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TWELFTH NIGHT at re.SPACE, 176 Victoria Street, Te Aro
reviewed by Laurie Atkinson [Reproduced with permission of Fairfax Media] (The Dominion Post) 26 Jan 2015
Art gallery woven into comic take on Shakespeare
Last year Samuel Phillips directed a very funny A Midsummer’s Night Dream that was performed in an unpromising venue: a large abandoned retail space in Victoria Street. This year the company have crossed the road to a much smaller and a no more promising theatrical venue, the art gallery, re.SPACE. [more]

TWELFTH NIGHT at re.SPACE, 176 Victoria Street, Te Aro
reviewed by John Smythe 26 Jan 2015
A fluent flow of seamless unseemliness
A programme note reminds us Twelfth Night on the Christian calendar, the feast of the Epiphany, brings days of feasting and revels to their climax with “intense merriment, misrule and confusion”. And although this happens in the northern hemisphere’s winter, Shakespeare’s Twelfth Night is abounds in references to spring and summer, allowing it to sit “perfectly in a New Zealand context.” [more]

MY NAME IS GARY COOPER at Kumu Kahua Theatre, 46 Merchant Street
reviewed by Moana Nepia 24 Jan 2015
Sensual complexity
Like some of his contemporaries, Samoan New Zealander Victor Rodger, author of this latest production to hit the Kumu Kahua Theatre, (home of contemporary Hawaii-centred theatre in Honolulu), unsettles some of the historical Euro-American depictions of Pacific Islanders through focussing on the personal experiences, day to day realities, and complexities of Pacific Islander encounters with colonial legacies and globalised forces. [more]

THE RAGGED (WELLINGTON 1840) at Soundings - Te Papa
reviewed by John Smythe 21 Jan 2015
Richly textured, insightful, humorous, sobering and energising
Under the overall direction of Jim Moriarty, Helen Pearse-Otene’s exquisite script finds a generously open performance style to honour its fictionalised evocation of how Māori and Pakeha both clashed and coalesced in the process of colonisation. In distilling an essence of the Wellington experience, The Ragged captures a nationwide, even global, phenomenon in all its complexity. [more]

THE KITCHEN AT THE END OF THE WORLD at Circa Two
reviewed by Laurie Atkinson [Reproduced with permission of Fairfax Media] (The Dominion Post) 20 Jan 2015
Marionette play tugs on feelings of warmth for old values
There’s something about the guest-less hotel that features in The Kitchen at the End of the World that reminds me of The Grand Budapest Hotel. It has the same sense of isolation and a craving to preserve the past from the ravages of contemporary urban life. [more]

Photo by Paul McLaughlin
SEED at Circa One
reviewed by Ewen Coleman [Reproduced with permission of Fairfax Media] (The Dominion Post) 19 Jan 2015
Lack of babies creates drama
There are those who can easily get pregnant even when they don’t want to and those, no matter how hard they try, who are never able to conceive. Which is the case with the two sets of close friends in Easther’s play, all of them in their 30’s. [more]

RICHARD III at BATS Theatre, The Dome, 1 Kent Tce
reviewed by Laurie Atkinson [Reproduced with permission of Fairfax Media] (The Dominion Post) 19 Jan 2015
Shakespeare meets Black Adder and Monty Python
For its15th birthday and 30th production the inimitable, irrepressible and energy-driven Bacchanals repertory company is once again upsetting apple carts and cocking a snook at theatrical conventions, right-wing politics and murderous monarchs. [more]

SCIRT World Buskers Festival 2015
MR & MRS ALEXANDER at BUSKERS BOUTIQUE, Old Boy’s Theatre, Christ’s College
reviewed by Erin Harrington 19 Jan 2015
Charming postmodern sideshow
In a festival that showcases the best of the world’s modern day circus performers, it’s fitting that we have a homegrown show that celebrates our ongoing fascination with the weird and the wondrous through an historical tale of con artists and carnival trickery. [more]

Photo by Paul McLaughlin
SEED at Circa One
reviewed by John Smythe 18 Jan 2015
Deserves to flourish
Judging by the rapturous reception it received on opening night, Circa clearly has a hit on its hands with Elisabeth Easther’s SEED. Post-show the foyer was abuzz with people extolling the excellence of the cast and production and trading stories related to the experiences depicted and issues raised in the play. [more]

THE KITCHEN AT THE END OF THE WORLD at Circa Two
reviewed by John Smythe 17 Jan 2015
Engaging at human, metaphysical and meta-theatrical levels
In essence the Vastness at the End of the World represents the great unknown beyond our present lives, to which everyone has a different response. The characters’ meta-theatrical acknowledgement that they are marionettes with strings attached that simultaneously bring them to life yet restrict them is both amusing and thought-provoking. [more]
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