 reviewed by Deirdre Tarrant (Capital Times) 26 May 2010 |
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A bright future An empty space, dimly lit with a scaffolding structure. The stage fills with students in a melange of style and clothing. Retro is popular both on and off the stage and it was interesting to see this fashion parade of young dancers. [more] |
 reviewed by Felicity Molloy 26 May 2010 |
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Talented emerging dance artists explore different movement vocabularies This evening’s works in progress (WIP ’10 Showcase #1) is the first season of a new initiative backed by DANZ and MIC Toi Rerehiko for the emerging dance artists of Auckland’s tertiary scene. Choreography, dance and live music are brought together in an impressive and tightly knit evening of developing works. [more] |
 reviewed by Sian Robertson 26 May 2010 |
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Bitterly, laugh-out-loud funny The format is the same as for The Awkward Monologues, which showed at Te Karanga Gallery in February this year: seven ten-minute pieces by seven different writers, played by seven actors. These monologues are an evolutionary step in a very good direction. [more] |
 reviewed by Ewen Coleman (The Dominion Post) 24 May 2010 |
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Quirky take on Enid Blyton a must see The setting for the current early evening show at Bats, Tea for Toot, is not what one normally expects from a Bats production. It is the lounge of the Waters sisters, where teacups litter the stage along with lots of other bric-a-brac from a past era and where Emily (Alex Lodge) and Georgia (Cherie Jacobson), sit in antique Edwardian chairs knitting. [more] |
 reviewed by Barbara Frame (Otago Daily Times) 24 May 2010 |
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Ripping yarn has audience in stitches Mad, completely mad. The 39 Steps, now playing at the Fortune, has been convulsing audiences all over the world for the last few years. This is its third incarnation, adapted by Patrick Barlow from Alfred Hitchcock’s 1935 film which, in turn, owed much but not everything to John Buchan’s 1915 thriller. [more] |
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reviewed by Terry MacTavish 24 May 2010 |
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Lunacy, hilarity and charm The 39 Steps is rollicking fun from start to finish, the delicious light-hearted silliness tossed off with zesty exuberance by a razzle-dazzling cast. And oh joy, all can be proudly claimed as Dunedinites, under the direction of indefatigable Hilary Norris, who has been a loyal Fortune stalwart for no less than 35 years. [more] |
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reviewed by Jennifer Shennan (The Dominion Post) 24 May 2010 |
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Stumbling blocks to seeing choreographers’ true potential One Way is this year’s season of contemporary dance choreography by students at NZSD, in collaboration with young composers and design students. After an impressive atmosphere in the opening scene, eleven pieces were linked into a sophisticated hour-long sequence that masked where one dance began and another ended. [more] |
 reviewed by Kate Ward-Smythe 24 May 2010 |
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Thank you for the music plus... There’s a line in ABBA’s song Super Trouper, “Smiling having fun, feeling like a number one”, which in part sums up the simple euphoria the Bjorn Again formula brings to devoted ABBA and Mamma Mia fans. Four clever front line musicians-singers-performers, supported by two able back line rhythm section players, bring to life the (comparatively) bright innocence of ABBA’s all too few live performances. [more] |
 reviewed by John Smythe 24 May 2010 |
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Simultaneously compelling, entertaining and thought-provoking: this is what theatre’s all about “School sucks!” is a perfect line to start a high schools tour show with, especially in places where theatregoing as a relatively foreign concept. It’s from Thomas Sainsbury’s Loser and is the first extract from the 13 plays sampled to create A Baker’s Dozen: a veritable ‘taste treat’ smorgasbord of scenes to which the target audience cannot help but relate. [more] |
 reviewed by Laurie Atkinson (The Dominion Post) 23 May 2010 |
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One man show (not that you’d notice) is a brilliant portrayal of a father by his son Lullaby Jock is superb solo show. It is an unflinching, funny, sad, emotional yet loving portrait of Jock Ferry, the actor’s father. It has been given a marvelous production by Tim Spite who has directed it with his customary deftness and cunning theatrical imagination. [more] |
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