BATS Theatre
August 23-September 1 | Reviewed by Melody Nixon

BOTH THEATRICALLY and in terms of dialogue this Ronald H. Morrison meets Barry Crump meets Lorae Parry piece is pure gold. Its celebration of local and national kiwi bush lore is worthy of the rugged greats, Crump and Morrison; its exploration of the gendered psyche and emotional repression is a Parry-like step in the right direction to counter the “post-colonial stiff upper lip chest out shoulders back bullshit” (in the words of writer Brian Hotter) that still plagues many an aspect of our culture.

Te Whaea Theatre; Fortune Theatre
Aug 1-5 (Wgtn); 10-Sept 1 (Dun) | Reviewed by Melody Nixon

King Lear is hailed as one of the most tricky and multi-layered of Shakespeare’s magisterial tragedies: producing it requires great sensitivity to the motives and inflections of each of the characters. It can be argued that aside from the consistently evil Edmund each of the characters has very human and contradictory moments of self-doubt, reflection and sorrow. The most striking aspect of this production from The Bacchanals then is the successful interpretation of the characters and of script. Every nuance, aside and satirical comment seems carefully studied and understood. The result is a confident production which veers into creative interpretation at times but generally works to serve the script.

BATS Theatre
August 21-September 1 | Reviewed by Melody Nixon

The Venetian Bride opens beautifully; atmospheric live piano combines with excellently paced entrances. In the interactions of Richard (Robert Tripe) and Alice (Helen Moulder) there is a theatrical sensitivity which suggests deep understanding of space and tone. Unfortunately, this sensitivity does not always last throughout a play rich with powerful, clever storytelling but at times lacking theatrically, without a cohesive rhythm or fluidity and meter in its scene changes. And while the point of the parable-like centre story is a poignant and valuable one, it is not readily conveyed to the audience.

San Francisco Bathhouse
August 16-25 | Reviewed by Helen Sims

THE DIM lighting, bar setting and music evoke a moody kind of sexiness that is the perfect backdrop for a play about 1970s sexual politics. It is obvious that the design team and director have thought carefully about the use of the space on what (I’m told) was an extremely limited budget. The set is the bar mostly, although we are to imagine it at different points as various abodes, an office and finally the side of a lake. To this end simple props and costumes are used to great effect.

Circa Theatre
August 4-September 1 | Reviewed by Melody Nixon

I NEVER thought I’d be of the age to see a production of a particular era and it would lead me to reminisce about childhood. But here I am, a nineties teenager, and here is a show that finally caters to my culturally broad, grunge-loving generation; when P was just a letter and it was still cool to have morals; a generation that has finally moved from present to past.

Downstage Theatre
August 18-September 22 | Reviewed by Melody Nixon

THOSE who’ve been through the wonderful nightmare of raising a child, and subscribe to the refrain that theirs is ‘The Best Baby in the Whole World,’ may find Who Needs Sleep Anyway? a humorous means of getting in touch with some aspects of New Zealand baby culture. While dealing predominately with white middle-class families, and staying very light on social commentary, the show by Roger Hall and his newly-babied daughter Pip is fun and frivolous, and a good chance to see grown men in nappies.

Civic Theatre
August 16 | Reviewed by Sapna Samant

ONE DAY, in the spirit of camaraderie, I agreed to watch Braveheart with my flatmate James Matheison. We argued about racism, colonialism and the legitimacy of a white man’s fight for independence as opposed to us coloured types doing the same while we watched Mel and the mullet. It is an unequal battle. Freedom and democracy are considered to be a white man’s privilege and prerogative. This is a dialogue we often have and I know that James thinks he is losing when he breaks into his wicked Scottish accent. It is his strategy to shut me up through giggling fits. Or hope that I will choke and never ask questions.

Downstage Theatre
July 27-August 4 | Reviewed by Helen Sims

I HAVE TO admit that despite the general praise that has been heaped in its direction (and I have to wonder now how much of this is publicity generated) I came away from Falling In Love Again feeling underwhelmed and unmoved – sort of like I had seen a really upmarket Elvis impersonator. Blame it on my age if you will – all my prior experience with Marlene Dietrich is via still or motion pictures, but I always thought her to be incredibly glamorous, sexy and mysterious. I was really looking forward to learning a bit more. While she hits the glamour on the head, and goes a far way toward being a sex symbol, Jennifer Ward-Lealand just didn’t seem to capture or unravel any of that mystery for me.

BATS Theatre
July 26-August 11 | Reviewed by Melody Nixon

Part of Me, written by IIML (script) graduate Kelly Kilgour and directed by Danny Mulheron, is an interesting show to review. Unusual casting choices, the portrayal of disempowered women, and the unnatural life choices of unnatural characters, make Kilgour’s claim that he’s “not making any statements. It’s impossible to,” a little difficult to swallow. And besides, does art not require a certain level of responsibility from the producer? Often social statements are inherent in art works, or unconsciously laid there by the creator; wouldn’t removing oneself from such statements be risking a lack of critical self-reflection?

The Opera House
August 1-4 | Reviewed by Kate Blackhurst

LIGHTS, music, action! Tonight Matthew, I’m going to be... absolutely fabulous, darling! Knowing very little about him, I didn’t know what to expect from Ennio Marchetto. What I, and a very appreciate audience got was an hour of fast-paced, high-energy performance that left me amused, impressed, and above all, entertained.