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

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PRISCILLA QUEEN OF THE DESERT THE MUSICAL: Sparkling night out with reservations
The Civic - Auckland Live, Auckland
Book by Stephan Elliott and Allan Scott 
Adapted from Elliott's 1994 film The Adventures of Priscilla, Queen of the Desert 
Directed by Simon Phillips 
Choreographed by Ross Coleman 
Produced by Allan Scott in coalition with Back Row Productions, Michael Chugg, Michael Hamlyn and John Frost 
Presented by Lunchbox Theatrical Productions and Nullabor Productions
- reviewed by Dionne Christian

There's a line in Priscilla, Queen of the Desert - one of the less memorable, it must be said - where older transgender character Bernadette tells younger drag queen Adam/Felicia sometimes less is more.

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Tempo Dance Festival 2016
MEREMERE: Potent commentary through words, dance, objects, design and sound
Q Theatre Loft, 305 Queen St, Auckland
Creation/Performance:    Rodney Bell
Direction: Malia Johnston
Music: Eden Mulholland
AV:    Rowan Pierce
Tikanga, Te Reo, Matauranga Maori Dramaturgy: Tui Matira Ranapiri-Ransfield
Dramaturgy: Emma Willis
Set Design: John Verryt
Lighting: Ruby Reihana-Wilson
- reviewed by Jenny Stevenson

At the conclusion of the work he throws a handful of shavings onto the floor in a gesture that resonates far beyond the spoken word. His use of props throughout the work vests the objects with symbolism as the audience becomes privy to their inherent meaning to Bell.

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Tempo Dance Festival 2016
TAUMATA - FOUR NEW WORKS: Demonstrating strength, depth and finesse
Q Theatre, Rangatira, Auckland
Choreographers: Bianca Hyslop, Taane Mete, Sarah Foster-Sproull, and Loughlan Prior
New sound compositions by Rowan Pierce, Paul McLaney, Andrew Foster
- reviewed by Francesca Horsley

Manawa was an arresting solo by Taane Mete that explored the effort required to connect to the life force and triumph over adversity.

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TRIUMPHS AND OTHER ALTERNATIVES: Wonder, comedy, yearning, surprising
Isaac Theatre Royal, Christchurch
Direction and design: Ross McCormack
Sound Design: Jason Wright
Light Design: Natasha James
- reviewed by Erin Harrington

a great deal of wonder and comedy here, but also at times a sense of yearning or sadness.

Character work is strong and sustained throughout. McCormack is a compelling and charismatic performer, slipping ably between precise, dextrous clowning and mime, and easy athleticism. Similarly, the work of Xin Ji and Emily Adams as the often blank-faced but always engaging creations is charged and assured, juxtaposing softness, power and strength. Together they form a tight ‘family’, and their focus and control ensures that the show’s hour-plus running time never lags.

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TENNESSEE RETRO: Endearing humour belies tragic despair
Basement Theatre, Lower Greys Ave, Auckland
4 short plays by Tennessee Williams 
Directed by James Beaumont 
Presented by black doris project
- reviewed by Nik Smythe

Directed by James Beaumont, the excellently-cast cast is a blend of experienced and emerging actors, congruent with the black doris project’s stated objective, along with the aim to work with “great writing …that demands adept craft”: mission accomplished.

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Nelson Arts Festival 2016
HINEPAU: clever mix of comedy, legend, Te Reo Māori and theatre
Theatre Royal, Nelson
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 Trish Sullivan

We witness the story of Hinepau, who saves her village from ruin after having been evicted for being different. Her friends have disowned her and she seeks solace in the forest, making a home amongst the trees with the birds for company. Carrie Green has a beautifully full and rounded voice.

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LUCINDA THE CACTUS GIRL: Yet to fulfil its whimsical potential
Basement Theatre Studio, Lower Greys Ave, Auckland
Devised and performed by Lizzie Morris 
Directed by Freya Boyle
- reviewed by Leigh Sykes

As the show unfolds, it begins to feel like a series of sketches in search of a through line or theme, as I often struggle to find connections between the sections. Perhaps the unifying theme is that the creators find them meaningful and funny, but this is not always the case for me.

