 reviewed by Paul Simei-Barton (New Zealand Herald) 10 Sep 2012 |
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Slick pastiche reboots Coward for modern audience Director Shane Bosher has created an emphatically contemporary interpretation of Private Lives, designed to introduce a new generation of theatre-goers to Noel Coward's scintillating wit and exquisite sense of structure. [more] |
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reviewed by Melisa Martin 8 Sep 2012 |
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Perfect mis-matching For a play about relationships, you buy a ticket, you take your seat, and you settle in for a couple of hours of relationship mayhem. But Silo’s season of the sparkling 1930’s Noel Coward comedy Private Lives, which opened last night at Auckland’s Q Theatre, is so much more than a play about relationships. [more] |
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reviewed by James Wenley (Theatre Scenes - Auckland Theatre Blog) 12 Sep 2012 |
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My love-hate relationship with Silo’s Private Lives Consider this plot: A newly remarried man about town books into a hotel room for his honeymoon only to discover that his ex-wife has booked the very next room for her own honeymoon. Will old sparks be reflamed? And what about their new partners? Hijinks and hilarity ensue. [more] |
 PRIVATE PEACEFUL at Soundings - Te Papa reviewed by Laurie Atkinson (The Dominion Post) 15 Mar 2012 |
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Politicians, generals should see this play War and Shakespeare are two themes running through this year’s theatrical offerings at the International Arts Festival. They conjoined in Henry V, which also came to mind during Private Peaceful, a compelling solo play set in the First World War, the war to end all wars, in which a youngDevonshire lad is to be shot for cowardice. [more] |
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PRIVATE PEACEFUL at Soundings - Te Papa reviewed by Michael Gilchrist 15 Mar 2012 |
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Strong script and acting let down by design The story has a strong overall structure that echoes the argument that an earlier British literary icon, Allan Sillitoe, explored in many different narratives: the first world war – and, in steadily more complex fashion, subsequent wars – was nothing but the logical extension of the class system in Europe and Britain. [more] |
 reviewed by John Smythe 3 Oct 2012 |
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Satirical argument obscured by high energy performance The premise is that love must be privatised so we avoid the pain it causes and it emerges that this is a bitter and twisted reaction to Helen Clark losing the 2008 election then absconding to New York. Hence the manic nervous energy Pratley brings to much of her performance, punctuated by welcome moments of lucid calm. [more] |
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reviewed by Ewen Coleman (The Dominion Post) 5 Oct 2012 |
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Good, but only in parts The satirical writings of Richard Meros have developed a cult following, with two of his previous publications making it on to the stage. This new stage adaptation of Privatising Parts could be considered a sequel to On the Conditions and Possibilities of Helen Clark taking me as her Young Lover. [more] |
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PRIVATISING PARTS at Globe Theatre reviewed by Sharon Matthews 16 Mar 2013 |
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Unsettling, incredibly funny and intensely personal On one level Privatising Parts — the latest theatrical adaptation of a Richard Meros novel — is a savage satirical investigation into the effects of the past twenty-odd years of user-pays New Zealand politics on social norms. [more] |
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PRIVATISING PARTS at The Basement Studio, Lower Greys Ave reviewed by Jan Maree 5 Mar 2013 |
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Cute, witty, sarcastic, energetic and manic Expecting a rhetorical bashing of the current National-led Government I am chilled to learn that the theorising is actually based on the exceptional job the Labour Government of the '80s did of privatising state assets and some of the lofty ways in which said privatisation was delivered to the NZ public. [more] |
 PRO-POSING at The Basement, Lower Greys Ave reviewed by Raewyn Whyte 19 Mar 2010 |
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Dazzling detail The extraordinarily detailed competition routines of bodybuilders, the well-rehearsed interchanges of WWE wrestlers, and the enthusiastic contortions of cheerleaders provide rich sources for Anna Bate’s Pro-Posing, a richly entertaining, thoughtfully considered and rigorously choreographed new dance work created in collaboration with dancers Mariana Rinaldi and Kerryn McMurdo. [more] |
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