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BOADICEA at Monte Cristo Room
reviewed by Kate Ward-Smythe 2 Apr 2007
Urgent reassessment needed
... Armed with this wealth of historical material, where the central character has the allure and power of Cleopatra, combined with the will and motivation of Scotland’s William Wallace, the dramatic result could have been incredible. [more]

Capital E National Arts Festival
BOATS at Capital E
reviewed by John Smythe 16 Mar 2011
Ordinary objects ingeniously used
Pitched at ages 4 to 10, according to the brochure, Boats has both adventure and romance, playing as it does with the male sailor’s age-old emotional conflict between his love of the sea and love of a woman. [more]

Auckland Fringe 09
BOB GELDOF – LIVE at The Basement, Lower Greys Ave
reviewed by Kate Ward-Smythe 2 Mar 2009
A bit of grit and honest bite
Bob Geldof – Live features 25 minutes of direct poetry and tales written and read by established New Zealand actress Danielle Cormack and accompanied by Jonny Brugh on guitar. [more]

TEMPO Dance Festival 2011
BODY FIGHT TIME at Q, 305 Queen St
reviewed by Jenny Stevenson 8 Oct 2011
A work of substance, posing questions and engaging the mind
Malia Johnston and her co-director Emma Willis have constructed the scenarios for maximum visual impact, using designer John Verryt’s versatile set and projected imagery created by Rowan Pierce – together with the innovative lighting design of Brad Gledhill. The result is that many of the depictions become imprinted on the brain - serving as reference points for other sections of the work. [more]

BODY LANGUAGE - SEEK DANCE CREW at BATS
reviewed by Lyne Pringle 19 Jun 2012
Pushing hip hop boundaries
Seek began as a women’s crew and many of the original performers are still present. Their performance and dancing has grown enormously and they bring a gutsy presence to the stage. One section that has them dancing on their own is particularly memorable. The male and female energies blend well and Godinet has an ability to get the best from these dancers with intricate arm gestures, tight footwork and speedy shifts in the group structures. Along with this is a great use of rhythm, dynamic changes, counterpoint and unison. [more]

BOLLOCKS at The Basement, Lower Greys Ave
reviewed by Candice Lewis 5 Aug 2009
Brilliant script convincingly played
Lee Hall’s Bollocks handles more than sentiment when it comes to these sensitive sacs ... Right from the opening scene I am struck by the humour that pervades what sounds like a recipe for a miserable night. This dark and beautiful narrative reveals our own fragility, desires, and frustrations. [more]

NZ International Comedy Festival 2012
BOMBS AWAY! A MUSICAL at BATS
reviewed by John Smythe 2 May 2012
Excellent creative talents yet to reach their potential
Have we had a TV reality show about a bomb squad yet? If this trio of squaddies had been followed, their exploits would have either been quietly shelved or become the subject of multiple official enquiries. [more]

NZ International Comedy Festival 2012
BOMBS AWAY! A MUSICAL at BATS
reviewed by Ewen Coleman (The Dominion Post) 3 May 2012
Highly inventive and original
First up is Bombs Away! A Musical, a highly inventive and original Kiwi musical written by Nic Sampson, Ryan Richards, Barnaby Frederic and Joseph Moore who also wrote the music. [more]

NZ International Comedy Festival 2012
BOMBS AWAY! A MUSICAL at Q Theatre Loft, 305 Queen St
reviewed by Nik Smythe 16 May 2012
Goodies-grade silly
I’m always drawn to comedy festival shows that strive to offer something more than simple standup. Sure, I love a good raconteur like anyone, but in the middle of a three-week binge on them it’s a refreshing point of difference to see something more theatrical. [more]

NZ International Comedy Festival 2012
BOMBS AWAY! A MUSICAL at Q Theatre Loft, 305 Queen St
reviewed by Sharu Delilkan (Theatre Scenes - Auckland Theatre Blog) 16 May 2012
Who you [not] gonna call?
There is no secret that ‘there will be bombs’ in the brand new comedy-musical Bombs Away!. The hilarious script written by Nic Sampson, Ryan Richards and Barnaby Fredric, complemented by a full-length musical score from Joseph Moore, can only be described as absurd, uplifting, full of life and the height of silliness. [more]
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