 reviewed by John Smythe 7 Dec 2011 |
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Juicy stuff in the main course Kan explains that his super-religious primary schooling with its ever-present threat of hellfire and damnation is the root-cause of his having to question Christmas and indeed Christianity itself. Revisiting the basic teachings gets us attuned to considering Luke’s Gospel account of the Nativity from a fresh perspective. [more] |
 RAYBON KAN IN RAYBON WITHOUT A CAUSE at Foxglove Queens Wharf Ballroom, 33 Queens Wharf reviewed by Sam Purchas 8 May 2013 |
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Raybon Without Applause From the back of the two-thirds full Foxglove Ballroom Raybon Kan introduces himself to the waiting mature audience and receives a cheering applause. It is the best response he receives for the rest of the show. [more] |
 RAYBON KAN IS COMPLETELY UNCALLED FOR at Downstage Theatre reviewed by Maryanne Cathro 17 May 2012 |
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Saved by genuine intelligence and warmth It was a dark and chilly night as a few brave souls huddled together in Downstage to witness Raybon Kan be Completely Uncalled For. And indeed most of his humour is just that. Wherein lies its appeal. [more] |
 RAYBON KAN: AWESOME $ECRETS OF WINNING THRU £AZINESS* at Polson Higgs Comedy Club, XII Below Bar reviewed by Kate Morris 18 Mar 2011 |
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A close-to perfect pre-dinner show Raybon Kan is an immediately likeable performer and the fact that he is actually funny too, proves why he is one of New Zealand’s leading lights of the comedy circuit. [more] |
 RAYBON KAN: THE DISCOMFORT ZONE (NZ) at The Elliot Stables, 39 Elliot St, City reviewed by Nik Smythe 7 May 2010 |
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Precocious verbal dissection He claims to own us, being his audience, and feels a connection to the crowd given that to be able to afford to go out in Auckland city we must be loaded, like him; Raybon wears his well-off yuppie ego on his smartly tailored sleeve. [more] |
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RAYBON KAN: THE DISCOMFORT ZONE (NZ) at The Garden Club, 13b Dixon Street reviewed by Phoebe Smith 12 May 2010 |
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Politics, observational comedy, cheap gags and smut Raybon Kan is an old hand at stand up, and though he seems slightly tired on opening night, he maintains complete confidence in the face of an oddly reticent audience. [more] |
 reviewed by Jonathan W. Marshall 27 Mar 2013 |
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Hysterically amusing performed critiques The performance thus becomes bookended with two other items. The document thus becomes a score for the new piece. Again, this has interesting resonances for the history of performance art, since many early historic works looked at the relation between a set of instructions (“Duck whistle in a bowl of water for as long as breath holds --- but not past 5 minutes 25 seconds,” John Cage; versus the “performance” of that score (in the example given, does one blow hard, soft, a melody, could one maybe even exchange a duck whistle for a kazoo and still perform “this” composition?). Yellow Men’s take on the score is at least as playful as the predecessors they reference. [more] |
 reviewed by Stephen Austin 18 Aug 2011 |
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Characters well realised Neil LaBute’s writing always puts me in mind of a younger fresher David Mamet, taking everyday conversations of urbane well-read blue-collar types and snatches of overheard everyday dialogue and imbuing them with huge significance and piquancy while keeping them as truly intimate as they might have been when first discovered. [more] |
 reviewed by Terry MacTavish 15 Apr 2012 |
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Always absorbing, at times electrifying; seriously impressive "People who weep before my pictures are having the same religious experience I had when I painted them," said the famous abstract-expressionist artist, Mark Rothko. Is it then blasphemy to use such art as mere decor in a restaurant where only the privileged will eat? [more] |
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reviewed by Barbara Frame (Otago Daily Times) 16 Apr 2012 |
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Superb portrayal of Rothko and assistant As full-length plays go, Red is quite short. It requires two actors, and uncomplicated set, and some paint. So why does it seem such an audacious undertaking? Because of John Logan's brilliant, Tony award-winning script, because of its towering themes – art, creativity, permanence, the sublime – and because of the demands it makes of its director, its actors and its audience. [more] |
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