And so we’re off again for two weeks packed with 10-minute theatre snippets for “the easily distracted”, as advertised in the pre-publicity. It is great to see that Short+Sweet Theatre as a festival is finally become a regular date in the theatregoing public’s calendar. I’ve been personally going to this festival for the past three years and it has indeed been “taking over Auckland ten minutes at a time”. 

The best thing about Short+Sweet Theatre is that it features such a wide range of writers, directors and actors, and Week One of the festival is definitely no exception. The subject matter tackled by the writers ranged from Malapropism, Game of Thrones, the same sex marriage bill, The Garden of Eden, the afterlife and most prominently, theatre as a genre. On that final note it was actually interesting to see three out of the 11 short plays on opening night providing audiences a voyeuristic view of how theatre is created – this ranged from an audition, a read through and even the transparency of the actual acting process. [More]

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Each year Short + Sweet Theatre produces “hundreds of the best ten minute plays from across the globe produced by some of the most talented local actors and directors”. This evening’s eclectic offerings of week one: Auckland Short + Sweet at the Herald Theatre are a mixed bag of different tasting lollies that you’ll be glad you sampled. Some perfectly sweet, some slightly too sugary for my liking, but all nutritious in way that lollies just shouldn’t be.

There’s an assortment of gems in here and it’s great to see seasoned professionals working cheek by jowl with newcomers. Some of the works have potential to grow and develop into larger works in theatre or other screen/radio mediums. 

I particularly enjoy seven of the eleven, 10-minute theatre pieces. 

Robyn Paterson’s The World’s Worst fight stands out for its clever concept and gender war between Adam and Eve. True audience recognition takes place with this one and it’s very funny.

Walking Shadow by Matthew O’Sullivan is a funny, well-directed script that brings Shakespeare into a modern context. This piece has a lovely knitting together of old and new that brings new meaning to vengeance, and those who have gone before. It could be a one-off TV drama with such a solid concept in the one location.

Staged Madness really mucks about with the form, and I love the meta-theatre of the whole thing: an actress who breaks the fourth wall with a psychiatrist (or is he?) is well placed with an audience who’s expecting experimentation to happen.

Reading Lamouche allows Finnius F. Teppett’s take on theatre stereotypes to sizzle away nicely, while Storming the Castle is a beautifully tempered story with some pearler lines about the nature of obsession between father and son. Funny and disconcerting.

Zooquatic is absurd and bizarre, but hilarious in its observed detail of a relationship between shark and zebra.

The Birthday takes risks with form and company narrative, using a red motif in a black and white scheme, although some details are lost in the execution of its physical humour in this space.

Other works are less solid in performance or direction but they have potential to really develop and fly as audience feedback tempers the amount of energy required to envelop the audience in the Herald theatre. Some need more, some less, but that will become apparent in front of a highly supportive audience.

Cary Pepper’s Irish Stew is a clever wee take on losing facilities with languages and memory, and I imagine will settle as the season continues. It’s witty and moving, giving a voice to an issue so often whitewashed by mainstream media, but so prevalent among our elder population. In watching this piece I realise that Short + Sweet has political power to present the clamouring voices not often afforded expression in modern culture. Another reason to see and hear these disparate offerings within a diverse programme. 

Standout performers that deserve particular mention for their work are Carl Drake, Val Carroll, Phoebe Borwick, Kate Vox, (thirteen year-old) Daniel Sewell and Jeff Szusterman. They are supported by the always-strong lighting design of Michael Craven and of Ruby Reihana-Wilson.

Overall the pieces are highly inventive and a treat to savour in a New Zealand theatre scene that’s not inundated with original work in professional theatres. Short + Sweet offers new voices next to seasoned ones on the Auckland scene. At just over two hours this is a rich evening’s entertainment, and at $25 adults*, $20 concession*, $35 Gala Final it’s a steal. So get along and be inspired. Your palette will be enriched.

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