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Hawkes Bay Arts Festival 2016
PAPER SHAPER: Heart-warming and heart-winning
Pacific Crystal Palace Spiegeltent, Hawkes Bay
Devised by: Peter Wilson & Tim Denton 
Directed by: Peter Wilson 
Set & Puppet Concept Design: Tim Denton
Produced by Capital E (2007)
Presented by Little Dog Barking (2016)
- reviewed by Jenny Wake

The story is simple and gently told, but there’s a wealth of humorous detail in the visual storytelling as the paper shaper and the visitor discover a shared love of creative play and forge a wonderful friendship.

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Nelson Arts Festival 2016
MISS JEAN BATTEN: Increasingly frenetic
Suter Theatre, Nelson
Written and co-produced by Phil Ormsby 
Directed by Amanda Rees 
Presented by Flaxworks
- reviewed by Gail Tresidder

Ellis as Jean wears flying goggles and jacket episodically – they look great – over a full length white satin dress (her Ginger Rogers get-up). She clambers up and down ladders, the dress tangling around her ankles, surely an accident waiting to happen.

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CENTRAL: Thought-provoking theatre
Circa One, Wellington
By Dave Armstrong 
Directed by Conrad Newport 
Presented by Armstrong Creative & Circa Theatre
- reviewed by Ewen Coleman

Although there are many comic lines and lots of witty repartee, the writing is erudite and often thought-provoking, covering many topics relevant to New Zealand today.

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THE PINK HAMMER: Sparks fly in romp at DIY classroom
The Pumphouse, Takapuna, Auckland
By Michele Amas 
Directed by Janice Finn 
Presented by Tadpole Productions
- reviewed by Paul Simei-Barton

Playwright Michele Amas cleverly engineers a scenario that has an authentic Kiwi bloke blackmailed into providing carpentry lessons for a lively quartet of women who are more interested in socialising than acquiring DIY skills.

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BILLY ELLIOT THE MUSICAL: A story of triumph over adversity
ASB Waterfront Theatre, 138 Halsey St, Wynyard Quarter, Auckland
Book and Lyrics by Lee Hall 
Music by Elton John 
Original production directed by Stephen Daldry 
Auckland Theatre Company production directed by Colin McColl 
Presented by ASB
- reviewed by Raewyn Whyte (2)

It's an intriguing choice; Billy Elliot is a work of social commentary set in mid-1980s Thatcher's Britain, highlighting issues such as rising poverty and unemployment, homelessness, benefit cuts, and a long-running miners' strike.

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PRISCILLA QUEEN OF THE DESERT THE MUSICAL: A story of family with sequins, sensational singing, dancing, music, costumes and glitter lipstick
The Civic - Auckland Live, Auckland
Book by Stephan Elliott and Allan Scott 
Adapted from Elliott's 1994 film The Adventures of Priscilla, Queen of the Desert 
Directed by Simon Phillips 
Choreographed by Ross Coleman 
Produced by Allan Scott in coalition with Back Row Productions, Michael Chugg, Michael Hamlyn and John Frost 
Presented by Lunchbox Theatrical Productions and Nullabor Productions
- reviewed by Kathleen Mantel

It’s like I’ve been dropped in to a huge wonderfully sweet glittering glass of champagne and swirled deliriously around and around for the past 2 and a half hours. In a good way. In a great way. In a fantastic way.

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Tempo Dance Festival 2016
TAUMATA - FOUR NEW WORKS: Four stunning new dances do not disappoint
Q Theatre, Rangatira, Auckland
Choreographers: Bianca Hyslop, Taane Mete, Sarah Foster-Sproull, and Loughlan Prior
New sound compositions by Rowan Pierce, Paul McLaney, Andrew Foster
- reviewed by Sue Cheesman

Sisters of the Black Crow begins powerfully with into a shaft of light. One woman in a black dress (Jahra Rager Wasasala) enters, almost dragging two other women in red dresses (Rose Philpott and Grace Woollett) attached to her ankles as she moves down the diagonal beam. Wasasala has a stunning strong stage presence from the outset, commanding us to watch as she performs a deep wide-legged squat. All three dancers mould and weave arms together to create striking, stunning visual images. Peppered throughout are a range of images from intriguing to more disturbing with several references to death as in throat cutting, strangulation and stabbing.

