 reviewed by Sharu Delilkan (Theatre Scenes - Auckland Theatre Blog) 25 Sep 2012 |
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Bartered then betrothed The word ‘opera’ conjures images of elitism and grandeur among people who don't frequent the art form. And if you identify with that majority, NBR NZ Opera's version of The Bartered Bride would be a great first opera to see. [more] |
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reviewed by Tarryne Webb 23 Sep 2012 |
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A great production with a stunning cast If you’re new to opera, Smetana’s The Bartered Bride is a great first timer’s show. A light comedy sung in English, the story contains all of the well established favourite operatic themes of hidden identities, forbidden love and a meddling bass. [more] |
 reviewed by Nik Smythe 12 May 2011 |
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Acerbic and insightful depiction of a wholly absurd relationship The Bear is the inaugural production from the fledgling Outbox, a rather inspiring initiative aimed at combining the relative talents and energies of successful veterans and prospective young up-and-comers in the industry. [more] |
 reviewed by Raewyn Whyte (NZ Herald) 8 Dec 2011 |
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Delightfully quirky A delightful quirky miscellany of approaches to contemporary dance comprise The Beaten Track, a collection of seven mostly solo works which branch out into new structures and movement vocabularies and offer seven very different moods and settings for the audience. [more] |
 reviewed by Raewyn Whyte 29 Nov 2012 |
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Watch for developments ahead finally, a second version of Kelly Nash’s downright wacky and somehow utterly absorbing Meme (Skin) which premiered during Tempo’s Prime Cuts programme in October. This has a sound score of montaged, edited excerpts from wildly divergent sources – ranging from Eartha Kitt’s I want to be evil, and Dudley Benson’s Kiwi, to Beethoven’s Moonlight Sonata and No More I love Yous from Annie Lennox. The action swings about unpredictably, with a loose structure of sequential solos interspersed by group interactions. [more] |
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reviewed by Dr Linda Ashley 7 Dec 2011 |
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Light and dark, the familiar and the new, and solos and duets The considered delicacy and incandescent ruminations of Clare Luiten’s re.new.al sets a benchmark of a mature artist’s look at slices of her own life. Similar darkness sets the stage for Mike Holland’s Ooops! Tongue-tied by his costume, the bound, repressed torture is underpinned with touches of dark irony–a delightfully silly twist being tiny touches of underpants’ elastic snapping. It’s worth seeing, but you have to be alert. [more] |
 reviewed by Laurie Atkinson (The Dominion Post) 25 Sep 2006 |
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Birthday girls keep up the beat Their energy and stamina are awe-inspiring as they sing, dance, and joke their way through song after song after song, starting in the 1940s and carrying on right through to the 90s interspersed with jokes, banter and snippets of historical background. [more] |
 THE BECKONING OF HOPE at BATS reviewed by John Smythe 14 Feb 2008 |
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Great sincerity I take it a pun is intended in the title The Beckoning of Hope, given Becky is one of the two women Marjorie McKee plays in her adaptation for solo actor of Michael Burton’s play, It is Not Permitted to Hope (which draws in turn from two memoirs written by Nadezhda Mandelshtam, the widow of the great exiled Russian poet Osip Mandelshtam, entitled Hope Against Hope and Hope Abandoned, about the moral and social degradation of Soviet Russia under Stalin). [more] |
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THE BECKONING OF HOPE at BATS reviewed by Laurie Atkinson (The Dominion Post) 15 Feb 2008 |
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From Russia, a sermon Burton’s The Beckoning of Hope is about literature being the springboard out of the spiritual wilderness of the present just as it was for Nadezhda Mandelstam and her husband, the famous poet Osip who died in Siberia in 1938 after rather naively writing a mildly seditious poem about Stalin. [more] |
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THE BECKONING OF HOPE at BATS reviewed by Lynn Freeman (Capital Times) 20 Feb 2008 |
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Committed performance cannot make flawed play gel The Beckoning of Hope at Bats theatre looks at the life of the wife of exiled Russian Poet Osip Mandelshtam and the Stalin regime. Michael Burton’s play has been adapted for a solo actor by Marjorie McKee, so I’m not sure whether it’s the original concept or the adaptation that’s the problem here. [more] |
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