 reviewed by Nik Smythe 31 May 2013 |
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Embellishing history I’m not sure how contingent the Basement Theatre’s no-risk initiative is in bringing such random works as Nic Sampson’s Ernest Rutherford: Everyone Can Science to the stage. The vibrancy and unapologetic concoction of originality and cliché has a brisk, unusually relaxed air about it such that some analytical pedant might suggest it’s a result of a lack of pecuniary concern. [more] |
 reviewed by Paul Simei-Barton (New Zealand Herald) 31 May 2013 |
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A bold reflection on human depravity Director brings great clarity to Shakespeare's complex drama, with all-male cast filling demanding roles It is never difficult to find contemporary events that point to the relevance of Titus Andronicus, but Shakespeare's reflections on the extremes of human cruelty are given particular poignancy by the recent murder of a young soldier on a London street. [more] |
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reviewed by Sharu Delilkan (TheatreScenes - the Auckland Theatre Blog) 30 May 2013 |
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Side Splitty Stuff I worry about the title of Nic Sampson’s new show Ernest Rutherford: Everyone Can Science! mainly because people might get the wrong impression thinking that it is a boring show about splitting the atom. And although Sampson hails from Gen Y, I suspect a majority of his generation may not even equate Rutherford with splitting the atom, but may have seen him on the 100 Kiwi ‘pound’ note. [more] |
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reviewed by Norelle Scott 30 May 2013 |
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Vital, immediate and provocative The setting is apocalyptic, a dystopian world that in its universality, is both ancient and contemporary. This production owes much to the ‘in yer face’ theatre of Sarah Kane and Mark Ravenhill, but in its ruthless cruelty and its visceral dissection of human nature seen through relentless driving causality of power, lust, greed, duplicity and misguided revenge, it is pure Shakespeare. [more] |
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reviewed by Matt Baker (TheatreScenes - the Auckland Theatre Blog) 30 May 2013 |
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We’re all going to hell Presented as the telling of the Titus myth through the perspective of a pack of post-apocalyptic lost boys, director Ben Henson has once again created a visual feast of a production. Titus Andronicus is one of Shakespeare’s most highly criticised works, written by a young playwright in an attempt to keep up with the bloody writings of his contemporaries, but with time, a suitable setting, a comradely cast, and a highly stylised director, the play can achieve a value that both confronts and combats its criticisms. This is mainly due to the fact that it could not be accepted in the ‘civilised’ Victorian age, whereas on opening night of Fractious Tash’s production, some of the audience laughed as Lavinia was brought in post assault. [more] |
 reviewed by Charlotte Simmonds 30 May 2013 |
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Stand-out ensemble work In 2002 in Potzlow, a German village with not quite 600 inhabitants, the sixteen year old Marinus Schöberl was murdered by three other youths with whom he had spent the evening drinking. Prior to being killed, he had been subjected to beatings and humiliation to which at least three adults had been witness across the course of the night. Although there were several people in the village who knew what had happened to Schöberl, his body was not found and no official investigation was begun until several months had passed. [more] |
 reviewed by Matt Baker 30 May 2013 |
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Mass Appeal The less said about Gravity Hotel, the better. I say this, not in regards to the incredibly high quality of the work, but of its journey, as it is one that simply must be experienced as opposed to explained. Very rarely does an audience remain seated post show in huddled discussion about the events they’ve just witnessed, but such was the case on the opening night of this unparalleled production. [more] |
 SHORT + SWEET DANCE WEEK 1, 2013 at Herald Theatre, Aotea Centre, The Edge reviewed by Dr Linda Ashley 29 May 2013 |
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Serious, savvy, reflective, funny and scary Risk taking, arguably an important feature of new dance works, is present in some of the twelve works more than others. Nevertheless, the thematic range and overall performance quality on display makes for an enjoyable evening of dance that could appeal to many. [more] |
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reviewed by Johnny Givins 29 May 2013 |
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An exceptional piece of theatre which will travel the world Sally Stockwell triumphantly roars into the theatre with a new vision, creative imagination and live music. Gravity Hotel is an extraordinary piece of theatre. It combines the traditions of clown, cabaret, and musical in a surreal landscape of the heart of a woman at peril. [more] |
 reviewed by John Smythe 29 May 2013 |
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Entertainingly insightful and timely revival Nearly 30 years after its premiere, performer Chris Green and director Lindsey Rusling allow Wellington audiences to at last separate the content of the play, Coaltown Blues, from the playwright /performer, Mervyn Thompson, despite its autobiographical roots in his West Coast childhood. [more] |
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