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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New Zealand
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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Mei-Lin Te Puea Hansen’s “The Mooncake and the Kumara” Explores the Māori-Chinese Cultural Experience
It captures a time when Māori were increasingly dispossessed of their lands and Chinese immigrants were subjected to appalling discrimination – not least (and I didn’t know this before) by the government.
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Avignon: Symphonies of Pain Part 2 – Lemi Ponifasio’s “Standing in Time”
Standing in Time. texts by Rasha Abbas. Direction, scenography by Lemi Ponifasio; sound design...
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Revisited 27 Years Later, “Weed” Plays as an Astute Critique of Neoliberal Economics
Revisited 27 years later, Weed plays as an astute critique of neo-liberal economics.
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“Hand to God” at Circa Theatre
If there is such a thing as typical Circa Theatre fare, Hand to God is certainly not it, yet the...
Read More![“Peer Gynt” [recycled] by Auckland Theatre Company](https://thetheatretimes.com/wp-content/uploads/2017/03/Gynt_antlers-627x376.jpg)
“Peer Gynt” [recycled] by Auckland Theatre Company
The concepts of the self and the troll are at the heart of this adaptation by Eli Kent, alongside an investigation of the nature of theatre itself. This is a resolutely post-modern, meta-theatrical play that tackles themes that resonate powerfully with the currently very prevalent culture of narcissism and self-interest.
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