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

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PIRATES VS NINJAS VS THE EVIL VAMPIRE WIZARDS: The pantomime style, pirates and silly fights will certainly appeal to children
Te Pou Theatre, 44a Portage Road, New Lynn, Auckland
Written by Russ King 
Directed by John Goudge
- reviewed by Leigh Sykes

Playwright Russ King calls the show “a love letter to the inane silliness that I grew up with” and tells us that “this play is mainly about having fun”. The crew of the good ship Golden Vanity invite us to join in the fun from the very beginning, as Swabby (Chris Tuifua) seems surprised to find an audience in place and asks us to help him out by making lots of noise to call out Captain Bob.

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DUCK, DEATH AND THE TULIP: Provokes many existential questions
BATS Theatre, The Propeller Stage, 1 Kent Tce, Wellington
Based on the book by Wolf Erlbruch 
Adapted for the stage by – Peter Wilson 
Director: Nina Nawalowalo 
Composer – Gareth Farr 
Little Dog Barking | Wellington, New Zealand
- reviewed by Ashleigh Pope

Duck, Death and the Tulip, Peter Wilson’s stage adaptation of the same-titled children’s book by Wolf Erlbruch, broaches the topic of death with warmth and geniality. 

Directed by Nina Nawalowalo, this adaptation humanises Death by casting him as a character that switches between his human and puppet-form.

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GUJI GUJI: Beautifully and gently told
BATS Theatre, The Propeller Stage, 1 Kent Tce, Wellington
Originally a book by Chih-Yuan Chen 
adapted & directed by Peter Wilson 
Presented by Little Dog Barking Theatre
- reviewed by Jo Hodgson

In a much kinder twist on the Hans Christian Anderson story The Ugly Duckling, Guji Guji is accepted into the duck family without a second thought and Mother Duck proceeds to lovingly teach them all the art of being a duck – swimming, diving, and waddling – before snuggling up for a storytime lullaby, to which my 3 year old calls out loudly that they haven't eaten dinner yet!

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COPS & ROBBERS: Clever ideas with terrific technical support
The Court Theatre, Bernard Street, Addington, Christchurch
By Hamish Parkinson & Daniel Pengelly 
Directed by Dan Bain
- reviewed by Lindsay Clark

We are in a museum after closing time, witnessing the sophisticated security sensor system manifesting as a sensitive doggy presence, but foiled nevertheless by an arch robber, Frederick the Great. He is of course after Jewels and at this stage quite unstoppable.

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TITLED: This work is absolutely necessary for new growth and originality to emerge
BATS Theatre, 1 Kent Tce, Wellington
by Nisha Madhan 
presented by The Town Centre
- reviewed by Chris Jannides

Aleister Crowley, occultist supreme, has a follower in Nisha Madhan in her guise as the high priestess of theatrical cultism and the darker arts and practices of cosmic enlightenment, ritual purification and audience manipulation.

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A TRIAL: The outcome of this civil case has implications for civilisation itself
BATS Theatre, The Dome, 1 Kent Tce, Wellington
DEVISED BY Joel Baxendale, Karin McCracken, Anya Tate-Manning, Jo Randerson and Maria Williams
- reviewed by John Smythe

Set down for five hours over five evenings, this case involves TVNZ’s controversial Kiwimeter survey. The Plantiff, whose counsel is Mr Beckensdael, claims the unnamed Defendant, represented by Miss Rizmackon, defamed them by claiming their survey was racist and designed to serve the Government’s agenda. In essence, a blogger’s freedom of speech is being challenged by a corporation’s right to maintain its reputation for unimpeachable integrity.

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NOW 2016: New works by four female choreographers
Q Theatre Loft, 305 Queen St, Auckland
Choreographers: Julia Harvie (Christchurch), Sarah Knox (Auckland), Lucy Marinkovich (Wellington) and Jessie McCall (Auckland)
- reviewed by Jenny Stevenson

The five hard-working Footnote dancers - Jeremy Beck, Brydie Colquhoun, Emma Dellabarca, Jared Hemopo and Lana Phillips - dance up a storm, with four of them performing in every work. They slip into their multiple costume-changes in semi-darkness at the side of the wing-less stage, hardly pausing between the four works to catch their breath before diving into the next round. Their energy is palpable, their dancing accomplished and their enthusiasm for honouring each choreographer’s vision is unbounded.

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NOW 2016: Luscious and lively
Q Theatre Loft, 305 Queen St, Auckland
Choreographers: Julia Harvie (Christchurch), Sarah Knox (Auckland), Lucy Marinkovich (Wellington) and Jessie McCall (Auckland)
- reviewed by Bernadette Rae

The thought-provoking Disarming Dissent, by Sarah Knox, opens under a dramatic wash of camouflage lighting that instantly sets a war-like mood, courtesy of lighting designer Alex Fisher.

