Late Show #1

TAPAC Theatre, Western Springs, Auckland

01/10/2009 - 03/10/2009

Tempo Dance Festival 2009

Production Details


The first in the Late Show series opens with three dynamic performances by four stunning veteran performers. Marieke Marygold (ex-RNZB) performs Suite Memories, three charming dances that tell the story of a young, optimistic ballerina. Mary Jane O’Reilly offers her provocative Witch Bitch solo, set to the soundtrack of Leonard Cohen and Phillip Glass. Lyne Pringle and Kilda Northcott put their own slant on two comedy-character sketches by the late Sally Rodwell of Red Mole Theatre in Gonne Strange.

Suite Memories is made up of excerpts from the full-length work From Both Sides Now, first performed during the Lawrence Arts Festival in January 2009 and at the Maidment Theatre in April 2009.

Witch Bitch was first performed at Te Karanga Art Gallery in February 2009 in Ms. M.  "I was inspired to make this solo as I was feeling quite fit, and I wanted to support our daughter Morgana by performing with her at a fundraising performance for her trip overseas. I had also been thinking I might make a dance on myself as I am now…. to re-invent myself as an older dancer. I thought I would challenge myself theatrically rather than physically – and Witch Bitch came to life.  I love both the composers involved in this song and decided to interpret it in a dance/theatre way with a female character that might have a bit of a male side and be found on ‘Boogie Street’.  As I’ve been learning Argentine Tango lately I couldn’t resist also having a bit of fun with the movement vocabulary and leg art of this fascinating social dance form."

Gonne Strange Charity (Bumper Books, 2000) is a collection of monologues devised over a period of many years by the late Sally Rodwell in conjunction with the late Alan Brunton, both of Red Mole Theatre Company fame.  The monologues grew out of three of Sally’s own characters – Rhonda Gonne, Stella Strange and Charity Cartwright. They were first published in 2000 after Sally herself had performed a Fringe show of the Charity Cartwright Monologues at Bats Theatre in the mid-1990s entitled, Charity Cartwright’s Family Disunion.  This version was first performed at Bats Theatre in February 2009 at the Wellington Fringe Festival by the Gonne Strange Charity Co-operative

A washed up/has been dancer, wannabe astronaut/cosmonaut and fancy free.  This is Rhonda’s 2nd foray into public performance and probably not her last…  Rhonda is terribly excited about sharing the stage (next stop outer space) again with the other Rhonda Gonne and the revered practitioners and performers sharing this bill and is looking forward to the challenge that this 3 night season will bring.

One of the stated aims in the Bipeds manifesto – "to keep the romance alive" – is borrowed from Red Mole. Viva Red Mole!!!!

Performance Times:
Thursday, 1 October 2009: 10pm
Friday, 2 October 2009: 10pm
Saturday, 3 October 2009: 10pm
Duration: 60 minutes

100 Motions Rd, Western Springs

Adult $22 DANZ members $17.60
Concession $17.60

Online: TAPAC
Ph: 09 845 0295

Written and Narrated by Marieke Marygold

Dance of the Little Swans
Choreographer:  Marieke Marygold, based on original by Mikhail Fokine
Performer:  Marieke Marygold
Music:  Tchaikovsky

Excerpt from Giselle
Choreographer/Performer:  Marieke Marygold
Music:  Adolphe Adam

The Dying Swan
Choreographer:  Jill George, based on original by Mikhail Fokine
Performer:  Marieke Marygold
Music:  Camille Saint-Saens, cello - Julian Lloyd Webber
Costumes/props:  Marieke Marygold
Music mixing:  Peter Dyer


Choreographer/performer:  MJ O'Reilly
Music:  Philip Glass & Leonard Cohen - 'Boogie Street' from the album Book of Longing 


Written by Sally Rodwell
Choreographer/performers: The Two Rhondas -
Rhonda Gonne a.k.a Lynette Pringle  
Rhonda Gonne a.k.a Kilda Northcott (Bipeds Productions)

Music:  Michelle Scullion
Producer:  Paul Forrest
Set:  Brian King
Duration:  20 minutes

Debauchery, madness and mayhem come easy to mature dancers

Review by Bernadette Rae 05th Oct 2009

There was a definite focus, in the first of the two scheduled Late Show programmes, on the mature dancer. First up was Marieke Marygold with excerpts from her clowned and cutely corny theatrical memoir Suite Memories.

Marygold’s dancing days are definitely behind her, but she still managed a hilarious takeoff of Swan Lake’s famous cygnets’ dance and a rather less successful spoof on the dying swan, attached to an enormous and overstuffed red satin heart with legs. All moderately engaging.

Then there was the return of the madness and mayhem that is Bipeds Productions … [More]
For more production details, click on the title above. Go to Home page to see other Reviews, recent Comments and Forum postings (under Chat Back), and News. 


