 reviewed by Nik Smythe 21 Oct 2007 |
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Toot Toot! There is nothing challenging or surprising here, no clever jokes for the grownups or anything like that. This is Thomas the Tank Engine as we know him, minus much of the endearingly wry quality the television show has. It’s aimed squarely at the kids, but not so much in a condescending way as a getting down on their level sort of way. [more] |
 reviewed by Nik Smythe 20 Oct 2007 |
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Theatre, now; for better or worse Three short plays have been selected – out of 40 submissions, of which nine had public readings – as finalists in the second annual SmackBang PlayRight competition; judged by a panel of leading artisans in the field, and professionally mounted in the geographically challenging Herald Theatre by a dedicated crew of theatricians. [more] |
 reviewed by Lindsay Clark 20 Oct 2007 |
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Polished, excellent contemporary theatre Biographical plays are a fascinating and increasingly popular genre, probing as they do beneath the given circumstances of the famous to let us see the human heart which makes them one of us. The world premiere of this production is a brilliant example of such an opportunity, realised with theatrical flair and artistic integrity. [more] |
 reviewed by John Smythe 20 Oct 2007 |
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Challenging production mostly works a treat Tom Stoppard’s plays are nothing if not playful. They must be performed on a surging tide of ebullience if the intellectual gamesmanship, rich verbiage and ingenious word play is to be kept afloat and buoyant. While this Toi Whakaari: New Zealand Drama School production of Arcadia ... didn’t quite fly on opening night, [more] |
 FOOTNOTE FORTE SEASON 2007 at SKYCITY Theatre reviewed by Felicity Molloy 19 Oct 2007 |
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Dance: a profound release of humanity For a schools company, Footnote is sure stepping out of their box! Footnote Dance Company’s single night performance of Forte, was an opportunity to witness the evolution of Malia Johnstone’s choreographic work and on another group of dancers. [more] |
 reviewed by Laurie Atkinson (The Dominion Post) 18 Oct 2007 |
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Comic flair lights up stage Like old wines and cheeses, Ray Henwood and George Henare get better as they get older especially now that they are closer in age to the curmudgeonly octogenarian odd couple that they play in I’m not Rappaport than they were when they first played the roles 20 years ago at Downstage. [more] |
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reviewed by Melody Nixon (The Lumiere Reader) 17 Oct 2007 |
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Appealing addressing of ‘hide the oldies’ issues The somewhat misleading publicity for this show does nothing to reveal its depth, humour and honesty. Don’t be fooled – this is not a show about two laughing men who are old enough to know better (thought that certainly comes into it). Rather, I’m Not Rappaport is an oft hard-hitting examination of the conflict, cruelty and loss of independence old age brings, interlaced with wit and stirring monologues ... [more] |
 reviewed by Melody Nixon (The Lumiere Reader) 17 Oct 2007 |
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Operatic balls-up Cynthia Fortitude’s first farewell is certainly deserving of a sequel. This mix of operatic comedy, semi-dignified slapstick and love narrative, ceremoniously accompanied by a chamber orchestra ... [more] |
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reviewed by John Smythe 16 Oct 2007 |
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Greater relevance for us now in this revival of a modern classic ... Two nobodies have nothing to do and nowhere to go but spend their days on a bench in an unprepossessing corner of Central Park, beneath a concrete pedestrian overpass, shaded by trees and overlooking a lake, apparently (out where the audience sits). These men do not go gently into the night. Nor to they exactly rage, rage against the dying of the light ... [more] |
 reviewed by Jennifer Shennan (The Dominion Post) 16 Oct 2007 |
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Masterful show of Indian dance This was a stellar performance by Vivek Kinra, well known as a master of the Bharata Natyam art of Indian classical dance. It deals with vast reaches of Hindu mythology, and the oldest narratives and poetry, mostly in Sanskrit. Yet it can express emotional states of characters, in serene bliss or else driven to despair, in as contemporary a reality as you or the person beside you in the audience would recognize. [more] |
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