 reviewed by Thom Adams 10 Dec 2010 |
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Vividly unusual and brutally beautiful verbal imagery Fun Shy starts out giving you the impression that it’s a witty romp about a group of gay friends who take a homeless street preacher under their wing and liberate his own fabulous sexuality. Then, slowly, and rather gently ... [more] |
 reviewed by Janet McAllister & Paul Simei-Barton (New Zealand Herald) 18 Dec 2010 |
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Auckland theatre’s best of 2010 Auckland theatre punters have been spoiled for choice over the past year. There were heaps of shows (at least 110 professional and semi-professional plays) and overall, they fulfilled two important get-off-the-couch criteria: they were entertaining, and cheap enough to compete with the movies. [more] |
 reviewed by Waka Attewell (TAKE) 27 Jan 2011 |
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A ripping yarn, a page turner Ian Mune is the darling naughty boy of Stage, Movies and TV. He’s bad in that best possible way: he’s bad because he cares. And we love him more for it. [more] |
 reviewed by James McKinnon 14 May 2011 |
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Experimental vision executed with skill and precision in perfect harmony First, this performance deserves to be seen because the creators ... are offering a rare chance to see an important, experimental work from the oeuvre of dramatist Bertolt Brecht and composer Kurt Weill, two of the most influential figures in their respective fields in the 20th century. [more] |
 reviewed by Robbie Ellis 22 Feb 2011 |
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An entertaining wander into the pick’n’mix aisle Tonight’s show was a step above [the raw comedy] concept: seven comedians (including no fewer than three Billy T nominees, past and present) tested material for their upcoming New Zealand International Comedy Festival shows in April and May. [more] |
 reviewed by Robbie Ellis 28 Sep 2011 |
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Sport, politics and media make for a vital piece of theatre The third of BATS Theatre’s rugby-related plays taking place during the Global Oval Ball Sports Tournament, this is another which is only tangentially to do with the sport itself. The Engine Room fuses the physicality, vocabulary, sound worlds and imagery of rugby, protest, politics and the media in a vibrant and provocative way ... [more] |
 reviewed by Robbie Ellis 6 Sep 2012 |
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Story, music, visuals and colour merge to inform, entertain and move The opera is structured as a biopic, tracing the life of Len Lye (1901-1980) from formative childhood experiences to an old age recap: “his life passing in front of his eyes,” as the programme book puts it. Across such a vast time scale, forming a cohesive narrative will always be difficult, but this production succeeds in this regard. [more] |
 reviewed by Lexie Matheson 13 Mar 2011 |
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Artistically and emotionally satisfying Onto this rain-sodden and be-puddled surface skulks Luke Thornborough’s Richard, “deformed, unfinished, sent before his time into this breathing world, scarce half made up” and he proceeds to engulf us in his villainous infamy for the following three hours. [more] |
 reviewed by Lexie Matheson 14 Mar 2011 |
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On critiquing, this show and contemporary dance in general Walter Kerr, reviewing John Van Druten's I am a Camera in 1951, summed up his experience in three memorable words: ‘Me no Leica.’ I am a Camera went on to become Cabaret and a great hit. Reviewers are not always right. I like to think that, had Kerr experienced Girl with a Movie Camera he would have, as I did, Leica’d it a lot! [more] |
 reviewed by Lexie Matheson 17 Apr 2011 |
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Extraordinary achievement an absolute winner 4,320. No, 4,320 is not the meaning of life but the number of seconds it takes to enjoy Polly Hood in Mumuland – and every single second is a gem. This family show is pure magic from stirring start to full-on finale with something in between for everyone. [more] |
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