 AN UNFORTUNATE WILLINGNESS TO AGREE at The Basement reviewed by Jenny Stevenson 21 Feb 2013 |
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A desire for something much more human and honest Dancer-collaborators Oliver Connew, Zara Killeen-Chance and Gareth Okan use their highly-trained bodies not to present a bravura display of dance, but as a conduit for energy and its transmission between themselves - through a spare vocabulary of movement. Connew sets out to call into question society’s passive acquiescence and the all-embracing world of technology that can let people stand back and not get involved in, what should by rights, deeply affect them. [more] |
 AN UNFORTUNATE WILLINGNESS TO AGREE at BATS reviewed by Emma Willis 3 Mar 2012 |
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Conceptually coherent, original and affecting The performance begins when, with the television still playing, the three performers get up from the front row, where they have been embedded amongst other audience members. They each raise a glass wine and walk towards the television. The toasting gesture turns to convulsion. This image sets up Connew’s central concern: how human intimacy is mediated by technology. In the programme he notes that it was his family members’ various departures from Wellington that inspired the work. What follows are a series of images and scenes that investigate the technological threads that bind (or fail to bind) us together. [more] |
 AN UNFORTUNATE WOMAN at BATS reviewed by John Smythe 24 May 2006 |
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Insightful delightful pleasure The quality show of the Comedy Festival so far is Nicola Gunn’s An Unfortunate Woman – a tragic-comic tour-de-force of semi-silent, character-based solo theatre. [more] See also reviews by: Ewen Coleman (The Dominion Post); |
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AN UNFORTUNATE WOMAN at BATS reviewed by Ewen Coleman (The Dominion Post) 27 May 2006 |
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Female souls bared #2 Nicola Gunn’s solo piece, An Unfortunate Woman, is a macabre and surreal piece of physical theatre that is both absorbing and intriguing, even if the mix of 15 characters and 3 interlinking stories does become confusing at times. [more] See also reviews by: John Smythe |
 reviewed by Peter Hawes 12 May 2008 |
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Whodunit? “You done it.” ... Which still leaves much to say about the play. First, that it’s jolly hard work, because you’re not watching a play you’re sort of solving one – interpreting it ... And you suddenly realise you’re having a damn fine time doing it. It’s a bit like Tom Sawyer getting paid by the other kids for painting the fence; Mr Henderson has put you to work and he’s getting paid for it. [more] |
 reviewed by Lyne Pringle 9 Aug 2009 |
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Sparkling feet, precise rhythyms, delightful clarity The dancers of the Mudra Dance Company, all graduates of Kinra’s New Zealand Academy of Bharata-Natyam - some have attended for as long as 10 years – sparkle like the jewels in their costumes as they move like dancing flames. They are a living testament to Kinra’s teaching and devotion to the form; he has not only taught these young women to dance he has helped to shape their lives. [more] |
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reviewed by Jennifer Shennan (The Dominion Post) 5 Aug 2009 |
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Always a joy to behold Anand, means Joy and is a particularly well chosen title for this celebratory season marking 20 years since Vivek Kinra began teaching classical Indian dance in Wellington. [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] |
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reviewed by Joselyn Khor 13 Mar 2013 |
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Masterful subtlety in a smart piece of theatre We are given intimate insight into the turmoil, heartbreak and progressive disintegration of a relationship when verbal communication – the beacon of hope in every shrink’s repertoire of saving graces – fails, or is removed completely. [more] |
 reviewed by Ann Hunt (The Dominion Post) 20 May 2013 |
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Impressive exhibition of skill and talent Of the many gems, the ace in the hole was Teeter, a very mature work in terms of conception. Its cohesive, fluid choreography and beautiful design elements augur well for future work by its choreographer, Sarah Gatzonis. [more] |
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