See more recent reviews at theatreview.org, the NZ Performing Arts Review & Directory

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Tempo Dance Festival 2016
MINIATURES: Miniatures: a world, within a world, within a world
Q Theatre Loft, 305 Queen St, Auckland
Director/Designer: Malia Johnston
Composer:    Eden Mulholland
Costumes:    Asho Gevorgyan & Letty MacPhedran
- reviewed by Sarah Knox

This Miniatures has gained some moments of humour but has also held safe the captivating moments of musicality to the dramatic and haunting work of Eden Mulholland. There was something deliciously precious about the original Miniatures that has been replaced by a darker force. Less whimsical, it is grungier, more urgent and a little unsettling at times. It has been honed from a nostalgic sepia to sharp grey scale. The work is rich with Johnston’s signature images: dancers balancing precariously on tiny platforms performing intimate but spellbinding duets; formations and patterns of movement that swell, morph and transform; shaking, quaking and convulsing; tiny details drawn forth seamlessly in amongst duets that transform into solos, trios and group sections of movement.

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Hawkes Bay Arts Festival 2016
HINEPAU: High quality and compelling theatre for the young
Municipal Theatre, Napier
Based on the book by Gavin Bishop, 
published by Scholastic New Zealand 
Directed by Jamie McCaskill 
Originally devised by Rachel House, Jamie McCaskill, Erina Daniels, Stephen Tamarapa and Maria Walker
- reviewed by Jenny Wake

The actors navigate skilfully around the usual pitfalls of establishing in-crowd/outcast dynamics, and each character remains engagingly likeable. I quickly find myself loving Hinepau for her spontaneity and exuberance, yet can see what a complete pain she is to her playmates.

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THE GAPS BETWEEN: Ambitious, complex, impressive blend of sound, sights and story
Circa Two, Wellington
Written by Sebastian Morgan-Lynch 
Additional writing by Tara Lee 
Music composed and performed by Sebastian Morgan-Lynch
- reviewed by Tim Stevenson

But concentrating too much on the composite parts of The Gaps Between misses half the point, which is that the creators fold sounds, sights and words together to form a whole that’s somewhere between story, tone poem and architecture, and has elements of each.

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MADWOMAN/GENTLEWOMAN: Self-portrait, with dolphins
Basement Theatre Studio, Lower Greys Ave, Auckland
Created by Kate Bartlett with directional input and output from Nisha Madhan.
- reviewed by Jesse Quaid

The structure is episodic and the pace hypnotic, riding along the rhythms of Kate’s words, resting in the spaces between pools of light and shaped by moments of punctuated movement. Details emerge from stillness and layer by layer we uncover the portrait of a woman. At times innocent and eerie, with a blunt, particular honesty and engaging charm this is a show that will re-shape your internal world, at least for a moment.

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Tempo Dance Festival 2016
VU: Disturbing, perturbing, challenging
Q Theatre, Rangatira, Auckland
Choreographer: Vivian Aue with VOU Dance (Fiji)
- reviewed by Raewyn Whyte (2)

The performers, Eleni Tabua, Navi Fong, Rusiate Rokilibau, and Tevita Tobeyaweni, are deeply immersed in the rituals they are performing, and there is no doubting their commitment... there is a sense that the work has deep cultural significance for the performers - a significance which onlookers can only guess at.

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Tempo Dance Festival 2016
FABRICATE: Space webbed, shaped, reshaped, refracted
Q Theatre Loft, 305 Queen St, Auckland
Choreographers in collaboration: Caitlin Davey, Lydia Connolly-Hiatt, Cushla Roughan, Rodney Tyrell and Reece Adams
- reviewed by Chloe Klein

The black box Loft is set with balls of string lying against the walls. Each performer arrives into the space one by one, unravelling a ball between hooks in the wall, threading a dense and complex web spanning several square meters. The web quivers and flickers as each performer ducks and contorts to pass through to their next hook. A loud, synth-based soundtrack (written by Caspar Connolly) offers serious but hopeful tones, pulling the work into a contemplative state.

