Influential British DJ and artist Mr. Scruff, real name Andy Carthy, plays at WOMAD in New Plymouth on March 16-18. BRANNAVAN GNANALINGAM talks to him about his love of music, tea, and where that name actually comes from.

Wellington Zoo
Feb 25-Mar 4 (Sundays) | Reviewed by Diane Spodarek

An Elephant Never Forgets was commissioned by the Wellington Zoo for its 100th birthday. The play is performed in the former elephant house. It was hard to believe elephants were housed in such a structure. But this is why it is a ‘former’ elephant house. The Wellington Zoo is working on change, making the environment more habitable and humane for the animals. Janie Walker has written a play that reflects this sentiment, giving a selected group of zoo animals a voice to tell their own story.

Fringe Festival 2007, BATS Theatre
February 23-26 | Reviewed by Helen Sims

THE LOOPEN EXPERIMENT, a collective from Christchurch, use dance, chanting and physical theatre in their movement-based Fringe show Fleet. The show seems to be taking us on a journey, presenting fleeting experiences and encounters of this journey, presumably as a metaphor for life experience. I say seems because at the end of this piece I was unenlightened as to what it was exactly that the group was trying to present.

The peculiarities of Finish, Swedish and Norwegian video art make up Sweet Punch: Recent Nordic Art, a new exhibition at The Film Archive curating the recent explosion of moving image practice in the Nordic region. MARK AMERY goes along.

Fringe Festival 2007, BATS Theatre
February 21-25 | Reviewed by Helen Sims

Brain Power is the second play written by Dean Hewison, and it also marks his first foray into directing for theatre. It is based on an interesting and original concept – the personification and investigation of the feelings and concepts that control our actions. This is interpreted quite literally – each character seeks to have a turn at manning the control room, and thus directing the actions of the vessel – in this case a man called Michael Sanderson, who we glimpse several times in the play lying in what appears to be a coma in hospital as his thoughts and feelings battle it out in his brain. Their motivations behind their desire to gain control are examined. It is revealed early on that the Concept of Cleanliness has been murdered, and the rest of the play is devoted to untangling the mystery of whodunit culminating in the “biggest trial of conscience ever.”

Bodega
January 24 | Reviewed by Simon Sweetman

I HAVE SEEN Paul Ubana Jones play live many times, and every time it remains a mystery to me why he is not more famous; more revered. And yet, to watch him do his thing, ply his trade, live his life, fight his battle, in front of a crowd of new converts and old fans, is to realize that he is – in many ways – as famous as he needs to be. Every time that he plays he wins a new fan (at least one) and re-impresses several old ones. It has been two years since I last saw Ubana do his thing; but I never tire of it; nor, of course, does the man himself. He plays his range of self-penned songs – and his amazing covers – and he manages to conjure spells, summon moods, ascertain directions and guide listeners towards antecedents (everything from Muddy Waters to Roy Harper, Jimi Hendrix to Nick Drake). And seeing him now, after a noticeable gap, there’s the bonus of enjoying several strong new songs as well as the familiar favourites.

HELEN SIMS talks to Wellington thesp Helen Moulder, currently appearing as Sister Aloysius in John Patrick Shanley’s Pulitzer Prize winning play Doubt at Circa Theatre until March 10.

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They willingly share recipes for vegetarian paella, top five all time favourite Celtic players and ingredients in a top mixtape, have a knack for artfully arranged photographs and inspire devotional fandom. Comparisons to Belle and Sebastian come thick and fast when Glasgow’s Camera Obscura are mentioned. It’s an easy reference point: Stuart Murdoch, godfather of all that is indie, twee and Scottish, produced early track “Eighties Fan” for the sextet, and until recently the band had its own mirror image of Stuart and Isobel’s fragile lead dynamic in Tracyanne and John Henderson’s twisted take on the boy/girl dichotomy. But leaving their penchant for B&S-style chamber pop aside, this is a band who can jump from Leonard Cohen to the Beach Boys to the Pastels, who can trade in shimmering Field Mice sonic chimes; reference 60’s girl pop heartbreak and leave you dizzy. It’s been ten years since Camera Obscura formed in Gavin’s parent’s basement, and in that time they’ve released three stunning albums, played John Peel’s birthday party, put Robbie Burns’ poetry to song and generally charmed anyone with a heart who’s heard them. In March we’re lucky enough to play host to Camera Obscura and their delicately warped take on heartbreak for two dates: on the 7th they’re playing The San Francisco Bathhouse, Wellington, and on the 9th at the Kings Arms, Auckland. It’s a long way from Scotland to New Zealand and they are absolutely not to be missed, so bring your favourite cardigan and wear your heart on your sleeve. Tickets are $35 and available from Real Groovy (Auckland) and Slowboat Records (Wellington).

