New Zealand Archives | Page 2 of 3

A Genre-Bending Pasifika Collaboration -“The Naked Samoans Do Magic”

Posted by David O'Donnell | 29th Apr 2018 | Festivals, New Zealand, Review, Transcultural Collaborations

The Naked Samoans Do Magic Commissioned by the Auckland Arts Festival and co-produced with The...

“Dark Dunedin: Heaven Looks On” Excavating Layers Of The Real And The Imagined

Posted by Hilary Halba | 14th Apr 2018 | Festivals, Immersive Theatre, New Zealand, Review, Transmedia

An audience assembles on the grassy margins of Prospect Park in Ōtepoti/Dunedin, New Zealand, on a...

The Politics of Child Abuse in Searing Māori Theatre: “Bless the Child” by Hone Kouka

Posted by David O'Donnell | 5th Apr 2018 | New Zealand, Review, Theatre and Politics

Bless the Child by Hone Kouka. Co-produced by the New Zealand Festival, Auckland Arts Festival and...

Dunedin’s Arcade Theatre Company And “Fold:” An Absurdist Production For A Post-Truth Era

Posted by Hilary Halba | 15th Mar 2018 | New Zealand, Review, Theatre and Politics

The newest theatre company to emerge from Dunedin, New Zealand’s funky, eclectic arts scene is...

Celebrating Oceanic Voyaging In Spectacular Site-Specific Theatre: “Kupe” And The “Waka Odyssey”

Posted by David O'Donnell | 2nd Mar 2018 | Festivals, New Zealand, Review

Wellington, a portside city famed for its turbulent seas and hurricane-force winds, turned on a...

A Mountain of One’s Own: “Taking the High Ground” by Jan Bolwell

Posted by David O'Donnell | 29th Dec 2017 | LGBTQ Theatre, New Zealand, Review, Theatre and Gender

Since Sir Edmund Hillary and Tenzing Norgay became the first to climb Mount Everest in May 1953,...

Female Desire In Experimental Postdramatic Theatre: “Body Double” Directed By Eleanor Bishop, BATS Theatre, Wellington

Posted by David O'Donnell | 23rd Dec 2017 | Directing, New Zealand, Review, Theatre and Gender

Merriam-Webster has recently named “feminism” as the 2017 “word of the year” and feminist issues...

A Pacific Production Of “The Mountaintop” By Katori Hall

Posted by David O'Donnell | 7th Dec 2017 | New Zealand, Review, Theatre and Politics, United States of America

For the past two years, Samoan playwright Victor Rodger has been tireless in bringing plays by...

“A Doll’s House” at Circa One

Posted by John Smythe | 12th Nov 2017 | New Zealand, Review, Theatre and Gender

POTENTLY RELEVANT Warning: I’m about to give the (well-known) ending away because the play can’t...

Mei-Lin Te Puea Hansen’s “The Mooncake and the Kumara” Explores the Māori-Chinese Cultural Experience

Posted by John Smythe | 1st Aug 2017 | New Zealand

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.

Avignon: Symphonies of Pain Part 2 – Lemi Ponifasio’s “Standing in Time”

Posted by Yana Meerzon | 22nd Jul 2017 | Festivals, New Zealand, Theatre and Gender

Standing in Time. texts by Rasha Abbas. Direction, scenography by Lemi Ponifasio; sound design...

Revisited 27 Years Later, “Weed” Plays as an Astute Critique of Neoliberal Economics

Posted by John Smythe | 18th Jul 2017 | New Zealand, Theatre and Politics

Revisited 27 years later, Weed plays as an astute critique of neo-liberal economics.

Mad, Wilde Party of Midwinter Misrule

Posted by Terry MacTavish | 15th Jul 2017 | New Zealand

Yoicks and tally-ho, what a fabulous, breathtaking ride! The initial fun of this exuberantly, almost ludicrously joyful production is that you feel as if you have arrived at the tail end of a fantastic party: everything topsy-turvy, room a mess, bottles emptied, chaps sleeping it off minus their trousers; but your disappointment is quickly alleviated […]

“Hand to God” at Circa Theatre

Posted by John Smythe | 30th Apr 2017 | New Zealand, Puppetry

If there is such a thing as typical Circa Theatre fare, Hand to God is certainly not it, yet the...

“Peer Gynt” [recycled] by Auckland Theatre Company

Posted by Leigh Sykes | 5th Apr 2017 | Adaptation, New Zealand

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.