 reviewed by Janet McAllister (New Zealand Herald) 7 Sep 2012 |
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Compelling but nerve-racking The music sets the tone for this excellent, troubling Taki Rua revival, even before all the audience has arrived. The melody is jaunty, but the lyrics jar with that bubbliness: "I don't know what to do / I feel so helpless." The sharp shadows of palisades in the gloom add to the foreboding – as does the deliberate ricketiness of Daniel Williams' intriguing set; later on, its rafts of sticks seem to threaten lone performer Te Kohe Tuhaka with impalement at every turn. [more] |
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reviewed by Terry MacTavish 3 Feb 2013 |
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Takes no prisoners The image flashed onto the canvas of the stage set is instantly recognisable: the little girl’s face is frozen in a scream of pain and terror as she flees a napalm attack, her thin body naked, burning. That photo sent us into the streets to march against the war in Vietnam, and it still has the power to shock, as did news of the massacre at My Lai. [more] |
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reviewed by Barbara Frame (Otago Daily Times) 4 Feb 2013 |
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Play’s power unchanged The action, and there is much of it, takes place on a set that looks like a place of incarceration – whether actual or metaphorical is for the audience to decide. Consumed by anger, grief and much else, the play's sole character tells the story of his life. [more] |
 MICHELE A'COURT'S 40 ODD YEARS at BATS reviewed by John Smythe 1 Jun 2006 |
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Wicked wit and perception There’s a lot to learned from a woman who’s lived past two-score years and is still going strong. [more] |
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MICHELE A'COURT’S "40 ODD YEARS" – AN AUTOBIOGRAPHICAL RETROSPECTIVE at The Transmission Room reviewed by Kate Ward-Smythe 15 May 2006 |
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Learning curves in crisis comedy You can learn so much from Michele A’Court. Going to one of her shows is more than guaranteed laughter and fun – it’s an educational, thought provoking experience. [more] |
 reviewed by John Smythe 9 Oct 2010 |
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A lively 80-odd minutes of laughter What I’ve always liked about both Michele A’Court and Jeremy Elwood is they use comedy to make us think twice about stuff that matters rather than just using stuff that matters to get a laugh. Without ever being preachy or earnest – far from it! – they have tended to use comedy as a means to a greater end ... [more] |
 MICHELE A’COURT IN STUFF I FORGOT TO TELL MY DAUGHTER at Q, The Vault reviewed by Lexie Matheson 29 Apr 2013 |
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An absolute classic from the ultimate theatrical trickster Last year, Michele’s daughter Holly got a job and went flatting for the first time. She was almost 20. With no kid in the house for the first time since 1993, and with a bit of time on her hands, A’Court began reflecting on those things that she forgot to tell her daughter as she was growing up. The result is her first solo show in seven years – and we get to hear it first. Michele A’Court is a household name in New Zealand and has been for well over the twenty years of Holly’s young life. [more] |
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MICHELE A’COURT IN STUFF I FORGOT TO TELL MY DAUGHTER at San Francisco Bathhouse, 171 Cuba St reviewed by Maryanne Cathro 17 May 2013 |
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Hitting all the flavour notes from bright tangs to rich depths The audience obviously appreciates their humour served well-seasoned with intelligence, and this is truly in good taste. And with absolutely no aftertaste of earnestness either. We could lick the bowl afterwards and asked for seconds. [more] |
 MICKEY D GET ON WITH IT! at The Basement Studio, Lower Greys Ave reviewed by Sian Robertson 8 May 2013 |
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Raucous, cheeky, crass, rambling, maniacal … Mickey D's extremely crass scatological humour is sometimes just disgusting without being particularly funny (unless you're into that sort of thing?) but usually he manages to tick both boxes. [more] |
 MICKEY D IN TOO MICKEY BRO! at San Francisco Bathhouse, 171 Cuba St reviewed by Hannah Smith 21 May 2009 |
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Poking fun at anything and everyone Mickey D’s genial warmth, impressively expressive face and infectious enjoyment of his own jokes have the audience eating out of his hand from the moment he comes on stage. He has no need to directly address innocent members of the public in order to engage us; rather we are drawn in by his boundless energy and open and obvious pleasure in laughing and making people laugh. [more] |
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