For a taste of Camera Obscura’s saccharine sweet sound, read BRANNAVAN GNANALINGAM’s interview with lead vocalist Tracyanne Campbell...[here]

Fringe Festival 2007, BATS Theatre
February 18-22 | Reviewed by Diane Spodarek

Imagining Reality begins with a film of a woman taking a pee in a toilet. As we watch her, we are collective voyeurs. She never acknowledges us with her eyes but lets us know she knows we are there with her graffiti writing on the toilet wall: “I can’t believe you are watching this.” We are caught. But safe. We are, after all, the audience. We have come to watch.

Fringe Festival 2007, BATS Theatre
February 14-17 | Reviewed by Helen Sims

PERFORMING a solo show is a daunting task for any actor. Performing one which you wrote, and dealing with the expectations of an audience who saw your successful and highly acclaimed two person show in last year’s Fringe (The Cottage), only makes the enterprise more formidable. Kate Fitzroy rises to the challenge in I.A., proving again that she is one of Wellington’s most underutilised actors and a talented developing comedic writer. I.A. is a very different piece of work than The Cottage, however both are darkly humorous explorations of a serious theme.

Te Papa recently broke the seal on their vaults, giving life to their extensive – but long concealed – collection of New Zealand art. MARK AMERY reviews Toi Te Papa: Art of the Nation.

Soundings Theatre, Te Papa
February 7 | Reviewed by Mark Dryburgh

THE CONCERT was held in the Soundings theatre at Te Papa. This is a modern construction with large acoustic panels and discrete amplification. With a reserved introduction from a Chamber Music NZ representative, the audience appeared witness to something like a corporate political exchange. My desire for personal cultural exploration remained. Encompass is a new initiative from CMNZ to present quality non-western music; it’s a huge iceberg to be at the tip of.

The saccharine sweet vocals of Tracyanne Campbell soothe the soul on Camera Obscura’s latest album, Let’s Get Out of This Country, with the Glasgow indie-pop six-piece bringing their sublime melodies to New Zealand in early March. BRANNAVAN GNANALINGAM talks to Campbell as Camera Obscura currently tour the US.

By Marina Lewycka
Penguin, NZ$37 | Reviewed by Amy Brown

FROM THE author of best-selling A Short History of Tractors in Ukrainian comes another tale of Ukrainians finding their way in Britain. Lewycka’s debut novel, narrated by a 47 year-old, British-Ukrainian woman, whose octogenarian father marries a voluptuous, Ukrainian gold-digger, was praised for its charm and hilarity. The characterisation and dialogue was fresh and original, the plot swift and the structure wisely straight-forward. These ingredients made for a highly successful first book – a hard act to follow, without appearing to repeat the formula. Lewycka seems aware of this and has perhaps over-compensated in Two Caravans, juggling five points of view, two fonts and three font sizes. This is a great leap from the safe territory of A Short History of Tractors in Ukrainian.

Circa Theatre
Feb 10-Mar 10 | Reviewed by Helen Sims

THE DIRECTOR’S NOTE in the programme explaining the parabolic nature of Doubt is unnecessary to understand that this is a play that operates on several levels – on one level it is the story of a Catholic nun’s zealous quest to prove (even in the absence of objective proof) that a Priest who teaches at the school she is Principal of is having an “improper relationship” with the school’s first black student. This story is set in Brooklyn in 1964. This story has no clear resolution. On another level it is a parable (reinforced by Shanley’s slightly unnecessary addition to the title of the play when it was published) about the current climate of political and moral uncertainty in the Western world post 9/11. This story is set now, and resolution also doesn’t appear to be in sight.

Fringe Festival 2007, Good Luck Bar
February 12-21 | Reviewed by Helen Sims

A GUY (Ryan O’Kane) saunters into a bar. He eyes up the audience then takes a seat on a stool at a leaner. On this leaner is a bottle of vodka, several shot glasses and a glass of wine. Several members of the audience continue their conversations – surely this can’t be the beginning of the play? A girl (Jodie Hillock) walks rather more purposefully into the bar and takes a seat opposite the guy. She giggles then begins to laugh out loud. The aforementioned members of the audience appear confused – has the play started now? Where is the first line? It is soon delivered – “A man walks into a bar...”

Dust off your Final Fantasy VII costumes and bring your metronome! The Vector Wellington Orchestra will be switching their instruments for gaming controllers this month as they accompany the Video Games Live concert on Saturday February 24, at the TSB Arena. Alongside the Chapman Tripp Opera Chorus, they are performing songs and theme music previously heard only in video games, synch’ed to giant-screen montages of gaming footage. Add lights, lasers (of course!), live-action theatrics, and interactive segments, and the show promises a marriage of spectacles the Associated Press called “bizarre yet beautiful”. The 8- and 16-bit Nintendo junky will enjoy a strong showing (Mario, Zelda), but Sega, Konami, Midway and others get in there too, and the more modern fare (Halo, Metal Gear Solid, Myst) will have to compete with the ‘special retro Classic Arcade Medley’, including the mirthful tones of Frogger and the cossack dance of Tetris, along with Gauntlet, Space Invaders and more. Even the redoubtable Pong makes an appearance, in what may well be a challenge for the orchestra to pull off without driving anyone crazy. The Lumière Reader will report on a dazzling night never before seen in Australasia – a unique blend of niche cultures, brought together by impressive technologies, and designed to provide something for all tastes and ages. Tickets $65, 3 for $165, available through Ticketek. More details at videogameslive.com.—Joe Sheppard