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BILLY ELLIOT THE MUSICAL: A fantastic opening for their new theatre
ASB Waterfront Theatre, 138 Halsey St, Wynyard Quarter, Auckland
Book and Lyrics by Lee Hall 
Music by Elton John 
Original production directed by Stephen Daldry 
Auckland Theatre Company production directed by Colin McColl 
Presented by ASB
- reviewed by Jack van Beynen

Billy Elliot needs to be a success. It has to justify the millions spent on the flash new theatre, the bold claims that it's going to revitalise Auckland's performing arts scene. It has to draw crowds to come and see the new building, too.

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CENTRAL: Well-matured, vintage Armstrong
Circa One, Wellington
By Dave Armstrong 
Directed by Conrad Newport 
Presented by Armstrong Creative & Circa Theatre
- reviewed by John Smythe

Named for Otago’s wine-making region and set in the clean-lined living area of a flash new dwelling on a vineyard overlooking a lake, Central is at first fresh and light with a touch of spice before revealing a bracing sharpness of insight, a compelling complexity and strong notes that leave a pleasing aftertaste.

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Hawkes Bay Arts Festival 2016
GUJI GUJI: Good lessons learned
Pacific Crystal Palace Spiegeltent, Hawkes Bay
Originally a book by Chih-Yuan Chen 
adapted & directed by Peter Wilson 
Presented by Little Dog Barking Theatre
- reviewed by Sonia Mackenzie

The house is full and the children attending obviously enjoy the story. A lovely backdrop scene with a large sun moving across opens the show to a new day. The sound of music and, later, beautiful whistling enhance the air.

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Nelson Arts Festival 2016
LIVE LIVE CINEMA: LITTLE SHOP OF HORRORS: Most of all it is really, really clever
Theatre Royal, Nelson
Created and Composed by Leon Radojkovic 
Directed by Oliver Driver 
Presented by Jumpboard Productions
- reviewed by Trish Sullivan

With the black and white film projected behind, we experience an amazingly well choreographed, live performance of the entire sound track. Each character’s voice, every squeaking door and even the slurping of soup is created live, right in front of us.

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BILLY ELLIOT THE MUSICAL: Simply superb at every level
ASB Waterfront Theatre, 138 Halsey St, Wynyard Quarter, Auckland
Book and Lyrics by Lee Hall 
Music by Elton John 
Original production directed by Stephen Daldry 
Auckland Theatre Company production directed by Colin McColl 
Presented by ASB
- reviewed by Lexie Matheson

The work has a splendid unity, marrying song, dance and text in a way that enables the audience to travel the intersecting mundane, ideological, philosophical and emotional journeys of the characters without disruption. This is critical with a show that requires young people in their early teens to scale the heights and plumb the depths that Billy Elliot and his chums do.

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Hawkes Bay Arts Festival 2016
NO MORE DANCING IN THE GOOD ROOM: Raw, uplifting power
The Blyth Performing Arts Centre (Iona College), Havelock North
Created by Chris Parker with Jo Randerson
- reviewed by Jenny Wake

I’ve seen some wonderful shows during the Harcourts Hawke’s Bay Arts Festival. No More Dancing in the Good Room is the one that made me cry. 

