 reviewed by Laurie Atkinson (The Dominion Post) 20 Aug 2010 |
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Brilliant performance in tale of crumbling family Unlike American theatre where standing ovations are almost obligatory, they are rarely awarded here. But at Bats on Tuesday night the cast of Katydid received one because the central character of this gritty, often funny, play about a disintegrating family was played with a gut-wrenching reality in a brilliant performance by Sophie Hambleton. [more] |
 reviewed by Raewyn Whyte (New Zealand Herald) 20 Aug 2010 |
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Ensemble meet challenge with new artistry In their 2010 Triple Bill season of sophisticated, technically and emotionally challenging integrated dance works, the eight Touch Compass dancers are artistically assured, responding sensitively to the interpretive demands of their material, showing a high level of polish and proficiency, and a new level of maturity as an ensemble. [more] |
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reviewed by John Smythe 19 Aug 2010 |
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Treat yourself to its powerful punch I see this as a modern day folk tale; a fable that curls its lip at happy endings or a neatly packaged moral and nails a universal truth about an inescapable paradox of human existence. [more] |
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reviewed by Jack Gray 19 Aug 2010 |
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Performance maturity Touch Compass is one of New Zealand’s most hardworking and diverse companies, comprised of mixed ability and able-bodied dancers, exponents of a special style of integrated physical dance theatre since 1997. [more] |
 reviewed by Lynn Freeman (Capital Times) 18 Aug 2010 |
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Silent murder hard to watch A SEEyD production is always an event. For more than 10 years the company has held true to its belief that theatre should be meaningful and provocative, and that it should take time to be created and harvest the ideas of the cast and crew. The December Brother has all the SEEyD hallmarks, and something more – [more] |
 reviewed by John Smythe 16 Aug 2010 |
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Dire Can this really be the same play Peter Hawes called “one of the great existential plays”, and John Ross called “a prodigiously clever black comedy, with moments of farce”, when they reviewed Centrepoint Theatre’s 2008 production ...? [more] |
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reviewed by Laurie Atkinson (The Dominion Post) 16 Aug 2010 |
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The truth? It all depends how you look at it Since its inception in 2000 SEEyD has devised seven invigorating and exciting pieces of theatre. With their latest offering, The December Brother, SEEyD has set itself the challenge of performing three thematically linked short plays, two of which are based on true events, while the third is fictional but with loud echoes reverberating from the first two. [more] |
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reviewed by John Smythe 16 Aug 2010 |
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A richly layered work of extraordinary substance Tim Spite is a true theatre artist. He draws inspiration from what in his own life, family, community, country and world prods his inquisitiveness, concerns and passions, then he forms development and production units to create plays that could not happen any other way. [more] |
 THE HEIGHT OF THE EIFFEL TOWER at 4th Street Theatre, Manhattan reviewed by Kate McGill 16 Aug 2010 |
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The height of good theatre: this show is a joy Morgana O’Reilly displays wonderful artistry; effortlessly morphing from character to character with vocal dexterity, physical panache and specificity. She and Abigail Greenwood have orchestrated a tight show that wonderfully intercuts full-blown belly laughs with softer, more intimate moments. [more] |
 reviewed by Terry MacTavish 15 Aug 2010 |
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Slapstick, philosophy and satire in Cloud Cuckoo Land The feeble and querulous mortals who have apparently just died at the opening of All’s Well That Ends are two of ancient Greece’s most famous citizens, philosopher Socrates, and playwright Aristophanes himself. They do not seem daunted by finding themselves deceased, but set about working out just where they have awoken ... [more] |
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