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JESSE GRIFFIN IN CENTAUR: Mirthfully earnest pretension
Basement Theatre, Lower Greys Ave, Auckland
Directed by Jackie Van Beek
- reviewed by Nik Smythe

Apart from the worn old wooden one Jesse Griffen’s latest comic persona ‘Clifton the Artist’ is standing on in a white hospital gown (and nothing else!) with his long hair and beard and hands held out all Jesus-like.

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Tempo Dance Festival 2016
THE KID'S SHOW (2016): Bright stars in the making
Q Theatre, Rangatira, Auckland

- reviewed by Jennifer Nikolai

Performing to an almost full house, close to one hundred children danced “jazz, tap, ballet, hip-hop, contemporary and everything in between” with skill, focus, elloquence and commitment. The dancers and their dances were playful, inventive and beautiful. Much of the choreography was challenging. The performers met the challenge. They performed with precision, with grace, with attitude and generally, they stunned the audience.

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Hawkes Bay Arts Festival 2016
NO HOLDS BARD: Extraordinary, mesmerising, striking
Pacific Crystal Palace Spiegeltent, Hawkes Bay
By Michael Hurst, Natalie Medlock and Dan Musgrove 
Performed by Michael Hurst 
Royale Productions
- reviewed by Karen Beaumont

The standing ovation at the end of this fluent, intense performance sums up what, for tonight’s audience, has been a moving, thought-provoking contemplation of who we are and the tragic flaw that is man; a flaw that in the world of Shakespeare means “Everyone dies at the end.”

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Arts Festival of Dunedin 2016
SHYLOCK: Triumphant conclusion to a truly enriching Festival
Fortune Theatre, Dunedin
By Gareth Armstrong 
Presented by Guy Masterson
- reviewed by Terry MacTavish

Naturally it demands skill and versatility, but Armstrong has passed his mantle to the right actor. Guy Masterson is superb in the role of actor/lecturer. Shylock has become one of the most globally successful solo shows of the last two decades.

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Nelson Arts Festival 2016
SHYLOCK: The only Jews in Shakespeare speak
Theatre Royal, Nelson
By Gareth Armstrong 
Presented by Guy Masterson
- reviewed by Helen Watson-White

The Shylock of Shakespeare's Merchant of Venice, famous in stage history, is only one among 19 named characters, appearing in only five scenes.

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Tempo Dance Festival 2016
INSOLENT RIVER: A TANGO: Abstract and metaphysical, and mundane
Q Theatre, Rangatira, Auckland
Choreography/direction: Michael Parmenter
Set design - John Verryt 
Lighting design - Sean Curham
Original music - David Downes
Photography - John McDermott for Commotion Company 
Producer - Lydia Zanetti for Zanetti Productions
- reviewed by Paul Young

Operatic in scope, and full of allegorical imagery, the work makes us party to an epic journey of discovery as the performers navigate their relationship. Domestic ritual, kneeling penitence, sensual erotica, and joyful exaltation are grist to the mill as the characters are literally tossed around by unseen forces. No matter how helplessly they fall, equilibrium is restored by returning to the embrace. They are stronger together.

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Arts Festival of Dunedin 2016
UNDER MILK WOOD: Everyday reality conjured out of magical fiction
Fortune Theatre, Dunedin
Guy Masterson
- reviewed by Helen Watson-White

Whoever remembers Richard Burton delivering these lines will be grateful to his nephew Guy Masterson for continuing the family tradition.

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Hawkes Bay Arts Festival 2016
LIVE LIVE CINEMA: LITTLE SHOP OF HORRORS: Just this side of bonkers and a huge success
Pacific Crystal Palace Spiegeltent, Hawkes Bay
Created and Composed by Leon Radojkovic 
Directed by Oliver Driver 
Presented by Jumpboard Productions
- reviewed by Barbara Frame

Take a rather dreadful horror-comedy movie from 1960, turn off the soundtrack and get four actors to perform not only the dialogue but a whole range of embellishments. 

It sounds like a recipe for disaster, but in the hands of Live Live Cinema’s director Oliver Driver and his talented, skilful team ...

