 reviewed by James Wenley 23 Nov 2012 |
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The title tells you all The ‘awkward’ brand of humour is one well known to audiences. Popularised in modern times by the Ricky Gervais School of comedy, it employs cringe, painful pauses, and a whiff of nastiness to sell its humour. Thomas Sainsbury has long done his own successful spin on the genre, and is a great match working for the first time with the Outfit Theatre Company with Director Benjamin Henson for their annual Christmas show. [more] |
 reviewed by John Smythe 22 Nov 2012 |
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More matter, less art? The wide range of venues may well mean the tone of each performance varies but I assume the default mode is, as presented at Old St Pauls last night, one of Victorian theatricality. We are asked to marvel, as the author’s own audiences did, at the performer’s ability to act the part of each and every character with “a different voice, a different style, a different face” (Cambridge Independent Press, 1859). [more] |
 reviewed by Greer Robertson 22 Nov 2012 |
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Polish, panache and joie de vivre Birdbrain was originally premiered in Australia with choreography by Garry Stewart. Based loosely and playfully on Swan Lake, it interweaves multiple forms of dance including gymnastics, yoga, contemporary and breakdance with clipped, concise high octane classical ballet. A relaxed costume of Tshirts, dance pants and bare feet enables the dancers to excel and totally get into it and it is evident that the dancers thoroughly enjoy it as much as I do watching them. [more] |
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reviewed by Kathryn van Beek 22 Nov 2012 |
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Jolly good Christmas romp could be more If you’ve been dreading Christmas with your family this show will reassure you that at least your holiday season is unlikely to be marred by aliens, murder, sexual pottery and hankies in the food. [more] |
 reviewed by Kasey Dewar 21 Nov 2012 |
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Audience captivated by the romance of Giselle Giselle is a ballet of contrasts. From the significant difference in the mood between Act 1 and 2, the light and happy village and the dark, creepy fores, t to the difference in personalities between the characters of Albrecht and Hilarion. The story flows easily throughout the scenes and as usual with the RNZB is easy to follow. The bouts of clapping between scenes and the multiple murmurings of “wow!” after the final curtain drops prove the audience is captivated by the romance of Giselle. [more] |
 reviewed by Paul Maunder 21 Nov 2012 |
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Crucial questions provoked As a professional writer for the mainstream theatre, Parker has been prolific, and for some years many of his scripts went unproduced, or were left at the workshop stage. But he kept on working and I never ceased to admire his tenacity. And now his work is beginning to be produced more frequently. Alleluia. [more] |
 reviewed by Lori Leigh 21 Nov 2012 |
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Energetic and fun, if a bit uneven Part of the fun is the various points-of-view on wishing itself. On opening night, the wishes ranged from heartfelt to absurd. Scenes were created around wishes such as I wish . . . “dinosaurs were friendly and alive”, “the press reported the facts”, and “my cat would stop catching wetas, mice, etc.” [more] |
 reviewed by Reynald Castaneda 21 Nov 2012 |
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Fresh and timely Jo Holsted and Michelle Ang’s winning script on multiple identities in a multicultural metropolis – headlined here by Ang – is a celebration of being ‘the other’ in a city where being ‘normal’ is subjective. [more] |
 reviewed by Lynn Freeman (Capital Times) 21 Nov 2012 |
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Not trapped The frustrations I had with the production were compounded by the knowledge that this overseas production’s run may well fill the St James with people prepared to pay a premium to see it. But having just spent some time revisiting this year’s homegrown theatre productions for the Chapman Tripp Theatre Awards nominations, it’s heartbreaking that so much great work often attracted such small audiences. [more] |
 reviewed by Sharu Delilkan (Theatre Scenes - Auckland Theatre Blog) 19 Nov 2012 |
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Money CAN buy love Be warned that the cast of Love and Money don’t only bear all physically, they bear their souls through this intimate emotional journey. This clever piece of theatre is slickly peppered with cirque-theatre that’s the hallmark of The Dust Palace. [more] |
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