 reviewed by Kristian Larsen (Yelling Mouth) 4 May 2009 |
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Impressionistic reverie In my (predictably) forthright opinion this show is a technical, theatrical, collaborative, and personal breakthrough for choreographer Maria Dabrowska. [more] |
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CARNIVAL HOUND at Middleton Grange School Performing Arts Centre reviewed by Lindsay Clark 15 Oct 2011 |
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Intellect and emotions challenged with athleticism and conviction ‘Crossover theatre’ was the term which took me there and cross over one must, beyond the conventional language of the stage and into territory both dark and illuminating. [more] |
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reviewed by Greer Robertson 4 Nov 2011 |
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Contemporary dance/theatre at its best Possession, adulation, annihilation, it's all there as choreographer/ performer Maria Dabrowska displays a rendition of "her mothers' childhood stories of those who have had their lives irrevocably changed by war." [more] |
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CARNIVAL HOUND at Theatre Royal reviewed by Janet Whittington 28 Oct 2012 |
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Loss, struggle and conflict lightened by wit and humour Symbolism and motivation aside, it is the movement of the dancers I have come here to see. Dabrowska has a refreshingly individual dance style. The development of the piece is different to other dances I have seen. I feel myself connecting with the three performers as the tension between them encourages first tentative then direct eye contact, with long pauses between connections between the three. Their movements with the chairs and amongst one other are heightened in drama by the punctuation of stillness after each set of moves, with an effect similar to that which you experience when a magician constantly seeks applause throughout the knifing of his poor assistant – not what I normally expect in dance. [more] |
 reviewed by Sian Robertson 16 Jun 2009 |
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Deadly life meets living death Nev (Phil Ormsby) is on his way to his daughter’s wedding when the ghost of his dead wife Carol (Alex Ellis) shows up. Carol’s been dead for 20 years and, judging by his reaction, it’s not an everyday occurrence for her to materialise before him. [more] |
 reviewed by Nik Smythe 13 Jul 2008 |
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A solid classic Brick is a troubled young ex-sports hero who drinks, and has broken his leg recently in a drunken hurdling escapade. Maggie, his estranged yet determined and devoted wife, never stops trying to break through Brick’s impenetrable wall. Brick’s father, known to all as Big Daddy, who’s turning sixty five this night, is not in the best of health to say the least ... [more] |
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reviewed by Paul Simei-Barton (New Zealand Herald) 14 Jul 2008 |
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‘Cat’ a hot production half a century on from Broadway debut Fifty-three years after the Broadway premiere of Cat on a Hot Tin Roof, Auckland Theatre Company's revival of the American classic eloquently affirms that Tennessee Williams still matters. [more] |
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reviewed by Renee Liang (The Lumiere Reader) 16 Jul 2008 |
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Competent rather than stunning In this revival of the classic play by Tennessee Williams, the action is transposed from a 1950’s Mississippi river estate to a modern day “hotel”, complete with designer furniture (promoted in the programme!), plastic walls and obeisant hotel staff. The reasons for this staging decision are never entirely justified, and I found myself confused as to which era this play was set - the dialogue and themes seeming to refer more to the original 1950’s while the set and soundtrack suggested a contemporary setting. [more] |
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Dunedin Fringe 2012 CATCH ALL at Globe Theatre reviewed by Hannah Molloy 21 Mar 2012 |
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Stretching the rules with crowd participation The third dance, Fragmentality, was easily the most beautiful. Anna Noonan and Aliza Yair were graceful and methodical. It felt like an experimentation of dance, testing the strength of a ‘choreographic phase’, to see how the body will react and evolve a series of movements with changing parameters. The care and serenity with which Anna Noonan holds her body to form the movements is inspiring and Aliza Yair will be a drawcard for future performances. [more] |
 reviewed by Laurie Atkinson (The Dominion Post) 23 May 2008 |
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And still Cats keeps falling on its feet In 1981 Sheridan Morley reviewing the first Cats prophesied that it would doubtless have more than nine lives in more than nine cities. As we know this anthropomorphic dance-through mega-revusical, which has earned in excess of three billion dollars world-wide at the box-office, has had hundreds of lives in hundreds of cities and will have many many more. But why? [more] |
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