It seems hardly necessary to mention what the show is about. The title so aptly captures its essence

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Tempo Dance Festival 2016
MEREMERE: Very real connections generously made
Q Theatre Loft, 305 Queen St, Auckland
Creation/Performance:    Rodney Bell
Direction: Malia Johnston
Music: Eden Mulholland
AV:    Rowan Pierce
Tikanga, Te Reo, Matauranga Maori Dramaturgy: Tui Matira Ranapiri-Ransfield
Dramaturgy: Emma Willis
Set Design: John Verryt
Lighting: Ruby Reihana-Wilson
- reviewed by Leah Carrell

Although this is a solo, Rodney is not alone in the space. He dances a duet with his girlfriend -his wheelchair who carried him around for 10 years- but I see that he is dancing with himself, introducing the man who lived through the experiences we later see. The second wheelchair remains in the space throughout; the former self always present. But the chair also remains a symbol of others who Rodney has carried, or have carried Rodney, through his journey. Rodney speaks with a projection of himself, their dialogue is the all too familiar workings of our inner conscious. This conversation is clever, humorous and plays against traditional conventions of theatre performance. Bell summons a collective of people via the projection, his family, his friends. There are familiar figures in there and I know that the dance community is his family. As we get to know more about Bell, I begin to understand him beyond his performative self. It is a remarkable feat that a performer can be s o completely vulnerable that we see all of him, on a deeper level than every talented performer, we see him. An audience member enters the space, dancer Sean MacDonald, and begins a duet with Bell. It is choreographed, but the moment appears spontaneous, entirely natural, as if it could have been anyone in the audience standing to offer a response and because of this my connection with Bell strengthens, as if MacDonald’s movement is speaking my thoughts, as if he was embodying the idea of meeting someone new and instantly becoming friends.

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Hawkes Bay Arts Festival 2016
EDGE OF A RAINDROP: A gentle work with a strong message
Parlour Projects, 306 Eastbourne Street East, Hastings
A collaboration between Pereri King, Puti Lancaster, Marama Beamish, Janis Cheng & Moana Munro
- reviewed by Kim Buckley

Tonight's work is a story which affects every single person living in this area. It is about water. Rain water, river water, drinking water, aquifer water. Hastings was built next to the Makirikiri river which flowed through and around this Hawke's Bay town.

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THE PINK HAMMER: A good night out
The Pumphouse, Takapuna, Auckland
By Michele Amas 
Directed by Janice Finn 
Presented by Tadpole Productions
- reviewed by Bronwyn Elsmore

A cast of four women and one man. There are not many plays about with a balance like that. More’s the pity, especially considering the makeup of the majority of theatre audiences. I’m in!

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Tempo Dance Festival 2016
ALCHEMY (2016): Musings on dance possibilities
Q Theatre, Rangatira, Auckland

- reviewed by Felicity Molloy

Thinking through notions of experimentation is a way of observing contemporary methods in tertiary dance. Freshman’s Dance Crew choreographer Hadleigh Pouesi offers up one of the most exploratory dances of the evening – Whakawehenga. Referring to a Maori legend, that of Ranginui and Papatuenuku, the dance was made through restrained shapes, delicate lifts, subtle storytelling and clever choreographic decision making.

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Nelson Arts Festival 2016
TRIUMPHS AND OTHER ALTERNATIVES: Powerfully unique in its presentation and performance
Theatre Royal, Nelson
Direction and design: Ross McCormack
Sound Design: Jason Wright
Light Design: Natasha James
- reviewed by Janet Whittington

Ross McCormack. The only human relating to the audience, performing with eye contact, gesture, acting and action. The lead and star of the show, he fleshes out a fully rounded whole being, creating a tentative, humorous, and sensitive, man exploring his own emotional state. We laugh, sigh and feel with McCormack as he chooses. He is THE actor and performer around whom pivots the story.

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Nelson Arts Festival 2016
MANIFESTO 2083: From enthusiastic ‘school lesson’ to chilling intensity
Suter Theatre, Nelson
By Christian Lollike, Olaf Højgaard & Tanja Diers 
Directed and produced by Anders Falstie-Jensen
Presented by The Rebel Alliance
- reviewed by Daniel Allan

Despite Wright’s best efforts I am about to start yawning when I detect a shift in the nature of the show. To better understand his subject, Olaf needs to ‘live like Breivik,’ which rings alarm bells if you know anything about method acting.

