 reviewed by Lynn Freeman (Capital Times) 10 May 2006 |
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Not enough ... the story of potential unrealised and opportunities lost. Unfortunately, the same can be said for this production. [more] See also reviews by: John Smythe Ewen Coleman (The Dominion Post); Matthew Wagner (Sunday Star Times); |
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reviewed by Ewen Coleman (The Dominion Post) 5 May 2006 |
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Intriguing take on modern living The opening scene of Everything. Now, is an idyllic one of two children climbing a tree. The tranquillity of this is soon shattered, however, when ... [more] See also reviews by: John Smythe Lynn Freeman (Capital Times); Matthew Wagner (Sunday Star Times); |
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reviewed by Matthew Wagner (Sunday Star Times) 14 May 2006 |
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Maybe later The defining characteristic of this production lies in the irony of its title: as a production, it was very much not everything now, but many things to perhaps come. [more] See also reviews by: John Smythe Ewen Coleman (The Dominion Post); Lynn Freeman (Capital Times); |
 EWEN GILMOUR: YEEHA! at San Francisco Bathhouse, 171 Cuba St reviewed by Thomas LaHood 7 May 2008 |
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Tolerably ‘classic’ For the first time in many years, venerable old man of New Zealand stand-up Ewen Gilmour returns to Wellington. He looks especially grizzled, his paunch hangs over his belt, and he opens his set by mistakenly dousing himself with an audience member’s bottle of white wine bedraggling his appearance still further. It’s a great start, even if unintentional. But he’s not too tired and worn to deliver an hour of dependable laughs on his own terms. [more] |
 EWEN GILMOUR’S MIDLIFE CIRCUS at San Francisco Bathhouse, 171 Cuba St reviewed by Nancy Catherine Fulford 9 May 2013 |
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Well structured, accessible, f*ckin’ funny Westie humour Ewen Gilmore’s show Midlife Circus is f*ckin’ funny. I don’t usually swear, but after last night, I quite like it. It’s relaxing and reminds me of Ewen and what a great time I had. Man it was funny. But not just funny: it was clever. [more] |
 reviewed by John Smythe 18 Apr 2010 |
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Healing the hurts of history Described as “the point of departure” for the work, Matiu Somes Island is where we arrive, via East West Ferry, to engage with the outcome of their devised theatre process. Spanning three and a half hours from leaving and returning to Queens Wharf, it treats us to a range of site-specific evocations of the island’s history expressed in forms inspired by the Michael Chekhov Technique, Te Whare Tapere (pre-European Maori performing arts) and Japanese Noh theatre ... [more] |
 EYE OF A DANCER at BATS reviewed by Sera Henare 11 Sep 2008 |
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Shining talents Most young girls train to be a ballerina or a contemporary dancer and after years of practice abandon it to focus on study and get real jobs in the real world. With the huge following and popularity in music, film and culture, not many take that extra step to devise, produce and direct their own Hip Hop show. [more] |
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EYE OF A DANCER at Globe Theatre reviewed by Hannah Molloy 29 Mar 2009 |
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Crown taken from humming to fizzing They say they “eat, drink and breathe dance.” That’s a big call but as Eye of a Dancer starts, you get the sense that it’s not just big talk to sell seats. The atmosphere in the Globe is humming; an almost capacity audience waiting to see the young women who call themselves Seek perform. [more] |
 reviewed by Matt Baker (TheatreScenes - the Auckland Theatre Blog) 12 Jun 2013 |
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F*ck yeah Written and directed by Sarah Graham, F*ck Love revolves around the lives of three twenty-something women in Auckland, each succumbing to and working their way through the effects of love. [more] |
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reviewed by Heidi North-Bailey 13 Jun 2013 |
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Fun with relationship dilemmas F*ck Love: a play, is about well, f*cking, love, and sometimes the two of them together. The play centres on three twenty-something women all sharing a girly flat in Auckland, where together the three women work their ways through the giddy effects and unpleasant side effects of love. [more] |
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