The latest Theatreview Weekly includes reviews of Lungs, Wine Lips, Banging Cymbal Clanging Gong, and Kava Girls.

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

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The latest Theatreview Weekly includes reviews of Lungs, Wine Lips, Banging Cymbal Clanging Gong, and Kava Girls.

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

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WINE LIPS: Eight out of tannin
The Basement Studio Greenroom, Auckland
- reviewed by Matt Baker

If you've ever wondered what The Basement greenroom looks like, or the stories its walls could tell, Wine Lips is the answer. From the authentic show posters featured on Bex Isemonger's set and Amber Molloy's inventive lighting design, both of which thankfully make full use of the greenroom mirror, to the stalwart ease of actress and actor Chelsea McEwan Millar and Nic Sampson, and the brutal honesty of writer/director Sam Brooks's script, Wine Lips is as close as you'll get without having to step a foot into the industry.

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BANGING CYMBAL CLANGING GONG: A gift to New Zealand theatre
BATS Theatre (Out Of Site), Cnr Cuba & Dixon, Wellington
- reviewed by Fiona McNamara

After bursting on stage, the Barbarian tells us she doesn’t want us to think of this as a piece of theatre, but a demonstration of another way of life: a way of life in which we run and fight and never hold back. This Barbarian has a bloody passion for justice ...

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KAVA GIRLS: Genuinely interesting, extremely relevant, needs work
Spotlites @ The Merchants' Hall, Edinburgh, Scotland
- reviewed by Dione Joseph

Written and directed by Sani Muliaumaseali’i this is the Samoan story of three talents wanting to make it big on London’s West End. At the moment, however, they’re all cover girls.

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BARNIE DUNCAN IN CALYPSO NIGHTS: Cheeky confidence
Assembly, Roxy, Edinburgh, Scotland
- reviewed by Dione Joseph

A microphone, mobile disco set-up, two turntables and ruffled sleeves – actually that’s ruffled sleeves from another planet – a thick Latino accent and charisma oozing from every shake of the eyebrows: that’s Kiwi clown Barnie Duncan or, as he’s better known at the Edinburgh Fringe, DJ Juan Vesuvius.

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PUBLIC SERVICE ANNOUNCEMENTS: ELECTION SPECIAL: Constantly smile-inducing
BATS Theatre (Out Of Site), Cnr Cuba & Dixon, Wellington
- reviewed by John Smythe

Much has been written and said about how Nicky Hager’s Dirty Politics has derailed the election agenda – but spare a thought for the writers, producers, directors and performers of political satire who slaved over election-themed script development and rehearsals for many weeks in the poll-driven belief a National-led third term was a fait-accompli.

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IN ABSENTIA: Deeply affecting
Suter Theatre, Nelson
- reviewed by Gail Tresidder

“Mum, where the hell are you?” asks her son, which, in the circumstances, is quite a question, as his mother wanders in and out of her memories. We care, we go with her, as her late husband comes to life and they dance their wedding waltz and then, pop, back in to the photo he goes. Her fumbling to make the bed is heart-wrenching, as is her obsession with an imaginary spot on her nightgown.

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WINE LIPS: Makes you think
The Basement Studio Greenroom, Auckland
- reviewed by Nik Smythe

Chelsea McEwan Millar is Brit, an up-and-coming screen actress on the brink of bona-fide success. She’s come to visit her old friend and ex-lover Scotty (Nic Sampson), who is stage-managing an intriguing new gay-burlesque work in the Basement studio next door. Things are clearly more than a little awkward between them, as Scotty quickly starts to interrogate Brit with undisguised self-pity.

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SHORT + SWEET 2014 THEATRE WEEK ONE: Enjoyable and varied
TAPAC Theatre, Western Springs, Auckland
- reviewed by Bronwyn Elsmore

Ten plays in an evening. It’s not the marathon it sounds, for each is only 10 minutes long. I like the idea of taking the essence of a story, revealing it in a few minutes and leaving the viewer to think later about broader context, backstory, and where it might go next.

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WELLINGTON LUX NIGHT LIGHTS FESTIVAL 2014: The freedom, playfulness and enchantment of enlightenment
LANEWAYS and THE WATERFRONT, Wellington
- reviewed by Grace Hoet

Lux is indeed a celebration worthy of its hype. An overall show stopper ‘performance’, it makes you say, “You can't beat Wellington on a beautiful night.” With family in tow make sure you take your time to meander, play, dance, scream and interact in this celebration of light, sustainability, technology and culture.

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ALLEGRO: FIVE SHORT BALLETS: The pleasures of dancing
Regent Theatre (Dunedin), Dunedin
- reviewed by Jonathan W. Marshall

Thus whilst pride of place within the program goes to Belton’s previously never before seen, complex work, I am tempted to conclude that the remount of Keigwin’s Megalopolis might represent the future of dance and ballet better—or at the very least, its retro feel comes from a time far closer to ours that the European culture of the 1920s which Belton plumbs. Keigwin, like I suspect many in the audience such as myself, is a child of the 1990s.

