 reviewed by Terry MacTavish 19 Mar 2009 |
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The casual destruction of innocence Verbatim theatre is not new, but this is something extra special – the actors, in their determination to remain faithful to the interviewees, perform using iPods, speaking the words as they hear them. Thus they are able to deliver their lines not merely accurately, but with the very inflections, pauses, and anacoluthons. Gestures, too, have been replicated from the filmed recordings. [more] |
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reviewed by Paul Simei-Barton (New Zealand Herald) 24 Nov 2010 |
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Compelling look at forces behind family violence Among the moving testimonies of people affected by family violence is the voice of a police officer who speaks with the penetrating clarity born of day-to-day experience as he explains that you can't fix a problem by arresting people and that to fix something you have to understand it. [more] |
 HUSHABYE MOUNTAIN at Musgrove Studio, Maidment Theatre reviewed by Jim McLarty 20 May 2007 |
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An assured and accomplished production ... It’s Harvey’s belief that “the best comedy always comes from pain, and the comedies I love always have that element of darkness.” That point-of-view could almost sum up Hushabye Mountain. The laughs are there, but the situation that produces them is a sombre one. ... [more] |
 reviewed by Lexie Matheson 14 Sep 2012 |
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A magnificent work, unique and profound PLab – yes, that’s what they’re called – is a new collective founded by Fasitua Amosa, who is one of our finest. His dream is to create an environment where Pasifika performing artists can try out new ideas, experiment and ultimately stage new work. Hypothesis: a compound reaction from New Zealand Samoans is the first work to bounce out of the lab and, frankly, it’s a wee ripper. [more] |
 reviewed by John Smythe 18 Oct 2006 |
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Intriguing metaphysical ingenuity Played literally back-to-back at either end of Shed 11 – simultaneously to separate audiences who swap at half time – these two plays share an upstage centre door, a sound design, plastic ducks, some characters and story elements, and a theme of lost and/or found love that flips between denial and rejection, fantasy and reality, good love and bad love. [more] |
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reviewed by Laurie Atkinson (The Dominion Post) 18 Oct 2006 |
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Go with the flow Two separate but related plays, one scripted, the other devised, playing simultaneously for 35 minutes on adjoining stages is the first of the two offerings in this year’s STAB season of experimental theatre. [more] |
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reviewed by Lynn Freeman (Capital Times) 8 Nov 2006 |
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You'll be puzzled Two plays by two sisters, performed simultaneously, sharing a cast, props, soundtrack and a stage separated by a door – it just has to be a STAB commission by Bats theatre. [more] |
 reviewed by John Smythe 9 Jul 2010 |
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More ‘depth of field’ required I suspect what attracted attention, at its 1951 stage debut, was its depiction of the loose moral lifestyles of a hedonistic showgirl and a penniless writer, both escapees from morally cloying England, plus a flamboyant American millionaire with a taste for opium, set against the early days of the Nazi uprising in an economically collapsing Germany, between the wars. [more] |
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reviewed by Ewen Coleman (The Dominion Post) 17 Jul 2010 |
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Poignant look behind the froth of Cabaret Those who have seen the movie A Single Man based on Christopher Isherwood’s novel of the same name will identify with the central character of the play I Am A Camera, Backyard Theatre’s current production at the Gryphon Theatre. [more] |
 I AM A WEE BIT STUMPED at Aotea Centre at THE EDGE® reviewed by Christina Houghton 19 Feb 2012 |
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Breaking performance boundaries It's as if we are watching an endurance sport. Even as the tape cuts cruelly across Blomqvist stomach, we watch in anticipation as the large pile of chairs topples to the side. At the same time we experience time folding in on itself as these two artist re-perform actions from another past as their two histories combine into this one event. Commonalities and differences are highlighted as both reveal how they came to be here. And we are left asking ourselves how we value physical prowess. [more] |
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