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Hawkes Bay Arts Festival 2016
LA VIE DANS UNE MARIONETTE: Exhilaratingly funny, sad and heart-warming
Pacific Crystal Palace Spiegeltent, Hawkes Bay
Created and Performed by Jarod Rawiri, Justin Haiu and Tama Jarman 
Presented by White Face Crew
- reviewed by Jenny Wake

From my seat to one side near the front, I can see an audience of well-heeled adults. But there are families, too, and children creep forward for a closer look, nestling in the aisle beside me. As I watch the onstage shenanigans, a huge smile on my face, their laughter punctuates the physical comedy and their absorbed silence deepens the moments of pathos.

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Tempo Dance Festival 2016
OUT OF THE BOX (2015-16): Ever-popular and uber-impressive
Q Theatre, Rangatira, Auckland
Artistic director: Andrew Cesan 
Choreographers/dancers: Andrew and Joshua Cesan, Chevrolet Mikaere, Matthew Moore, 
Taniora Motutere, Leighton Rangi, David Setiawan
- reviewed by Raewyn Whyte

There's lots of fragmentation, fleeting reminders of once dominant styles such as popping and locking, robotics and gliding, and a sprinkle of zombie walks and moves stolen from silent movie capers. There's also an edginess that comes from quick, short phrases tossed about on the spot.

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Tempo Dance Festival 2016
VU: Forcing consideration of uncomfortable truths
Q Theatre, Rangatira, Auckland
Choreographer: Vivian Aue with VOU Dance (Fiji)
- reviewed by Chloe Klein

VU is a transformative art work. A work clothed in stillness that forces uncomfortable truths to be considered. A critique and reflection of social and political issues felt in Fiji by these artists. It is honest and important.

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Hawkes Bay Arts Festival 2016
DON JUAN: A wonderful evening of laughter and fun
Pacific Crystal Palace Spiegeltent, Hawkes Bay
Based on Don Juan by Moliere 
created by A Slightly Isolated Dog 
Directed by Leo Gene Peters
- reviewed by Sonia Mackenzie

This performance, a part of the Harcourts Hawkes Bay Arts Festival, has every person in the Spiegeltent laughing in the first five minutes, having been greeted by friendly, flirtatious actors and actresses handing out scarves for the guests to wear during the performance.

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FIRE ON THE RIVER: Commendable effort
The Pumphouse, Takapuna, Auckland
Written by Graeme John Webber 
Directed by Jacqui Thorpe
- reviewed by Nik Smythe

Graeme John Webber has achieved something only a handful of New Zealanders can lay claim to: writing, composing and producing an original full-scale musical. For this alone he should be quite proud, as must his sizeable cast and crew who span a few generations and degrees of performance experience.

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Hawkes Bay Arts Festival 2016
THE WHITE GUITAR: Incredible story earns respectful ovation
Municipal Theatre, Napier
Written and performed by Fa’amoana John Luafutu, Matthias Luafutu and 
Malo Luafutu (Scribe) 
Directed by Nina Nawalowalo and Jim Moriarty 
With associate director Tom McCrory and script consultant Oscar Kightley 
Presented by The Conch
- reviewed by Kim Buckley

A rich and breath-taking tapestry of life, love, loss and healing. From the moment tonight's performance starts, the energy emanating from the stage is intense. Jim Moriarty and Nina Nawalowalo of The Conch, direct the three Luafutu Men in the telling of their true and extremely personal story, The White Guitar.

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New Zealand Improv Festival 2016
THE CIRCLE OF SOUND AND STORY: Complicity in the desire to risk increases complexity
BATS Theatre, 1 Kent Tce, Wellington
Directed by Linda Calgaro
- reviewed by Patrick Davies

The format is deceptively simple: the group improvises a (usually) wordless piece of music, picking up musical phrases, motifs and rhythmic offers, joining in with them and then beginning to play around with them and around them adding counter melodies and rhythms; a kind of modern wordless madrigal.

