 reviewed by Karyn Cushen 25 Apr 2010 |
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Tune into the radio show At the helm of The Cryptid Factor is established international comic Rhys Darby and television journalist David Farrier, assisted by their clumsy producer ‘Buttons’, united by their fascination of all things mysterious and tight white trousers. [more] |
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THE CUNNING LITTLE VIXEN at Maidment reviewed by William Dart (New Zealand Herald) 29 Jan 2010 |
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Foxy music from deep in the Czech forest proves stirring Two years ago, Auckland had a tasty sampling of Wellington's alt. opera scene when the capital's NIMBY Opera brought us its production of Good Angel, Bad Angel by New Zealand composer Lyell Cresswell. NIMBY have returned north with Janacek's The Cunning Little Vixen, touring an opera they describe as "a sexy, comic and sometimes revolutionary romp through the Czech countryside, with the irrepressible Vixen Sharp-ears" ... [more] |
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THE CUNNING LITTLE VIXEN at Salvation Army, 92 Vivian St reviewed by Vicki Thorpe 29 Mar 2009 |
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Clever production The Salvation Army Citadel may not be the first place one thinks of as a space for opera in Wellington but with characteristic NIMBY innovation this rather fine building became a little piece of Czechoslovakia for the evening. [more] |
 reviewed by Kate Ward-Smythe 15 Oct 2007 |
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Round and round we go … The subject of political oppression has prompted several Auckland based theatre companies to choose works focusing on (amongst other things) brutal control (One for the Road, The Pillowman). Silo Theatre has chosen Mark Ravenhill’s The Cut, a dark piece set in an undefined bleak society, where most citizens appear broken, neurotic or desperately searching for a better reason to live. [more] |
 reviewed by Barbara Frame (Otago Daily Times) 5 Oct 2009 |
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Low humour but kids had fun The world’s bums are mutinous, plotting to rearrange human anatomy by relocating themselves from their sat-upon position to the prime spot between the shoulders, and forcing heads to move to the lower regions. [more] |
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reviewed by Sharon Matthews 6 Oct 2009 |
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Marred by manic performances and uneven production values The seven performers energetically play a multiplicity of wonderfully exaggerated cartoon-like characters. However, with some, flailing physicality and a character voice created through straining and distorting the throat is exhausting to watch. [more] |
 reviewed by John Smythe 16 Aug 2010 |
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A richly layered work of extraordinary substance Tim Spite is a true theatre artist. He draws inspiration from what in his own life, family, community, country and world prods his inquisitiveness, concerns and passions, then he forms development and production units to create plays that could not happen any other way. [more] |
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reviewed by Laurie Atkinson (The Dominion Post) 16 Aug 2010 |
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The truth? It all depends how you look at it Since its inception in 2000 SEEyD has devised seven invigorating and exciting pieces of theatre. With their latest offering, The December Brother, SEEyD has set itself the challenge of performing three thematically linked short plays, two of which are based on true events, while the third is fictional but with loud echoes reverberating from the first two. [more] |
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reviewed by Lynn Freeman (Capital Times) 18 Aug 2010 |
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Silent murder hard to watch A SEEyD production is always an event. For more than 10 years the company has held true to its belief that theatre should be meaningful and provocative, and that it should take time to be created and harvest the ideas of the cast and crew. The December Brother has all the SEEyD hallmarks, and something more – [more] |
 THE DEEPEST SOUTH WAYEST WILDEST WEST ELECTRIC RODEO AND GRAND OL’ OPRY at Mighty Mighty reviewed by Michael Wray 18 Feb 2010 |
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Comedy of unease without the comedy ... one of the first shows in the new Fringe category WTF? (What the Fringe?). And it’s fair to say that at regular intervals during the show, you think WTF! I wish I could qualify that as WTF-good but, on opening night at least, it was more of a WTF is going on… Has this been rehearsed at all? Was there any directorial control over the content? And did anyone check that the technical components of the show would work at the venue? [more] |
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