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THE COMEDY OF ERRORS: Fast-paced comedy also has a more sombre side
Globe Theatre, 104 London St, Dunedin
By William Shakespeare 
Directed by Ellie Swann
- reviewed by Barbara Frame

Where there are two pairs of twins, each set with identical names, but the presence of either half unsuspected by the other, there’s bound to be trouble. Confusions and misunderstandings pile up and multiply in a way that’s perfectly comprehensible to the audience, but not to the characters, almost all of whom eventually become certain that almost all of the other people on the stage are completely mad.

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THE COMEDY OF ERRORS: Exciting and humorous action made memorable
Globe Theatre, 104 London St, Dunedin
By William Shakespeare 
Directed by Ellie Swann
- reviewed by Terry MacTavish

We must accept that two pairs of identical twins with the same outfits and the same names, Antipholus for the master and Dromio for his comic sidekick servant, have been separated at birth by a favourite device, the shipwreck, to fetch up in the same place years later, causing predictable mayhem.

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KIWIMAN AND ROBIN: A lively show to stimulate play
Gryphon Theatre, 21 Ghuznee Street, Wellington
Written by Jessica Hammond 
Directed by Julie O'Brien 
Presented by Backyard Theatre
- reviewed by John Smythe

In their white picket-fenced back yard, “bird nerds” Robin and her brother Tui discover their tree contains a nest in which a rare Black Robin has laid three eggs. ... The action revolves around the need to protect the eggs, especially from the cunning and conniving Aussie interloper Possum.

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IMPROV FOR KIDS 2016: Impressive flow of creativity
Circa Two, Wellington
Presented by The Improvisors
- reviewed by Jo Hodgson

A quick audience warm up of a group-inspired scene with alien and moon sound effects and some zero gravity moves gets the ball rolling and we're off on a hilarious romp through a clever selection of improv games.

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SHU'S SONG: Entrancing
Hannah Playhouse, Wellington
Created by Laura Gaudin, Rachel Callinan & Gina Moss 
Presented by Capital E National Theatre for Children
- reviewed by John Smythe

Silently performed by Gaudin, Shu is a vaguely clown-like innocent given to exploring spaces and objects, discovering anything but their true purpose and imaginatively liberating them into new experiences. In this case the environment being explored is a home office (which is probably off-limits to small children who have them in their homes).

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THE (KIWI) GINGERBREAD MAN: Splendidly engaging
Tararua Tramping Club, 4 Moncrieff St, Mt Victoria, Wellington
Written by Guy Langford 
Directed by Patrick Davies 
presented by KidzStuff Theatre for Children Inc
- reviewed by John Smythe

As the Gingerbread Man runs, climbs, jumps, sneaks and trusts as fast or as much as he can to avoid Ngaire and Glendas’ clutches, he encounters: Kiri the Kiwi ... Pete the Aussie Possum ... a Weta and Taika the Tuatara ...

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THE LIGHTHOUSE KEEPERS LUNCH: A very satisfying theatrical experience for everyone
The Pumphouse, Takapuna - return season, Auckland
Based on the books written by Ronda and David Armitage 
Adapted and directed by Tim Bray 
with an original song by Christine White 
Incidental music by NICK GARRETT
TIM BRAY PRODUCTIONS
- reviewed by Leigh Sykes

Tim Bray productions is celebrating twenty-five years of producing theatre for children, by bringing back some favourite shows from their repertoire. The gala performance begins with a costume parade and ends with a raffle, some heartfelt speeches and a chance to mingle with the cast and crew. In between, we have a show that hits the mark with all sections of the audience.

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THE DUNSTAN CREEK SÉANCE: Tension and apprehension ratcheted up with skill and conviction
The Forge at The Court Theatre, Christchurch
Written by, and featuring, Lizzie Tollemache and David Ladderman 
Directed by Daniel Pengelly
- reviewed by Lindsay Clark

The second première production in a week, both from New Zealand writers, confirms The Court's commitment to supporting local talent. As with Carl Nixon's Matthew, Mark, Luke and Joanne, playing on the main stage, this polished piece of spookery is set to return the favour with excellent houses.

