their works, and is also a nice way of framing this casual relationship: inviting us into the artists' works, their concepts, and their negotiation of the work live on stage. On top of this 'embodied' nature, the trio of works all share a kind of generosity - between performers on stage, and with the audience.

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DEAD TRAGIC: Bound to make you feel better about your own lot in life
Circa Two, Wellington
- reviewed by John Smythe

As the two dozen-strong playlist rolls out – displayed in two halves like juke-box selection charts – it’s surprising to realise how familiar the often long-forgotten songs, and even ones we’ve never heard, are. We’ve hummed along with those tunes so many times …

Even more startling is the darkness of the pop-tuned lyrics ...

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ONE MAN TWO GUVNORS: Promises a season of pure joy
Court Theatre, Bernard Street, Addington, Christchurch
- reviewed by Lindsay Clark

It is a considerable coup for The Court to be staging this delectable comedy only three years after its hugely popular staging in London and even less time since it was acclaimed in New York. To assemble the talent and teamwork critical for tackling the adapted eighteenth century hit deserves further respect, for its complexity demands serious creative application from all involved.

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THE UNDERARM: A ball-busting comedic night out for everyone
4th Wall Theatre, New Plymouth
- reviewed by Holly Shanahan

There are wonderfully funny moments throughout this play (jokes I even wrote down to take home and tell friends!) and the fact that the men are the rowdiest of the bunch in the audience reflects how much appeal this play has to a general audience. We all know and ‘love’ this story and it is great to see it engage people in theatre.

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THE UNDERARM: Howzat! - A play with superb spin
4th Wall Theatre, New Plymouth
- reviewed by Jo Hills

You'll be bowled over by The Underarm. 4th Wall Theatre has done it again and brought another topnotch performance to New Plymouth.

It's one theatre experience you don't want to miss. It will be as much of a talking point as the cricket game that initiated this incredibly clever and humorous play.

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WATCH: BATS flies home into tangled webs
BATS Theatre, 1 Kent Tce, Wellington
- reviewed by John Smythe

First, the splendiferous venue: old BATS reconstructed, renovated and rejuvenated; ‘BATS to the Future’, as one wit has put it. Architecturally she may be seen as the sophisticated but still precocious live-theatre love-child of Art-Deco cinemas the Embassy, just up the road, and the Roxy in Miramar, whence hail her generous fairy godparents (or star parents, if you prefer).

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A CHRISTMAS CAROL: Spirits lifted and imaginations transported
Isaac Theatre Royal, Christchurch
- reviewed by Sheree and Angel Bright

There is mystery and anticipation as the show begins. The Christchurch Symphony Orchestra, conducted by Nigel Gaynor expertly executes the score which infuses the evening and establishes the tone. Through music composed by Carl Davis and theatrical design elements created by Lez Brotherston and Jon Buswell, the atmosphere of a classical Christmas is convincingly set. Bells ring. Snow falls. A Dickens tale begins.

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FORTY YEARS OF CENTREPOINT THEATRE: THE HISTORY ACCORDING TO HAWES: Comedy, tragedy, anguish and joy amid too many inaccuracies
Centrepoint, Palmerston North
- reviewed by John Smythe

If you absorb Forty Years of Centrepoint Theatre: The History According to Hawes in a couple of sittings, reading fast, you will get a rich and juicy impression of the Centrepoint journey through its first four decades. Peter Hawes’ jocular prose makes for a jaunty read.

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MAMMA MIA!: Laugh-till-you-cry / cry-till-you-laugh again
St James Theatre, Wellington
- reviewed by Jo Hodgson

No matter which era you are from, you have no doubt encountered an ABBA song or two. The Swedish pop group firmly established themselves as one of the most popular groups in the world in 1976. Subsequent generations who missed the initial craze have been brought into the fan fold through the stage musical which premiered in 1999 and the blockbuster movie first screened in 2008.

Based on this history it is no wonder the audience is buzzing with excitement prior to curtain-up and claps excitedly as the beautifully realistic and picturesque Greek Island taverna set is revealed.

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MAMMA MIA!: Jukebox musical with catchy ABBA songs
St James Theatre, Wellington
- reviewed by Laurie Atkinson

And it is the energy, not to mention the polished skill, of the entire company, that Lyndee-Jane Rutherford’s lively direction, Leigh Evan’s often comic choreography, and Michael Nicholas Williams and Tim Bridgewater’s musical direction have melded into an impressive ensemble.

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2014 NZ SCHOOL OF DANCE GRADUATION SEASON: A crop of great talents
Te Whaea National Dance and Drama Centre, 11 Hutchison Rd, Newtown, Wellington
- reviewed by Jillian Davey

We’re treated to a relatively rare appearance of sections of a Douglas Wright piece, “rapt” .... The programme tells us that “the dance language…is loosely based on the Lord’s Prayer as signed by the deaf”. Loosely indeed. It’s far from literal, but a story is definitely told. It incorporates all the devotion, and all the madness, of a religious experience. It’s fast and furious but the movement is so well executed that we seem to have all the time in the world to register and appreciate it as if it were gentle and delicate. It’s one of the best performances I’ve seen from the contemporary students of NZSD.

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

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