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Hawkes Bay Arts Festival 2016
OUT OF THE BOX (2015-16): Experimental, energetic and humorous
Iona College, Hawkes Bay
Artistic director: Andrew Cesan 
Choreographers/dancers: Andrew and Joshua Cesan, Chevrolet Mikaere, Matthew Moore, 
Taniora Motutere, Leighton Rangi, David Setiawan
- reviewed by Kim Buckley

Finally, the joy of this work is its freedom. They have followed their own rules. This is their vision. The good-natured humour coming to the audience from these dancers is endearing. There is lots of laughter at the right places. It's fun and every performer gets the opportunity to showcase their own 'move' or 'ability'. The fusion is in parts beautiful, in parts unfinished, in parts perfect. This group is young and as they grow their language together will become even more in tune. They have a groovy exit, a Cuban mix. Game over.

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CALL OF THE SPARROWS: Delightful tale of old world vs new
Herald Theatre, Aotea Centre, Auckland LIVE, Auckland
By Chye-Ling Huang 
Directed by James Roque 
Presented by Proudly Asian Theatre (PAT)
- reviewed by Janet McAllister

Call of the Sparrow's first half is about a lowly outsider grappling with village hierarchy, headed by her hostile new mother-in-law. But after interval, we're introduced to several new characters within a more overt political fable of the risks and potential excesses of revolution.

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CALL OF THE SPARROWS: Reasons to be Proud
Herald Theatre, Aotea Centre, Auckland LIVE, Auckland
By Chye-Ling Huang 
Directed by James Roque 
Presented by Proudly Asian Theatre (PAT)
- reviewed by Nathan Joe

Split into two distinct acts, the first half of the play sets up a conventional – but nonetheless entertaining – hero’s journey featuring underdog Little Sparrow (Amanda Grace Leo), who has recently been arranged to marry the head of a hidden mountaintop village.

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MADWOMAN/GENTLEWOMAN: Burnt Toast
Basement Theatre Studio, Lower Greys Ave, Auckland
Created by Kate Bartlett with directional input and output from Nisha Madhan.
- reviewed by Tim George

The set-up is intriguing — the stage is sparsely decorated with a few pieces of furniture and everyday items (a chair, a desk and a toaster). But there is an uncanny quality to the mise-en-scene which goes beyond the obvious ...

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Nelson Arts Festival 2016
DON JUAN: Fun with a naughty capital ‘F’
The Playhouse Café, Mapua, Nelson
Based on Don Juan by Moliere 
created by A Slightly Isolated Dog 
Directed by Leo Gene Peters
- reviewed by Daniel Allan

The cast are at their most effective in the set-pieces, which range aesthetically between bedroom farce, a street-fighter style computer game and the craft section of Play School.

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Nelson Arts Festival 2016
UNDER MILK WOOD: Effortless, agile, polished and fresh
Theatre Royal, Nelson
Guy Masterson
- reviewed by Ann C Nighy

“We are not wholly bad or good, who live our lives under Milk Wood” – surely words which we can relate to as people living in our own city of Nelson. 

Much of the dialogue Dylan Thomas uses, comforts us, so we settle down to enjoy an evening of the happenings in the village of Llareggub, in Wales.

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Tempo Dance Festival 2016
JOSIE & KOSTA'S DANCE SHOW: Stunningly beautiful movement and clever choreography
Q Theatre, The Vault, Auckland
Josie Archer and Kosta Bogoievski
- reviewed by val smith

GO SEE THIS. What I really appreciated about this work though, moves beyond the delights of watching the stunningly beautiful dancing and clever choreography of Josie and Kosta’s Dance Show. I am left thinking about the artists’ provocations in a discussion after the performance component of the work completes. They offer a challenge to the current contemporary dance scene in New Zealand to reconsider the implications of how we are making work, to reexamine the potentiality of beginning a choreographic process with movement itself.

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CALL OF THE SPARROWS: Admirable blend of classic style and creative flair
Herald Theatre, Aotea Centre, Auckland LIVE, Auckland
By Chye-Ling Huang 
Directed by James Roque 
Presented by Proudly Asian Theatre (PAT)
- reviewed by Nik Smythe

As indicated, the story carries an overarching political theme, addressing the notion of social equality, familial loyalty and most significantly, tradition versus reinvention, or status quo v revolution if you prefer.