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LUNGS: A privilege to be part of this intensely personal conversation
Fortune Theatre, Dunedin
- reviewed by Terry MacTavish

This is the dilemma Lungs is formed around: a couple debates whether to breed or not to breed, when the baby’s carbon footprint will only increase the burden on an earth that struggles to breathe as our gases choke it. And the future may be so miserable that the coming generation will not forgive us. What though, if the child is the one who saves the world?

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CIRQUE DU SOLEIL TOTEM: Pure artistry and teamwork a delight from go to whoa
Alexandra Park, Auckland
- reviewed by Kate Ward-Smythe

Being back in the Grand Chapiteau for Cirque Du Soleil’s latest extravaganza to reach our shores is a fully immersive and totally satisfying experience. Totem is a visual powerhouse which takes the audience on an effortless journey of expected world-class production artistry and astounding themed performances, as mankind’s evolution is played out, Cirque-style.

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THE PIANIST: Magic touch has huge appeal
Assembly, Roxy, Edinburgh, Scotland
- reviewed by Dione Joseph

There comes a point in the fringe festival when you can become quite cynical. Desperate in fact. And that's when I start bargaining with the theatre gods to save me.

Luckily they seem to be in good humour. Because after a series of less-than-average theatre viewing I go to see The Pianist.

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ECHOLALIA: Strong contribution to contemporary clowning and the conversation about autism
Gilded Balloon, Edinburgh, Scotland
- reviewed by Dione Joseph

Repetition is the key. But sometimes repetition can get monotonous. And sometimes it is necessary. Like saying hello to your pals every morning. Calling the recruitment agency for a possible job and then pretending the line is bad, only so you can call again. Making coffee. Dusting. It is these mundane activities that keep the world together in dedicated, recognisable beats.

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SUNSET ROAD: Easy ride along Sunset Road
Q Theatre Loft, 305 Queen St, Auckland
- reviewed by Sharu Delilkan

A multitude of themes resonate within Sunset Road, the same way that the base drum does in the opening scene of the piece.

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DOG: A bit barking … but with real bite
The Basement, Lower Greys Ave, Auckland
- reviewed by Paul Simei-Barton

Playwright Ben Hutchison establishes himself as an original and very distinctive voice with a play that has the gritty realism of a kitchen sink drama merging seamlessly into the weirdness of dream.

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STRANGE RESTING PLACES: Beautifully constructed, creative and engaging
Assemby, George Square, Edinburgh, Scotland
- reviewed by Dione Joseph

The tales told highlight the new friendships formed between many of the Maori and local Italians, the tragedy that the nearby monastery was bombed when there were only civilians taking refuge within its walls and, on a fundamentally human level, the fact that language and culture are not limitations to our understanding of the world – rather they create spaces to build new relationships that relocate our perspective outside our often myopic vision.

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MUNTED: Charming openness and commitment
4th Wall Theatre, New Plymouth
- reviewed by Holly Shanahan

The appeal of this piece is in its simplicity. Bare Hunt Collective present these stories / interviews as they were told, switching between characters and stories to create snapshot impressions of the different experiences of those involved or affected by one of NZ’s worst natural disasters.

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ON THE UPSIDE-DOWN OF THE WORLD: Interrogating multiple selves
Assembly, Roxy, Edinburgh, Scotland
- reviewed by Dione Joseph

It is always her version of history – more appropriately 'herstory' – that we are invited to listen to and it is through her lens that we become witnesses to a tale fraught with the challenges of immigration to a new land: two completely different value systems in conflict and a maternal tenderness that locates this story very firmly within the female and feminised world.

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SUNSET ROAD: Clarity, mystery and presence
Q Theatre Loft, 305 Queen St, Auckland
- reviewed by Vanessa Byrnes

It’s the opening night of a new New Zealand play and my companion and I enter with great expectations. This is a beautifully produced work with an expert team from Tawata Productions behind it. Miria George’s new play promises much in its anticipation, but for my money doesn’t really deliver the punch it seeks.

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ALLEGRO: FIVE SHORT BALLETS: Audience whooping well deserved
Civic Theatre, Invercargill
- reviewed by Kasey Dewar

The final performance of the night is Megalopolis, also choreographed by Larry Keigwin. The costume designs are by Fritz Mason and are by far my favourite of the night – each dancer’s costume is different and features a combination of black, sparkles and an amazing looking wetsuit-like grey material. The scene is so well conveyed in this piece – fluoro bar lights on the back wall mimic a club atmosphere and the bright light works well to hide the dancers gathering at the back of the stage. The dancing pitches blocks of very formal group movement to Steve Reich’s Six Marimbas contrasted against blasting club songs by MIA with sassy finger waggling individuals. It’s easy to see the dancers are having fun with this piece – I couldn’t see one dancer who wasn’t into all the shimmying and flourishing which was awesome. This piece is the perfect way to end the evening’s performance on a high and the applause and whooping from the audience was well deserved at the end.

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

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