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Tempo Dance Festival 2016
HĀKARI: DINNER PARTY: Giving life to stories through their dancing bodies
Q Theatre Loft, Auckland
Co-directed by Jan Bolwell and Annie Ruth
- reviewed by Leah Carrell

A group of women enter, knife fork or spoon in hand and begin a soundscape, a ritualistic grace, inviting the others into the space and the stage swells to an unusual capacity of nearly 40 women. An impressively directed Opening Medley (direction and script by Annie Ruth) introduces us to the women through a script of quick witted one liners, facts, and bold announcements of the women’s names.

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Arts Festival of Dunedin 2016
LIVE LIVE CINEMA: LITTLE SHOP OF HORRORS: Murderously impressive
Kavanagh Auditorium, Kavanagh College, 255A Rattray St, Dunedin
Created and Composed by Leon Radojkovic 
Directed by Oliver Driver 
Presented by Jumpboard Productions
- reviewed by Hannah Molloy

Watching a cast so clearly having fun with each other and with their scripts is always engaging and the audience is very cheerfully letting loose everything from belly laughs to high pitched titters to choking guffaws, along with the occasional scandalised glance at a friend.

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Arts Festival of Dunedin 2016
UNDER MILK WOOD: Capitalises on the gleeful comedy
Fortune Theatre, Dunedin
Guy Masterson
- reviewed by Kimberley Buchan

The line at the Fortune Theatre goes out the door, down the stairs, along the street and around the corner. Everyone is eagerly waiting to see Under Milkwood performed by Guy Masterson. They are not disappointed.

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New Zealand Improv Festival 2016
GRAB BAG: Calm and entertaining riffing
BATS Theatre, 1 Kent Tce, Wellington

- reviewed by Patrick Davies

At the top of the evening we are invited to put our names into the grab bag and, as the evening progresses, names are taken out and those players come onto the stage to perform scenes which are suggested by the MCs or open scenes begun from an ask for. This is a great and risky format because you never know when you’ll be called up and who you are working with.

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THE EMPEROR’S NIGHTINGALE: Energetic, enthusiastic, atmospheric fun
Coasters Theatre, Hinemoa Street, Paraparaumu
by Hans Christian Andersen 
Adapted and Directed by Rhonda Edwards 
Music by Michelle M Scullion
- reviewed by Emily Regtien

Physicality-inspired character names like Lim Ping and Obsequious allow the actors full range to play. Audience participation and interaction, song, dance, puppetry and colourful bright costumes – all the hallmarks of children’s theatre are interweaved.

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New Zealand Improv Festival 2010
KIDDIE TIME!: A fun and loose late-night trip
BATS Theatre, 1 Kent Tce, Wellington
Directed by Cale Bain
- reviewed by Harriet Hughes

“What time is it?!” It’s 11:00pm at BATS Theatre and it’s the home stretch of the New Zealand Improv Festival; players and punters are wired, hyped up on their exhaustion. It’s also Kiddie Time, Cale Bain’s wild and loose children’s theatre for all the adults up past bedtime.

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New Zealand Improv Festival 2016
DEATH COMES TO US ALL: An ingenious premise skilfully developed
BATS Theatre, 1 Kent Tce, Wellington
Directed by Katherine Weaver and Wiremu Tuhiwai
- reviewed by John Smythe

As a black-clad figure – Death (Wiremu Tuhiwai) – waits forebodingly at the door, singer/musician Isaac Thomas sets the titular theme with a suitably portentous lyric. Conversely white-clad Life – Katherine Weaver – sets the scenes by nominating simple starting points.

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Hawkes Bay Arts Festival 2016
SONGS FOR THE FALLEN: Helter-skelter spiral from abandonment
Pacific Crystal Palace Spiegeltent, Hawkes Bay
Written and Performed by Sheridan Harbridge 
Director Shane Anthony 
Musical Director, Composer and Sound Designer Basil Hogios
- reviewed by Karen Beaumont

Harbridge is a consummate performer. Her quick wit, political jibes, and satirical asides help keep this performance alive and relevant, ably supported by Simon Corfield and Garth Holcombe. The trio glide between changes of character, costume and mood seamlessly.