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Nelson Arts Festival 2016
SONGS FOR THE FALLEN: Formidable team keeps up incredible pace
Festival Mainstage, Founders Heritage Park, Nelson
Written and Performed by Sheridan Harbridge 
Director Shane Anthony 
Musical Director, Composer and Sound Designer Basil Hogios
- reviewed by Melanie Stewart

This show is hilarious, tragic, chaotic, poignant and infinitely entertaining. Writer and performer Sheridan Harbridge has created a performance that tells the story of Marie Duplessis, a woman who rose from poverty to infamy in the 1840s.

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Hawkes Bay Arts Festival 2016
MAHARA: Wonderful
The Blyth Performing Arts Centre (Iona College), Havelock North
Co-devised, co-directed and performed by Kristyl Neho 
Co-directed by Puti Lancaster
- reviewed by Sonia Mackenzie

Playing seventeen parts, Kristyl has the skills to change her voice and attitude so the audience have no difficulties knowing who is who.She sings well too and I would have liked to hear a little more if that. The Mormon hymn, sung by all the different family members, is a winner.

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Hawkes Bay Arts Festival 2016
TRIUMPHS AND OTHER ALTERNATIVES: The obsession and solitary madness of the creative process
Municipal Theatre, Napier
Direction and design: Ross McCormack
Sound Design: Jason Wright
Light Design: Natasha James
- reviewed by Kim Buckley

What is revealed, I read as the obsession and solitary madness of the creative process. McCormack is alone but surrounded by his artistic evolution. He is in the midst of a creation story. I'm witnessing his ideas come to life as he makes the most of one movement, whether a head tilt, a hand gesture, a reach, a stance, or a lean, I feel every single moment and movement have earned their place in this work.

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Arts Festival of Dunedin 2016
SHYLOCK: Impressive skill, intelligence, humour and sentiment
Fortune Theatre, Dunedin
By Gareth Armstrong 
Presented by Guy Masterson
- reviewed by Janet Whittington

Cradling us all in that winning smile, punctuating with irony and jokes, he talks us through what the original Shakespeare’s Shylock is about. Poking fun at the Bard, actors, audiences and himself, he briefs us on the role of Shylock’s sidekick, Tubal.

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Hawkes Bay Arts Festival 2016
LIVE LIVE CINEMA: LITTLE SHOP OF HORRORS: A treat for all the senses
Pacific Crystal Palace Spiegeltent, Hawkes Bay
Created and Composed by Leon Radojkovic 
Directed by Oliver Driver 
Presented by Jumpboard Productions
- reviewed by Terri Ripeka Crawford

While I am watching this visual feast, I start to question: why this story, in 2016? Original themes emerging from Little Shop of Horrors include race, class, death and environmental issues. Live Live Cinema is, for me, just at the beginning of exploring the deeper issues of this story in the context of Aotearoa.

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Tempo Dance Festival 2016
ALL THAT... (2016): Jazz, soul and energetic fun
Q Theatre, Rangatira, Auckland
Director/choreographer: Kayla Paige.
Choreographers: Rebekkah Schoonbeek, Todd Williamson and Jane Strickland
production: Momentum Productions
- reviewed by Grace Crawford

The lyrical and more moody Biomelecular begins with a stark stage and erratic timing that draws the audience in. The lighting is dark, verging on creepy, and the heartbeat music enhances the instensity of the opening duet. Biomolecular has a more modern essence to it; still distincly jazz in its movements, but also drawing on a range of genres and artistic and musical sources. A highlight is the beautifully flowing contact work in the female duet. The switch between golden warm and stark cold lighting contributes to us being transfixed with the interaction between these two dancers. More dancers enter, and the movements take on a fascinating stylistic weird-ness. As the heavy electronic music increases towards the end of the piece, so does the enthusiastic crowd response.

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

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