Fringe Festival 2007, BATS Theatre
February 10-14 | Reviewed by Helen Sims

I WAS extremely reluctant to go to Hot Pink Bits on Sunday night. A mix of tiredness and general grumpiness did not put me in the mood for a show marketed as “brilliant ... hilarious ... horny”. I would much rather have been at home watching You Choose 40 on C4 in my PJs. By the time I had spent just over an hour with Mistress Pink (aka comedian Penny Ashton) my woes were gone and my funny bone had been rather naughtily tickled. I also had an overwhelming desire to dye my hair red and don a corset.

Fringe Festival 2007
Feb 9-March 4 | Reviewed by Justin Gregory

Hotel is the first show by the new theatre collective, site-specific.co.nz, an impressive new company committed to “taking the theatre out of the theatre... creating challenging, provocative and risky works”. Whilst there is nothing necessarily challenging, provocative or risky about Hotel, the fact of its location (Room 217 of the Museum Hotel, in a performance viewed by only twelve people at a time) does provide it with an intimacy and impact that simply couldn’t have happened inside a theatre, giving the audience a unique experience.

San Francisco Bathhouse
February 11 | Reviewed by Brannavan Gnanalingam

IN PRIMARY SCHOOL, a friend of mine’s cousin (who was the Gaelic harp champion) played to us, and ever since then I’d been in love with the harp. I’d always wanted to play it, there’s something so delicate, so beautiful, so expressive about it. And last night confirmed the amazing sound of the harp, Joanna Newsom was something else – it was one of the best live performances I’ve ever seen. She had the capacity audience entirely in the palm of her hand, I’ve never seen the Bathhouse so silent and so rapt.

Fringe Festival 2007, BATS Theatre
February 7-11 | Reviewed by Diane Spodarek

ANGIE FARROW opens The Bowler Hat with Rene Magritte’s funeral, taking the artistic and surrealist license to create his death for the audience. Magritte is there naked on top of the coffin, or is he? His clothes, the ones that appear in many of his paintings – a dark suit, white shirt and bowler hat – are also missing. A priest in regal archbishop garb enters carrying a radio in a Joseph Cornell-type box and presides over the proceedings while Magritte’s wife and others, talk amongst themselves, in particular about Catholicism and nakedness. From here, the space and time move in and out of reality and dreaminess from a staged dance production to a carrot-chomping detective trying to find the killer of a drowned woman, or is that woman Magritte’s mother? And is Magritte also a suspect? And, the beat goes on. Magritte appears in his own play, reading his lines; and, just when we didn’t know what would happen next, it becomes clear, or not, but that is not the writer’s intention, or is it?

Fringe Festival 2007
February 7-24 | Reviewed by Diane Spodarek

‘THE PLAY’s the thing’ and the thing this summer is James Hadley’s new play, Lovers of Central Park. It is literally a stroll in the park, where the elements have a part to play along with over twenty actors, six directors and the unexpected: stray dogs, smart-mouthed kids, birds, traffic, wind, sun and changing light from bright to twilight in this two-hour production.

Helen Sims picks the best theatre at Fringe 2007:

» The Bowler Hat, by Angie Farrow, the writer of “After Kafka”. Based on her previous works this should be dark and surreal, but humourous enough for most to enjoy.

» Deliver Us, by Paul Rothwell features a highly talented cast in a play by one of Wellington’s edgiest new writers.

» Life As Antigone, a classic play and based on the originality of “Delicates”, this should be an interesting interpretation.

Also worth checking out: Brain Power, Scratch ‘n’ Fly, I.A., A Man Walks Into a Bar. Full programme details at fringe.co.nz

Camp Wainui
Feb 3-5 | Reviewed by Brannavan Gnanalingam

MOST PEOPLE would not go to a music concert without knowing who’s playing. I guess it’s a tribute to Blink’s standing in the local music scene that he was able to assemble a brilliant collection of New Zealand music, and then convince a few hundred people to go camping out in Wainuiomata. No publicity, no advertising, no expectations, but it turned out to be a pretty amazing event – and for those who went, an event they can say they were to first to be at.

Acme Records
2003, NZ$34.99 | Reviewed by Alexander Bisley

“Analysing humour is like dissecting a frog. Few people are interested, and the frog dies,” said the American author EB White. Ross Noble’s upcoming Wellington gig Fizzy Logic (St James, Feb 10, 8pm) is indispensable, as is Unrealtime. More proof the Geordie comic is (probably) the best British stand-up since Eddie Izzard, Unrealtime documents a performance from London’s Garrick Theatre. It doesn’t have all the magic of the live performance; you’re not as intimately part of the giddy improvised shards of audience interaction, such as a white boy in the front row extravagantly waving his hands like a rapper, around which Noble ingeniously constructs his shows.