 reviewed by Judith Dale (Women’s Studies Association of NZ newsletter) 10 Mar 2007 |
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KM from an AK standpoint? The Case of Katherine Mansfield was written by Cathy Downes to perform herself as a one-woman show initially in Utrecht and London in 1978, then all around New Zealand and in many places elsewhere in over 1,000 performances. I saw it a couple of times in the 80s both here and in London. It's almost entirely a compilation of Mansfield's own words taken from her short stories, journals and letters, and is a fine tribute to a woman who wanted above all “to be a writer, a real writer.” [more] |
 reviewed by Kirsty McGuire 15 Sep 2012 |
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Creating Herstory Despite the fact that I never once felt like I was being taught anything, I walked away from the play knowing significantly more about this remarkable woman. The Case of Katherine Mansfield is a simply wonderful piece of theatre – the kind that makes you believe in theatre. [more] |
 reviewed by John Smythe 23 Oct 2009 |
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Was that the earth moving? There is no doubt the actors about to graduate from Toi Whakaari: New Zealand Drama School are brimming with talent and enthusiasm. In their Go Solo shows they proved themselves as individuals. Now, in The Caucasian Chalk Circle, they shape up as an excellent ensemble: fully integrated and responsive to each other in their collective endeavour. [more] |
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reviewed by Laurie Atkinson (The Dominion Post) 26 Oct 2009 |
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Irreverent take on a German classic In recent years Brecht’s plays have been seen in Germany as boring old classics in much the same way as Bernard Shaw’s plays are seen in the UK and probably here. Christian Penny’s production of The Caucasian Chalk Circle as the Drama School’s Graduation Production 2009 attempts to undermine this perception with an irreverent, knockabout post-modern production ... [more] |
 reviewed by Greg O'Connell 24 Sep 2012 |
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An indispensable and timely work Let’s be clear: The Cave above the Pa is a fictional story. And it is a relevant and constructive one. Those familiar with Paul Maunder’s work will know that this is not a writer who shies away from an uncomfortable examination of issues. In this play, Kiwi Possum Productions brings the history of Greymouth leasehold land out under the stage lights. [more] |
 THE CHAIRS / LES CHAISES at Musgrove Studio, Maidment Theatre reviewed by Nik Smythe 14 Mar 2009 |
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Absurdist classic about the eternally questionable phenomenon of human existence Behind a cover of sheer netting over the entire room, like food being protected from flies, an old quartermaster general (Michael Lawrence) and his dutiful wife (Cristina Ionda) reminisce about their lives and fantasise about what they might have been. The man decides he has a message to share with the world based on the culmination of his own life’s experience ... [more] |
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THE CHAIRS / LES CHAISES at Musgrove Studio, Maidment Theatre reviewed by Janet McAllister (New Zealand Herald) 16 Mar 2009 |
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Be seated for a night of slapstick and hyperbole Amusingly, in a touch I like to think of as deliberate, the programme notes for The Chairs announce that the piece is an example of the Theatre of the "Absurb". Playwright Eugène Ionesco was Romania's equivalent to Samuel Beckett and their work shares a playful style and stark message: we'll never find the meaning to life even if one exists – all we have is each other. [more] |
 reviewed by John Smythe 23 Mar 2011 |
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Random entertainment lacks purpose The glib gag would be that The Chathams is a chat with a couple of hams but they’re better actors than that, even if one does play a pig. The show is, however, an illustrated talk about their trip to the Chatham Islands intercut with some funny sketches. [more] |
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THE CHATHAMS – WE’RE F#!KING SICK OF THE SILENCE at The Basement, Lower Greys Ave reviewed by Craig Wilson 9 Mar 2011 |
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Mixed bag of sketches, slides, narration and song Upon leaving the theatre I was none-the-wiser as to why these remote islands hold any special significance for the show’s creators beyond its seeming to be an interesting place. This contributes to a lack of context within the show that gives it a somewhat awkward feel. [more] |
 reviewed by Kate Ward-Smythe 6 Apr 2009 |
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Engaging relevance in lively new version of classic Stoppard’s version of the play is lively and fluent, yet remains faithful to Chekhov’s original theme: the effect the rapid socio-economic change facing Russia in 1904 had on his countrymen – in particular, the dwindling power of the displaced aristocracy, and the emerging status of the bourgeoisie. [more] |
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