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Arts Festival of Dunedin 2016
BARNIE DUNCAN IN CALYPSO NIGHTS: From bewilderment to dancing via calypso
Playhouse Theatre, Dunedin
presented by THEATRE BEATING
- reviewed by Kimberley Buchan

Juan Vesuvius is very educational for a DJ. He is passionate about sharing with you everything that is important about calypso music, which is mostly sex and politics. Juan Vesuvius is extremely into one of those two things, but even more enthusiastic about his maracas.

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Hawkes Bay Arts Festival 2016
DIDO AND AENEAS: Extraordinary
The Blyth Performing Arts Centre (Iona College), Havelock North
By Henry Purcell 
Directed by Lisa Jane Easter 
Conducted by Jose Aparicio 
Presented by Project Prima Volta
- reviewed by Kim Buckley

Lisa-Jane Easter directs 30 teenagers from diverse backgrounds, all of whom auditioned to be in Project Prima Volta for a twelve month term. Dido and Aeneas, after a four month rehearsal, gives us a small yet extraordinary glimpse into the current voice talent that represents our Hawkes Bay youth from seven Hawkes Bay High Schools.

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Arts Festival of Dunedin 2016
THE WINE PROJECT / IN THE WINE (2015-16): Expanding our minds and pleasure receptors
Athenaeum Building, The Octagon, Dunedin
Choreographer/director: Sacha Copland
Java Dance Theatre
- reviewed by Hannah Molloy

Java Dance Company’s show is a fun, vibrant and very engaging piece of dance-theatre.

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Tempo Dance Festival 2016
SRINGARAM: An exquisite performance full of surprises
Q Theatre Loft, 305 Queen St, Auckland
Choreographer/performer: Swaroopa Unni
Music: Sandeep Pillai
- reviewed by Jennifer Nikolai

Carnatic music (traditional in raga, yet modern in lyrics) and voice –shape a beautifully crafted performance of the solo dance theatre work by Swaroopa Unni. “Sringaram” means love or erotic love. “Nayaki” is a Sanskrit term for heroine, in essence the protagonist, the main character we see unfolding in this delightful piece. In Sringaram – Dance of Love, Swaroopa Unni draws her audience in delicately, powerfully and immediately. She captures us initially with charm and innocence, a portrayal of young love, sweet and playful love. Then in the duration of her compelling performance flowing in unexpected directions, she connects even more deeply with her audience, keeping us intrigued – even surprised.

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THE GRUFFALO: Excellent fun with a valuable message
Opera House, Wellington
Adaptation by Tall Stories Theatre Company 
Olivia Jacobs & Toby Mitchell, artistic directors 
Directed by Olivia Jacobs 
Produced in New Zealand and Australia by CDP Theatre Producers
- reviewed by Jo Hodgson

Not only are we treated to the cleverness of Julia Donaldson's narrative in 3 D action but the interwoven back story through the songs and added dialogue give us a deeper understanding and connection to the characters – humanising them even more.

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Tempo Dance Festival 2016
FRESH 2016: Creative thinking and a strong narrative evident in all five pieces
Q Theatre Loft, Auckland
Choreographers: Joash Fahitua, Bhuvana Venkat, Lauren Byrne & Emma Martin, Ardon England and Xin Ji.
- reviewed by Dione Joseph (2)

This year's FRESH dance showcase does not disappoint. The palette is broad and the risks and innovation taken by the five choreographers.... Sculpted physicality, creative thinking and strong narratives are evident in varying degrees across all works

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New Zealand Improv Festival 2016
THE MUSEUM OF BROKEN RELATIONSHIPS: Hilarious, honest and beautifully crafted
BATS Theatre, 1 Kent Tce, Wellington
Directed by Christine Brooks
- reviewed by Harriet Hughes

Christine Brooks, our MC, tells us that the Museums of Broken Relationships in Croatia and Los Angeles are museums dedicated to failed love. Inspired by the idea that the memory of a relationship can be represented through objects ...

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DOUBLE DERELICTS: Splendid value
Centrepoint, Palmerston North
Choreographed by Justin Haiu 
Directed by Jarod Rawiri 
Produced by White Face Crew & Betsy Mana Productions
- reviewed by John C Ross

The two ‘derelicts’ are, clown-like, seeming-awkward, yet leap over and around that couch, and each other, with precise agility, and plenty of invention. When one character sits down hard on it another bounces quite high.