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OCCUPY: THE ROAD TO JOY: Textured, rich, nuanced, enthralling
Te Pou Theatre, 44a Portage Road, New Lynn, Auckland
By Andrew Parker 
Directed by Rachael Longshaw-Park and Andrew Parker
Presented by Don’t Blink Theatre Company in association with Te Pou
- reviewed by Lexie Matheson

Part Two, also an hour long, is as unlike Part One as can possibly be imagined. Rather than have the twelve strong cast all onstage most of the time, we slide effortlessly from outdoors in the city square into a series of powerful two-handers within the confines of the Mayor’s office. We are told she can see the occupation in the Civic Square from her office window ...

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NOW 2016: Flirting with risk
Q Theatre Loft, 305 Queen St, Auckland
Choreographers: Julia Harvie (Christchurch), Sarah Knox (Auckland), Lucy Marinkovich (Wellington) and Jessie McCall (Auckland)
- reviewed by Paul Young

The cleverness of Elephant Skin is the multi-layered possibilities implied by the objects and the temptation to project onto or interpret them. The mise en scene seems to have a life of its own, the kinetic possibilities being unpredictable at best and prone to failure, necessitating a practical presence and focus from the dancers which the other works cannot approach. The objects enter such territory as biological rhythms, anthropomorphism, fetish and kinetic sculpture. This work also relies on the reactions of the audience, the tension of anticipation, the awkwardness, embarrassment and naughtiness of bodily functions addressed in public.

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RANGITAHUA... THE STOPPING OFF PLACE: An effortless absorbing of history through artistic symbiosis
The Academy Galleries, Queen's Wharf, Wellington
Created by Company of Giants in conjunction with Whangarei Art Museum 
Directed by Laurel Devenie and Ash Holwell 
Music Design: Hayley Douglas
- reviewed by John Smythe

Described as ‘a live installation experience’ and directed by Laurel Devenie with a multi-generational cast headed by Kelly Johnson and Jan Fisher, RANGITAHUA: The Stopping off Place is a dramatic response to elements of the Kermadec: Discoveries and Connections exhibition currently at the Academy Galleries at the entrance to Queens Wharf.

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YOU CAN ALWAYS HAND THEM BACK: Generation Gap
SKY CITY Theatre, Auckland
By Roger Hall 
Composer: Peter Skellern 
Directed by Janice Finn 
Musical Director: Jason Te Mete 
Auckland Theatre Company
- reviewed by Nathan Joe

The experience of watching a play clearly not designed for you can be an alienating experience. You Can Always Hand Them Back is unapologetic in this regard, directly addressing the intended audience right from the get go: “Are any of you grandparents? Of course you are or you wouldn’t be here!”

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WHITE/OTHER: White Noise
Basement Theatre, Lower Greys Ave, Auckland
Created and Performed by Alice Canton 
Directed by Holly Chappell and Thomas Eason
- reviewed by Nathan Joe

The relationship between artist and audience is a constant negotiation, and especially delicate when dealing with race. How do you challenge without offending or educate without condescending? Alice handles this well, never resorting to cheap laughs or uncomfortable audience participation, but there’s also rarely any real sense of threat or surprise. The result feels overly cautious and diplomatic at times.

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FABRICATE: Lightweight Material
Basement Theatre Studio, Lower Greys Ave, Auckland
Choreographers in collaboration: Caitlin Davey, Lydia Connolly-Hiatt, Cushla Roughan, Rodney Tyrell, and Reece Adams.
Producer: Chloe Baynes
- reviewed by Matt Baker

As recent graduates, Reece Adams, Lydia Connolly-Hiatt, Caitlin Davey, Cushla Roughan, and Rodney Tyrell have the right collective purpose in presenting an original and self-choreographed dance show, however, the result is more of a self-devised showcase of skill rather than the emergence of a new generation of dancers and the identity of their work.

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INSITU: Breaking down traditional boundaries between performers and audience
Hagley Open Stage, Christchurch
Naressa Gamble and Fleur de Thier
- reviewed by Ian Lochhead

With light fading from dusk to darkness, we move to a tight courtyard where disability ramps, railings and a narrow doorway frame a duet for two women, breaking out from the confined space of the door to make use of the rails as the piece develops. The potential for these ubiquitous safety devices for performance purposes is further developed in the next piece for the whole group, centred around the experience of waiting to enter a building, and culminating in an arch of bodies framing a dramatic arrival.

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WOMEN WITH SWORDS: The eventual payoff borders on adequate
The Pumphouse Amphitheatre, Auckland
Written and Directed by Geoff Allen 
Presented by Galatea Theatre
- reviewed by Nik Smythe

Essentially the plot is simple enough: Left to defend their home in the face of imminent invasion by a crusading army, the women conspire and squabble to unravel cryptic clues planted by the late Count, purporting to lead to a cache of hidden treasure. Ostensibly conspiring to work together to find it, much conniving, bitterness and spiteful recrimination ensues.

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

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