 IRENE PINK AND JUSTINE SMITH IN THE PITCH at BATS reviewed by Karin Melchior 4 May 2012 |
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Can’t wait for the TV series! The show begins with Irene Pink and Justine Smith standing spot lit, centre stage muttering indistinctly to each other and occasionally readjusting necklines for what seems like several minutes, before the voice of the TV executive announces he's ready to see their pitch. The fact that the audience is already laughing before they even say a word, I take as a sign of good things to come, and I'm not disappointed. [more] |
 IRENE PINK IN METAMORPHOSIS at Polson Higgs Comedy Club, XII Below Bar reviewed by Sharon Matthews 22 Mar 2010 |
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Strong start rambles into uneven performance We were a small but select audience for Metamorphosis on the first night of the Dunedin Fringe Festival. We were there prepared to “bare” witness (a wonderfully bad pun which I will admit set up in my mind certain expectations for the show) to the changes in Irene Pink’s life since 2005. [more] |
 IRENE PINK: METAMORPHOSIS (NZ) at Fringe Bar, Cnr Cuba & Vivian reviewed by Suzanne Edwards 5 May 2010 |
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Down-to-earth Irene Pink is a delight. Engaging and entertaining she makes the most of an audience that doesn’t fill the room but sounds like it does. [more] |
 reviewed by John Smythe 17 Jan 2007 |
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Does obscurity make it Art? When a show feels longer than it actually is and the audience doesn’t realise when it has finished, its makers must know there’s more work to be done. [more] |
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reviewed by Lynn Freeman (Capital Times) 24 Jan 2007 |
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I don’t get it The value, nay necessity of programme notes for new plays was borne out by the debut of Iris, written and performed and largely directed by Vaughan Slinn. Then we might have had a chance of understanding a production that was clearly the result of a lot of thought and hard work ... [more] |
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reviewed by Mary Anne Bourke 12 Jan 2007 |
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Subtle comedy instrumental in entrancing quest for meaning The booth stands in the middle of the stage. It is where everything happens. Most light emanates from it. You could call it a toll-booth since it looks like it will cost this guy to go on this journey. It is also a phone booth, the cabin of a 747, hotel reception, Room 217, the rim of a volcano. The booth harbours the object of desire. It also serves as a screen for the projections (via video) of the protagonist’s fantasies ... [more] |
 IRREPRESSIBLE URGE at BATS reviewed by John Smythe 24 Feb 2010 |
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A ‘scan read’ of the roles stories play in our lives Storytelling is a particularly human preoccupation that permeates our lives more than we may realise. It comes in many forms, styles and genres, which may offer us the means of escape, access to ‘truth’ or both, simultaneously. [more] |
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IRREPRESSIBLE URGE at BATS reviewed by Laurie Atkinson 25 Feb 2010 |
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Telling tales At the start of Irresistible Urge the cast is seen reading and at the side of the stage is a huge stack of books of all shapes and sizes. The best way to explore this urge to tell stories, to listen to stories, to act out stories and to imagine ourselves in a story is, of course, to perform some. [more] |
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IRREPRESSIBLE URGE at BATS reviewed by Lynn Freeman (Capital Times) 3 Mar 2010 |
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Enchanting, unnerving, moving … Irrepressible Urge is another devised show with four parallel stories told in cut up bits. One takes a fresh look at the traditional dragon vs princess fairytale, with an enchanting performance by Barry Lakeman as the aged dragon. [more] |
 reviewed by Kathryn van Beek 23 Nov 2006 |
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groundbreaking and genre-defying In every aspect of the production of iS, there is something beautiful and something unsettling. Depending on your viewpoint this is either a distraction, or proof that iS truly is a work of art. [more] |
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