 reviewed by Johnny Givins 18 Apr 2013 |
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“I am Queen, and I am here.” Last night the GBLT community celebrated the passing of the Marriage Bill. It was the culmination of over 30 years struggle for equality for the community. The law now fully recognises that any discrimination against gays and lesbians is no longer legal. What a triumph for equality presented with passion, eloquence, and understanding in our parliament. [more] |
 reviewed by Matt Baker (Theatre Scenes - Auckland Theatre Blog) 29 Aug 2012 |
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Aged Perfectly How do you measure change? This is one of the questions that drove the Tectonic Theater Project to revisit the town of Laramie, Wyoming, ten years after their incredibly successful theatrical project. It is an important question, especially regarding the content of the play, and after seeing Alacrity Productions’ version of The Laramie Project: 10 Years Later I am not only relieved, but also grateful, that this play has been put in the hands of such dedicated practitioners. [more] |
 reviewed by Matt Baker (Theatre Scenes - Auckland Theatre Blog) 2 Sep 2012 |
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The Coming and Going of Age As soon as I entered the TAPAC theatre I was struck the realisation that I had seen Beautiful Losers nearly 10 years earlier when it premiered at the Silo Theatre with Ian Hughes and Scott Wills. Wills is reprising his role as Neal Cassady… And 10 years is a long time. While this can bring additional depth to an actor, it inevitably ages them dramatically. An actors’ actual age is not important, but their playing age is, and sitting in the mid-30 to mid-40 decade range, as Paul Glover (Jack Kerouac) and Wills are, they are at the high end for these characters ... [more] |
 reviewed by Matt Baker (Theatre Scenes - Auckland Theatre Blog) 8 Nov 2012 |
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No dud Young writers are frequently reminded to write what they know, and Nuclear Family is a great example of why that is. There is no indication as to which degree this show, written by Venezuelan born veteran writer Desiree Gezentsvey, is autobiographical, which in turn raises the question of how much art should imitate life and where artistic license should be permitted to incorporate theatrical falsehoods to illustrate truths ... [more] |
 reviewed by Matt Baker (Theatre Scenes - Auckland Theatre Blog) 14 Nov 2012 |
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More than black and white Though (potent pause) Productions is a somewhat obscure company – 13 productions in 11 years, with a slight emphasis on the works of Pinter and a bit of Mamet and Ionesco thrown in for good measure – it seems this company has a knack for not only stellar casts who make the most of poignant pieces, but also taking their time and developing a commendable and solid body of work. [more] |
 reviewed by Matt Baker (Theatre Scenes - Auckland Theatre Blog) 29 Nov 2012 |
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Wears its heart on its sleeve The decision to revisit a piece of work is an intriguing endeavour. For David Aston it was based on his belief that Where Are You My Only One? – a piece that he first performed in 2003 as part of Silo Theatre’s To Russia With Love mentoring project for young directors – needed to be seen by a wider audience. Originally a 30-minute one-act play, the piece was developed by its writer Vanessa Rhodes while she was a resident at The Robert Lord Cottage in Dunedin. [more] |
 reviewed by Matt Baker (Theatre Scenes - Auckland Theatre Blog) 5 Dec 2012 |
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Solid From Liz Carpenter and Alana Kelly’s poster design to the un-credited set design in performance, the teacup motif in Munted is both an accurate and elegant metaphor for the fragility and communal aspects of life surrounding the February earthquake. It is also brilliantly used in breaking the fourth wall the moment the audience enters the performance space ... [more] |
 reviewed by Matt Baker (Theatre Scenes - Auckland Theatre Blog) 14 Mar 2013 |
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America Calling Pheloung is inarguably a gifted musician. His practical skills are polished and he demonstrates his theoretical mastery of the craft with subtle yet distinct differences in each of his songs. Not one of them sounds the same, which, in addition to the clever and humorous lyrics, prevents the story from becoming stale, which it becomes increasingly in danger of as the show progresses. [more] |
 reviewed by Matt Baker (Theatre Scenes - Auckland Theatre Blog) 15 Mar 2013 |
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And I Was Like: Whatever In his programme notes, writer and director Sam Brooks puts forth the question, “What happens when you take one of the fundamental pillars of relationships, the words, out of the equation?” He summarises by saying that “when it gets from the stage to your faces, maybe you’ll get your answer.” If there is an answer to be found in this play, it is a bleak one. [more] |
 reviewed by Matt Baker (Theatre Scenes - Auckland Theatre Blog) 5 Apr 2013 |
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Grape fun Constantinople has a rich and impressive history, a history that is manhandled to fit the mold for Trygve Wakenshaw and Barnie Duncan’s show of the same name. Though some of the facts are true, the majority of the storyline is warped to accommodate a series of bizarre scenes including a horse and his physiotherapist, Rod Stewart, and a DJ and the eponymous Constantine himself. [more] |
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