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EVERYTHING SHE EVER SAID TO ME at The Basement Studio, Lower Greys Ave reviewed by Nik Smythe 18 Apr 2012 |
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Excruciating, tortuous, compelling …. Everything She Ever Said to Me is the premier production of a lengthy new work from playwright Keziah Warner, directed by Benjamin Henson, which explores that excruciating human foible of suppressing one's honest thoughts and feelings in an effort to not rock the boat or overcomplicate matters, inevitably with the opposite result. [more] |
 reviewed by Ewen Coleman (The Dominion Post) 18 Apr 2012 |
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Comedy a quirky and unusual piece The dissemination of information around the globe has never been easier than it is now through social networking sites such as Facebook, Twitter and Blogs. But there are many down sides to this global phenomenon, as recent news of online comments about the beleaguered coach of the Auckland rugby franchise the Blues has shown. [more] |
 reviewed by John Smythe 18 Apr 2012 |
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If you want shock and awe, don't miss it Throughout the 90 minute performance we are constantly reminded we are watching a bunch of rag-tag actors in a roughly-dressed theatre telling us things we should already know, but probably don't, about New Zealand's activities in other people's wars; specifically the 'war against terror', waged largely in Afghanistan and Iraq even though the Taliban and Al Qaeda have no nationality. [more] |
 reviewed by Lynn Freeman (Capital Times) 18 Apr 2012 |
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Dream media roles This previous 2009 Bats STAB commissioned satire that turns the tables on the media, has been updated for 2012 and it’s striking how technology has surged ahead in just a few years. Smartphone users even get to contribute to the production during the pre play set up in the bar. [more] |
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reviewed by Lynn Freeman (Capital Times) 18 Apr 2012 |
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Expected more The perils of living your life online are examined in this play that’s both written and performed by Alex Lodge and Cherie Jacobson. [more] |
 reviewed by Lynn Freeman (Capital Times) 18 Apr 2012 |
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Good chemistry There were ‘ahs’ from the audience numerous times through this Roger Hall comedy-love story. That’s not just because Hall knows his audience extremely well and the right buttons to push. The leads Peter Hayden and Elena Stejko transform what could be an enjoyable night at the theatre, into something special. [more] |
 reviewed by James Wenley (Theatre Scenes - Auckland Theatre Blog) 16 Apr 2012 |
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The good kind of Jersey As I take my seat in the Civic, the Jersey Boys stage looks surprisingly non-descript. It’s a grey and drab industrial looking set, complete with walkways and chain mesh. A pretty ordinary set for an international musical, but then, the origins of the real Jersey blue collar Four Season members were rather ordinary too. Is this to be the stage for the multi-award winning Broadway Smash that has finally wound its way to little young Auckland? [more] |
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reviewed by Paul Simei-Barton (New Zealand Herald) 16 Apr 2012 |
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From gangsters to superstars The classic rags-to-riches story needs a fairy godmother but with rock 'n' roll the escape from poverty and obscurity doesn't require supernatural intervention. All it takes is some talent, plenty of hard work, a few lucky breaks and one great song. [more] |
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reviewed by Ewen Coleman (The Dominion Post) 16 Apr 2012 |
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YouTube, TV news make fine theatre The vagaries of the internet are at the heart of yet another play opening this week, Cuba Creative’s Live At Six at Downstage Theatre. YouTube is the culprit this time; displaying pictures to the world of TVNZ news reader and “mother of the nation” Jane Kenyon (Jessica Robinson) falling on her face in a drunken stupor at a media awards after-show party. [more] |
 reviewed by Barbara Frame (Otago Daily Times) 16 Apr 2012 |
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Superb portrayal of Rothko and assistant As full-length plays go, Red is quite short. It requires two actors, and uncomplicated set, and some paint. So why does it seem such an audacious undertaking? Because of John Logan's brilliant, Tony award-winning script, because of its towering themes – art, creativity, permanence, the sublime – and because of the demands it makes of its director, its actors and its audience. [more] |
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