 (N)ONE DOWN at Bats Pit Bar reviewed by John Smythe 3 Mar 2011 |
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None down, everywhere to go A cryptic play about a cryptic crossword creator is a great idea. But to be ‘hidden when partly seen with a remedy’ is not the same as being ‘in charge of a tomb’.* Also, equal and opposite to the joy of filling a cryptic grid is the disappointment of leaving it incomplete forever. [more] |
 (NOT) THE ALL INDIA RADIO SHOW at BATS reviewed by John Smythe 7 May 2008 |
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Not ready In their media release, having listed their past triumphs (click on title above), The Untouchables Theatre Collective goes on to proclaim: “For their third show, they may just disappoint them all … Cast members are dropping off like flies, funding applications are being rejected and only half of the show has been written. This isn’t fake news, it’s a car crash and they’ll be bloody lucky if this thing makes it to stage!” The programme reveals (Not) the All India Radio Show was “devised over two weeks with community actors & Toi Whakaari graduates.” Two weeks”? It shows, and my inclination is to say it’s just not ready and leave it at that. [more] |
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(NOT) THE ALL INDIA RADIO SHOW at BATS reviewed by Laurie Atkinson (The Dominion Post) 10 May 2008 |
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Muddled, arbitrary, long The (Not) The All India Radio Show is part of the NZ International Comedy Festival and is a devised work that took a group of community (amateur?) actors and a couple of Toi Whakaari graduates two weeks to create. I am surprised it took them that long on the evidence of their confused revue sketches which never took off as the group tried to mine some humour from an overused formula. [more] |
 10 DAYS ON EARTH at Maidment reviewed by Nik Smythe 16 Mar 2007 |
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Verbal, visual, sad, funny and thought-provoking While the dialogue is heavily spiced with humour, the play is essentially a touching human drama centred around Darrel, a middle-aged simpleton and his relationship with his neurotic mother. His incessant tangental rambling would be much more annoying than it is were he not so harmless and genuine. [more] |
 1000 LOVERS at Silo Park, Wynyard Quarter reviewed by Jesse Quaid 17 Mar 2013 |
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Mythology in migration Gathered together in the growing darkness, we look out across Silo Park, searching for movement. As figures emerge out of the darkness, we gradually become aware of what is happening. A widow paces ceaselessly; a girl in red lays a path towards her, while faintly menacing figures watch from nearby vantage points. An emotive soundtrack is delivered through headphones, allowing the audience to carry the sound with them but producing an uncomfortably isolating effect, somewhat like watching a movie rather than a live performance. [more] |
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1000 LOVERS at Silo Park, Wynyard Quarter reviewed by Clare Battersby 21 Mar 2013 |
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Must watch carefully I walk away from the performance with images etched in my mind: the gliding Widow - the fiery, dynamic, wild, Lady in White; the red dress billowing so perfectly through the urban space as if past and present has collided; restaurant patrons bemusedly watching us watching the show; the hooded dancers framing the journey, drawing one’s attention and making the most of every dancing platform provided by the urban landscape. [more] |
 11 AND 12 at St James Theatre reviewed by John Smythe 11 Mar 2010 |
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Loses its sense of purpose ... Am I expecting too much, then, of 11 and 12? I wouldn’t have thought so, even if Peter Brook is 85 now. If ever we needed a play that threw light on the apparently unstoppable phenomenon of religious wars, tribal massacres and sectarian violence that litter our news media every day, it is now. And who better than Brook to play midwife to a play sourced from the true life experiences of Sufi mystic Tierno Bokar? [more] |
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11 AND 12 at St James Theatre reviewed by Laurie Atkinson (The Dominion Post) 11 Mar 2010 |
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There is Brook’s truth, your truth and the truth Since the 1960s Peter Brook has been searching for the essence of theatrical performance. His fervid dedication of almost monastic severity has led him to question centuries of accumulated theatrical practices, beliefs and shibboleths. [more] |
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11 AND 12 at St James Theatre reviewed by Lynn Freeman (Capital Times) 17 Mar 2010 |
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Failed to fire New Zealand has waited decades to see one of [Peter Brook's] productions. But while I was hoping for something visionary, like The Arrival or 360, we saw a quiet, meditative, intellectual and worthy piece of theatre about great topics like colonisation or religious fanaticism [more] |
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11 AND 12 at St James Theatre reviewed by Mark Amery (New Zealand Herald (online only)) 11 Mar 2010 |
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Political theatre at its most quiet 11 and 12 travels to New Zealand carrying a lot of cultural baggage. Ironic given that over forty years ago director Peter Brook arguably revolutionised the British stage with the concept of the empty space. [more] |
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