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New Zealand Improv Festival 2016
...IN BED: Fun, ridiculous and an experimental success
BATS Theatre, 1 Kent Tce, Wellington
Directed by Brendon Bennetts
- reviewed by Ruby Hansen and Adeline Shaddick

Despite some of improvisers meeting only a few days ago, they all manage to come together, work as a team and ultimately make magic happen (in bed). It is a joy to see them so comfortably intimate with one another.

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THE TROJAN WOMEN: Compellingly immediate
Studio 77 Amphitheatre, 77 Fairlie Tce, Wellington
By Euripides’ 
A New Translation by Simon Perris 
Directed by Bronwyn Tweddle 
Presented by THEA301
- reviewed by John Smythe

Many elements resonate with contemporary events and issues, such as the subjugation of women, the plight of dispossessed war-torn refugees, and the sense of entitlement among high-status men and consequent miscarriages of justice. 

There is even a whiff of ‘Trumposity’ when we hear how Paris (son of King Priam and Queen Hekabe) judged a divine beauty contest ...

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Tempo Dance Festival 2016
INSOLENT RIVER: A TANGO: Alternate casting offers subtle interpretive differences
Q Theatre, Rangatira, Auckland
Choreography/direction: Michael Parmenter
Set design - John Verryt 
Lighting design - Sean Curham
Original music - David Downes
Photography - John McDermott for Commotion Company 
Producer - Lydia Zanetti for Zanetti Productions
- reviewed by Raewyn Whyte

A 90 minute work, Insolent River has an episodic structure, with individual sections of varying lengths and changes of music (a sound score composed by David Downes with interpolated tracks) and subtle lighting (by Sean Curham) which keep your interest moving along with the dancers. And even though it is a thirty year old work, with long sections of non-referential movement, the sensitively responsive performances by both casts absolutely hold your attention.

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Tempo Dance Festival 2016
FRESH 2016: Emerging works in a diversity of genres
Q Theatre Loft, Auckland
Choreographers: Joash Fahitua, Bhuvana Venkat, Lauren Byrne & Emma Martin, Ardon England and Xin Ji.
- reviewed by Sarah Knox

Looked In is the gem of the evening, flawlessly performed by Xin Ji, Monique Westerdal and Xiao Chao Wen. Ji has created an intense, slightly humorous, bewildering and clever work based on the idea that “sometimes the person with the loudest mind has the quietest mouth”. The composition of the work is spatially and rhythmically captivating and each section of the piece presents us with a new well explored idea. Verbal diarrhoea ensues and there are too many ‘cooks’ in the conversation. The performances are authentic, understated, complemented by some seamless dancing. More please.

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Tempo Dance Festival 2016
INSOLENT RIVER: A TANGO: Dance work first performed in 1985 has not lost its ability to engage
Q Theatre, Rangatira, Auckland
Choreography/direction: Michael Parmenter
Set design - John Verryt 
Lighting design - Sean Curham
Original music - David Downes
Photography - John McDermott for Commotion Company 
Producer - Lydia Zanetti for Zanetti Productions
- reviewed by Raewyn Whyte (2)

From start to finish, 90 minutes later, performers Josie Archer and Aloalii Tapu utterly held audience attention as they danced their way through Michael Parmenter's Insolent River: a tango which opened Tempo Dance Festival 2016.

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Arts Festival of Dunedin 2016
ON THE CONDITIONS AND POSSIBILITIES OF HILLARY CLINTON TAKING ME AS HER YOUNG LOVER: The real presidential debate
Playhouse Theatre, Dunedin
adapted from the book by Richard Meros 
by Arthur Meek and Geoff Pinfield 
directed by Geoff Pinfield 
Presented by Theatre Beating 
Produced by Show Pony
- reviewed by Kathryn van Beek

Forget Trump. The real presidential debate of 2016 is happening in Hillary’s heart. Should she whisk Meros away to her subterranean love lair to be like a cellphone charger she can plug into every night? One can but hope.

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See more recent reviews at theatreview.org.nz, the NZ Performing Arts Review & Directory

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