 reviewed by Deb Meldrum 12 Aug 2010 |
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More humour to be extracted? This play is by the Canadian playwright Morris Panych and was first performed in America and Canada in 2002 with the name Vigil. The British, when they put it on in the West End, changed the name to Auntie & Me. I must admit I prefer the name Vigil as it doesn’t have the connotations of being a giggle a minute British seaside comedy ... [more] |
 reviewed by Kirsty Gillespie 5 Sep 2010 |
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The show goes on: Complementary skills make the most of the format Inspired by a scene concept performed at Scared Scriptless in 2006, Patrick Duffy and Greg Ellis saw the potential to develop the Antiques Road Show theme further, thus creating the fully fledged long format improv show that it is today. [more] |
 reviewed by Val Smith 20 Nov 2010 |
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Re-View Re-flect Re-Member Four out of the five pieces are repertoire and are collectively grand and polished with lush production elements. The fifth, Chris Jannides piece ‘Comp Legs Circa’ is a “tinkered and tampered” upon old and new piece and arguably the most affecting within the context of this ‘celebration’. I’ll come back to this piece at the end of this discussion. [more] |
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OCT - DEC SERIES at Various neighborhood locations reviewed by Val Smith 12 Dec 2011 |
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Understanding Brent's Bundles One thing I love about October and December series is the engagement with inviting and publicity of the events. One email invitation includes an mp3 audio attachment of a short capture of voice; “ok just to aaaaaa, just to come back”. In order to catch what the audio file says I replay it back several times; laughing, as in doing so, I am creating, recreating, an idea of Brent glitching in repetitive loop styles, perhaps dealing with ways of compulsion, self questioning, inadequacy? Perhaps of glitching between spaces of time passing between repetitions. >>?<< A current email invitation lists the end times of episodes as opposed to the start times, introducing ambiguity to beginnings and endings, a common aspect of this work (we wonder are we done yet?) I look forward to seeing how his following of regulars, newcomers, and passers by, deal with this end times invitation. [more] |
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HINE 2012 at Maidment reviewed by Val Smith 16 Mar 2012 |
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Hine 2012 - performance as action, activism and critique Three moments to fall in love with. Tru’s half naked lip-syncing with the policeman puppet upstage and boil- up date with invited guest from the audience happening in the foreground, bahaha, brilliant, wow. Cat’s squatted humping in heels an endurance test with intense statements about the sacred and the mundane. The hair is shooting energy into space like an emergency flare, I’m scared. The electric unplugged fans and ethno-erotic mash-up hip unison duet, a feeling of soft focus lighting and hair flying lulls us. The romance is killing me, god I love this. But the prize for the most-talked-about moment in the show goes to ... [more] |
 reviewed by Val Smith 27 Jun 2012 |
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Brilliance, parody and perplexity The alignment of Anna Bate & Zahra Killeen-Chance for this project sees a development in the local performance community where independent artists are working together in different ways to make possible the production of performance events in a low to no budget condition. .... [more] |
 reviewed by Roxanne de Bruyn 27 May 2011 |
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A fluid, feminine performance The audience is left with the impression of witnessing something which is far above and beyond the everyday world. Like the great oral traditions of the past, Shine Lady gives us insight into nature, the divine and the cycles of the earth, using dance instead to words to do so. [more] |
 reviewed by Roxanne de Bruyn 1 Mar 2012 |
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Final Dress the highlight in NYC season Set in a studio, it is strong, sexy and very dramatic, filled with sharp movements and surprising twists. The costumes are modern, and quick changes, dressing and undressing performers, explore the boundaries of studio and stage, private and public and the passage of time. A distinctly contemporary ballet... it is also the clear favourite of the audience. [more] |
 reviewed by Roxanne de Bruyn 6 Oct 2012 |
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Quirky and lots of fun Terror Island is fun and entertaining. You can just sit back, relax and enjoy it with the performers. It’s a small, intimate and quirky performance, and you feel like you’re part of the dancers’ lives just by being there. [more] |
 reviewed by Jennifer Nikolai 9 Oct 2010 |
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Tepid eulogy falls short of its subject’s brilliance I have to start this review by declaring that I have been obsessed by the work of Pina Bausch for my entire performance career and so I am not unbiased in my approach to Anne Linsel’s Pina Bausch (2006). [more] |
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