“Re-Storying the Southside”: A Polynesian “Midsummer Night’s Dream”
Dream The Black Friars Theatre Company, Mangere Arts Centre, Auckland, 18-21 September 2019 Where...
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New Zealand
“Skin Tight” Stays Tense
Irish theatre company Restless Ecstasy’s production of New Zealand modern classic Skin Tight retains its tension in Dublin showing.
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Riddled With Vivid Snapshots of The Human Condition: “Waiting for Godot” in New Zealand
Vladimir and Estragon, who nickname each other Didi and Gogo, languish nowhere in particular and...
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A Triumph Of Performative Experimentation: BATS Theatre, Wellington Celebrates 30 Years
As New Zealand has lost two of its longest-running professional theatres in the last seven years,...
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Tribute to Author Celebrates the Life of The Imagination: “I Am Not Margaret Mahy”
I am not Margaret Mahy by Jane Waddell, based on Notes of a Bag Lady by Margaret Mahy, BATS...
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New Play Examines Shakespeare’s Gender Politics: Sarah Delahunty’s “This Long Winter”
Despite being dead for 400 years and having lived and worked on the far side of Planet Earth,...
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One Story, Two Languages: Sign And Spoken Language Share The Theatre Stage
Would you go and see a bilingual or multilingual show if you only spoke one of the languages...
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Through A New Zealander’s Eyes: The Subjunctive World, Notes From Venice Beach
After a thirteen-hour flight from Auckland, New Zealand, I am in Jim Morrison country–or so I...
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Welcome To The Murder House
In Welcome to the Murder House, Alfred’s story is told, in the popular vaudeville style of the day, by a group of prison inmates. For them, Southwick is a hero, given their shared belief that execution by electrocution will be more humane than hanging. And, as with the development of all high quality theatre, it takes a lot of trial and error to get it right.
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“Still Life With Chickens:” New Samoan Play Confronts Loneliness Through Comedy
Samoan playwright David Fa’auliuli Mamea’s Still Life With Chickens won the 2017 Adam Award for...
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Dreams And Reality: Fortune Theatre, Dunedin, New Zealand Closes
The mid-morning phone call I receive from a colleague brings bad news. The Fortune Theatre–the...
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A Genre-Bending Pasifika Collaboration -“The Naked Samoans Do Magic”
The Naked Samoans Do Magic Commissioned by the Auckland Arts Festival and co-produced with The...
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“Dark Dunedin: Heaven Looks On” Excavating Layers Of The Real And The Imagined
An audience assembles on the grassy margins of Prospect Park in Ōtepoti/Dunedin, New Zealand, on a...
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The Politics of Child Abuse in Searing Māori Theatre: “Bless the Child” by Hone Kouka
Bless the Child by Hone Kouka. Co-produced by the New Zealand Festival, Auckland Arts Festival and...
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Dunedin’s Arcade Theatre Company And “Fold:” An Absurdist Production For A Post-Truth Era
The newest theatre company to emerge from Dunedin, New Zealand’s funky, eclectic arts scene is...
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Celebrating Oceanic Voyaging In Spectacular Site-Specific Theatre: “Kupe” And The “Waka Odyssey”
Wellington, a portside city famed for its turbulent seas and hurricane-force winds, turned on a...
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A Mountain of One’s Own: “Taking the High Ground” by Jan Bolwell
Since Sir Edmund Hillary and Tenzing Norgay became the first to climb Mount Everest in May 1953,...
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Female Desire In Experimental Postdramatic Theatre: “Body Double” Directed By Eleanor Bishop, BATS Theatre, Wellington
Merriam-Webster has recently named “feminism” as the 2017 “word of the year” and feminist issues...
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A Pacific Production Of “The Mountaintop” By Katori Hall
For the past two years, Samoan playwright Victor Rodger has been tireless in bringing plays by...
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“A Doll’s House” at Circa One
POTENTLY RELEVANT Warning: I’m about to give the (well-known) ending away because the play can’t...
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