 reviewed by Sian Robertson 28 Aug 2008 |
|
Surreal take on real concepts palatably presented The imminent threat of chaos to youthful complacency pervades this play that begins with the birth of a baby. The audience is very much included in the experience of the characters, which is at once amusing and disturbing. [more] |
 reviewed by John Smythe (2) 27 Aug 2008 |
|
Rich in insight, humour and theatrical skill – but … “Where’s your clarity?” the ghost of William Kemmler keeps asking Albert Southwick, a depressed and reclusive dentist. The same question has driven the further development of The Dentist’s Chair ... Using the conventions of commedia mask ... [it] is a theatrical essay on the theme of fear and how it can pervert the passion of love into murderous intent. [more] |
 reviewed by Ann Hunt 25 Aug 2008 |
|
All elements in harmony Christopher Hampson’s Romeo and Juliet was first choreographed for the Royal New Zealand Ballet Company in 2003. That production was lauded both in New Zealand and in London, where it garnered a nomination for a Laurence Olivier Award for Best New Dance Production. With this revival it is easy to see why. It is a beautiful cohesion of music, choreography, set, costume and lighting designs, with all elements in harmony with each other. [more] |
 reviewed by Bernadette Rae (New Zealand Herald) 25 Aug 2008 |
|
US dancers provide a mesmerising spectacle Mark Morris is the acknowledged master of melding movement and music. When the music is Mozart there is no great passion or fire involved, the magic coming instead from an almost courtly embodiment of every possible nuance of every musical phrase. [more] |
 reviewed by Laurie Atkinson 22 Aug 2008 |
|
Love story leaves lingering queries Love drives humans to behave in strange ways and while many have been said to die for love, not many have pretended to die for love. OK, Juliet did but you would certainly not expect a sensible, forthright New Woman of the Edwardian era, hoping to be elected to the London County Council, to fall so hopelessly in love that she would pretend to kill herself so as to be with the man she loves in far off New Zealand. [more] |
 reviewed by Vanessa Byrnes 19 Aug 2008 |
|
Shakespeare, Sex, & Stanislavksy channelled in rich, ugly, beautiful play Jeffrey Hatcher's delicious Compleat Female Stage Beauty is an eloquent text that provides a distilled, racy reflection on the role of the actor and the birth of acting in the 20th Century. The piece is set in the English Restoration and takes whacking great liberties with history, time, and real figures that are entirely excusable. [more] |
 reviewed by Lindsay Clark 17 Aug 2008 |
|
Pure gold Spontaneous applause is rare enough in contemporary theatre for it to be an important measure of successful engagement. At the opening performance of Dean Parker' shrewd satire, it sprang from an enthusiastic recognition of our staunch, if naïve, Kiwi ways, reflected in the doings of a backpacker from Napier, and the Baghdad cafe where his OE is considerably extended. [more] |
| 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20 | 21 | 22 | 23 | 24 | 25 | 26 | 27 | 28 | 29 | 30 | 31 | 32 | 33 | 34 | 35 | 36 | 37 | 38 | 39 | 40 | 41 | 42 | 43 | 44 | 45 | 46 | 47 | 48 | 49 | 50 | 51 | 52 | 53 | 54 | 55 | 56 | 57 | 58 | 59 | 60 | 61 | 62 | 63 | 64 | 65 | 66 | 67 | 68 | 69 | 70 | 71 | 72 | 73 | 74 | 75 | 76 | 77 | 78 | 79 | 80 | 81 | 82 | 83 | 84 | 85 | 86 | 87 | 88 | 89 | 90 | 91 | 92 | 93 | 94 | 95 | 96 | 97 | 98 | 99 | 100 | 101 | 102 | 103 | 104 | 105 | 106 | 107 | 108 | 109 | 110 | 111 | 112 | 113 | 114 | 115 | 116 | 117 | 118 | 119 | 120 | 121 | 122 | 123 | 124 | 125 | 126 | 127 | 128 | 129 | 130 | 131 | 132 | 133 | 134 | 135 | 136 | 137 | 138 | 139 | 140 | 141 | 142 | 143 | 144 | 145 | 146 | 147 | 148 | 149 | 150 | 151 | 152 | 153 | 154 | 155 | 156 | 157 | 158 | 159 | 160 | | Next >> |