Make a comment

Viva la mature dancer!

Review by Natalie Dowd 03rd Oct 2009

The #1 Late Show gifts us women dancers who bring a richness and experience to their performance: They’ve been there, done that, and who knows where they’ll go next, but they sure do it in style.

SUITE MEMORIES by Marieke Marigold

In Suite Memories, Marieke Marigold’s youthful voice that is perfect for story telling narrates three excerpts taken from the full length work From Both Sides Now, first performed earlier this year (2009).

The Kiwi tale of love, passion, loss and heartbreak in relationship and dance is brought to life with interchanging props, pieces of costume and Marieke’s highly expressive face as she hams up the greats:  Swan Lake and Giselle.

Along with a suitcase of surprises, we are taken artfully on a satirical journey through mime, gesture, movement and the music of the masters.

The story begins with young burning desire to dance and the stage is set with an array of ballet shoes, perhaps Marieke’s own from her childhood and years in the RNZB. 

Marieke becomes the master of corps de ballet en pointe (but not as we know it) galloping along and eventually dissolving into chaotic frenzy. Fokine’s Dance of the Little Swans set to Tchaikovsky’s music has fallen prey to many a satirist over the years, but this movement epithet is by far the cleverest: hilarious and a definite highlight.

Then it’s all drama and tragedy as the dance of love and love of dance become entangled using a long knitted scarf and a waltz with a large red heart.

And later, judging by the laughter I suspect at least one audience member related to the stuffing down of food in order deal with the rejection, loss, anguish and failure known to woman and dancer. That’s what a modern day Giselle would have done.

And then the final comical attempted resuscitation of the fluffy deflated swan that ‘becomes her’ to the melancholic cello of Saint-Saens, the last flutter of hand a perfect finishing touch.


Whilst "reinventing herself as an older dancer" MJ has used her consummate skills, and artistry to bring a new twist to the chair solo.

Resplendent in black strapless bodice tied with a bow, leggings, and long fingerless gloves to the elbow MJ side steps, head down. Bringing herself piece by piece to sit in the chair, her ciggie and draught of wine leaves us in no doubt that we are dealing with a sophisticate, physically and metaphorically. Very Marlene Dietrich.

‘Boogie St’, by Philip Glass and Leonard Cohen, is from the album Book of Longing and is a great accompaniment to a dance that is full of sensuality, strength and passion expressed through strong extensions and slow sustained dramatic movement and great fluidity.

I laugh with the others at the outstretched flickering fingers ‘…river sand and waterfalls…’ and the passionate moments and perhaps bitter memories of a woman scorned.

I also enjoy the reflection of vulnerability; the whimsical ‘petits battement’ and playful clever use of Argentinian Tango vocabulary that adds dynamic range and interest as she dances with an absent partner.

MJ still cuts a fine figure and has a commanding theatrical presence on stage, carrying off the femme fatale beautifully, right down to the final extension and back arch across the chair as she kisses the air and the lights fade. 

THE RODWELL MONOLOGUES: Gonne Strange by Kilda Northcott and Lynette Pringle

In another scintillating adventure by Biped Productions, Kilda Northcott and Lynette Pringle are both the wacky irreverent Rhonda Gonne, a character from a collection of monologues devised by the late Sally Rodwell.

Kilda and Lynette barely need introduction. Suffice to say, they’ve been around a long time, and ain’t going away soon. Praise be.

Storming the stage again, they stomp in unison arm in arm onto a stage that becomes alive with noise, colour, fun, laughter, song, dance, and flagrant satire. Like two wayward street cats, the two Rhondas with their off-the-wall mixed with cheap-and-slutty dress sense are out on an acidly funny rampage.

It’s a veritable melee of naughty and nothing but nothing is sacred. Everything is up for grabs in the Two Rhondas’ world; even nipples. I wonder how Lynette and Kilda manage with the incredible volume of funny quickfire action, including musical theatre, that just keeps on coming. Their comedic timing is spot on.

This show has outstanding moments galore, is absolutely hilarious and "totally kooky". Favourites: The send up of contemporary moves – "very popular with the young ones..mmm"; Lynette’s hip hop sequence with Kilda crouched and spluttering the backbeat; and the ‘couch choreography’  

Themes are layered and these veteran performers are the queens of send up right to the last arm motif. Personifying the serious fun women are capable of having, they leave as they came, arm in arm, this time singing, and us with them.

Go along arm in arm and revel in it. Viva la mature dancer!!!!!
For more production details, click on the title above. Go to Home page to see other Reviews, recent Comments and Forum postings (under Chat Back), and News.


Make a comment

Wellingon City Council
Aotearoa Gaming Trust
Creative NZ
Auckland City Council