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BUSKERS GO BAD (R18) at The Boathouse
reviewed by Gail Tresidder 31 Jan 2015
Excellently balanced
What a gloriously zany, yet amazingly talented, group of entertainers! A few black marks aside – especially the deafeningly loud and absolutely music-less pre-show music – this capacity crowds laugh and marvels throughout. [more]

CRASHMOB at Te Kotahitanga Expo Hall, Forum North
reviewed by David Stevens 30 Jan 2015
Endlessly inventive
We’re never told where it is happening or when it is happening, or even what is happening except at the end, so in a sense it is metaphysical theatre and has a non-too-distant kinship with the Aboriginal concept of the dreaming – or dreamtime – because it is every where and every when while being, at the same time, specific to this group of young people now. [more]

STOMACH at BATS Theatre, The Propellor Stage, 1 Kent Tce
reviewed by Laurie Atkinson [Reproduced with permission of Fairfax Media] (The Dominion Post) 29 Jan 2015
Powerful play provides plenty for audiences to chew over
Stomach is a strongly performed fifty minute two-hander about the breaking up of an intense relationship between two young women. It is told with brief monologues, long duologues, a dynamically performed lip-sync song and dance number (a highlight), starting with the breakdown and working its way, with one or two jumps forward, back to the accidental meeting in a library when the relationship started. [more]

STOMACH at BATS Theatre, The Propellor Stage, 1 Kent Tce
reviewed by John Smythe 28 Jan 2015
A delight to digest
When creating a play about a relationship that ends badly, one way to achieve a happy ending is to tell the story in reverse. The strategy also helps if the story might seem a bit prosaic, told as a straight narrative. Giving the audience that bit of brain work to do enhances our engagement. [more]

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 Will Caron (INh) 26 Jan 2015
Gary Cooper an absolute must-see
Complex, entertaining and vivid, Kumu Kahua’s My Name Is Gary Cooper is a theatrical triumph that will leave you with questions about identity and mainstream narratives of the Pacific. [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]
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