tag:blogger.com,1999:blog-29277382018000024852024-03-14T04:02:37.739+13:00Wellington ReviewsWellington Reviewshttp://www.blogger.com/profile/13560677247862952825noreply@blogger.comBlogger349125tag:blogger.com,1999:blog-2927738201800002485.post-59517108877961404162024-03-07T22:08:00.001+13:002024-03-07T22:08:51.936+13:00Leave to Enter<p>Two/fiftyseven, once you find it*, is potentially the nicest venue for Fringe this year. It's a coworking office with a cafe (bar for shows) and performance space overlooking the old central library. It's spacious. light, quiet and clean (don't get me started on the floors in the Fringe bar), plus it's not at the busy end of town. All of this added to a much more relaxed atmosphere for Leave to Enter. </p><p>There's an audiovisual element that is nicely done so it doesn't distract or detract from the commentary. The great venue means the microphone and brief music aren't at an ear piercing level either. All around this might be an easier show for people with sensory issues to attend.</p><p>The basic premise of the show is you need "leave" or permission to enter a country which Nick Robertson was denied when he attempted to visit Scotland in 2017. What follows at a high level must have actually been really anxiety inducing; flying long distance is bad enough but being detained is worse. However, apart from a wee panic when he might miss a flight, I didn't experience any of the stress from the situation - which considering it's traumatic, says a lot about Nick's talent for comedic delivery.</p><p>Interspersed with the travel story we learn more about Nick, his life and his family. He's relatable, an everyday, potentially nerdy kind of guy who seems to have been overlooked apart from this one unfortunate incident. His comedy however hasn't been overlooked; this show has won awards and a fellow red headed Australian comedian has only great things to say about him (check out his press release). Many cliches apply here: "one to watch"; "destined for great things"; and "don't judge a book by its cover", this is "not to be missed".</p><p><b>Performances</b>: 7-9 March 7pm</p><p><b><a href="https://fringe.co.nz/show/leave-to-enter#:~:text='Leave%20To%20Enter'%20is%20packed,comedy%20make%20their%20NZ%20debut!">Tickets</a></b>: $25</p><p>*thank you to the Fringe team for instructions with the tickets</p>Wellington Reviewshttp://www.blogger.com/profile/13560677247862952825noreply@blogger.com0tag:blogger.com,1999:blog-2927738201800002485.post-89078864974327720502024-03-01T20:33:00.003+13:002024-03-01T20:33:50.200+13:00The Unluckiest Magician<p>My first thought when Steve Wilbury walked on stage was "he looks like a magician - he should be wearing a top hat." Sadly, the top hat never appeared, which is a huge shame as it would suit him.</p><p>It felt like the show couldn't decide what it wanted to be. Was it stand up comedy? Was it a magic show? Was it personal story telling? All the parts were good individually, but somehow didn't meld together well. Perhaps if they had been tied back to the title it may have worked but each part seemed to stretch too long. Unfortunately when you aren't invested in the magic tricks you're able to peek behind the curtain, ruining the illusion...at least some of the time, there were other times when he truly amazed the audience.</p><p>The level of personal disclosure is high and may be too intense for some. It would have been amusing if this were treated like a lesson, with a pointer indicating each injured part of the body.</p><p>Be warned there is audience participation, always a risk with comedy and doubly so with a magician, a couple of people were even pulled on stage. Throughout there was a comfortable banter with the crowd and a real stage presence from the magician, who is honestly pretty lucky to have lived through what he has.</p><p><b><a href="https://www.fringe.co.nz/show/the-unluckiest-magician">Tickets</a></b>: $20</p><p><b>Performances</b>: 6pm, 1-3 March</p>Wellington Reviewshttp://www.blogger.com/profile/13560677247862952825noreply@blogger.com0tag:blogger.com,1999:blog-2927738201800002485.post-54463058274509758482024-02-26T10:51:00.000+13:002024-02-26T10:51:13.113+13:00Some Regrets<p>I'm not entirely sure what Sam Gibson Regrets after seeing his show but I don't regret seeing it. Admittedly the Cavern Club is a little snug and the sound is a little overpowering, but it was worth it.</p><p>Technical difficulties lead to a bit of a slow start which may be why Sam seemed a little unsure of himself initially. He gained traction and was really into the swing of things, pulling from headlines and Facebook comments sections as well as personal experience to keep the audience amused. </p><p>Highlights included: comparing queer culture across the country, comparing the National Party to Christchurch, comparing the royal family to drag race (perhaps the only true royalty?), counting red flags </p><p>It was, unfortunately, obvious from several comments he made that this show was written a while ago. Feeling the need to mention that made him seem unconfident in his material which had no need to be - a couple of years doesn't make an occurrence irrelevant.</p><p>Sam saves the very best routine till last, gasps of horror followed by cackles of delight... You'll know what I mean when you see it.</p><p><br /></p><p><b><a href="https://fringe.co.nz/show/some-regrets">Tickets</a></b>: $20</p><p><b>Performances</b>: 8pm 25/26 Feb</p>Wellington Reviewshttp://www.blogger.com/profile/13560677247862952825noreply@blogger.com0tag:blogger.com,1999:blog-2927738201800002485.post-18787550005615718122024-02-21T21:30:00.048+13:002024-02-22T07:27:58.740+13:00Ben Pope: Holy Cow<p>Benedict Pope - not to be confused with Pope Benedict, for starters he's alive and a "lapsed Catholic" (the lovely way Catholics have of saying the only way out is death) - tells intertwined tales of his life, mostly at weddings, none of them his own. </p><p>It may say something about the way Kiwi guys dress that till Ben specifically referred to an ex as a woman, I'd assumed he was gay (he has an English accent and was wearing a button-down, apparently that's all it takes).</p><p>As all good shows are, it wasn't entirely off the cuff, there was a flow and order with specific call backs, but he was perfectly confident in adapting to the audience response and had specific pieces tailored to a Wellington crowd.</p><p>Fringe is always a mixed bag so I never take a seat convinced I'll have a good time, I may instead be in agony for an hour. No such worries here, everyone in the audience was laughing and it was intelligent humour too, not settling for cheap laughs for swearing or crassness (ok so there was some crassness, but it was classy, must be the accent). If he managed to come here all the way from the UK I should have known he'd be good, and he was.</p><p>I managed to squeeze in to his packed final performance. His show is funnier than this review and I'm sorry you missed it.</p>Wellington Reviewshttp://www.blogger.com/profile/13560677247862952825noreply@blogger.com0tag:blogger.com,1999:blog-2927738201800002485.post-70949829572405024832024-02-18T16:44:00.003+13:002024-02-18T16:44:30.665+13:00Reckoning<p>Another mix of poetry, politics and dance from Akeim Toussaint Buck, this time collaborating with an animator and using material from multiple refugee stories. The source of the stories is a research project out of the University of Manchester entitled Reckoning with Refugeedom.</p><p>It is somehow both on a larger and smaller scale than Displaced, which you could class as a sibling piece. The narrative still sounds personal but is drawn from many people's experiences. The landscape is smaller, the animation drilling down to mere movement in space. As a shorter piece it is more digestible than its sibling, though I think the other is more visually appealing. Both explore the experience of "othering" or being "othered" and how labels can cause people to lose track of individuals inherent humanity. The systems come under fire again too; surely everyone can't shrug and say "that's not my job." This feels more like a call to action.</p><p><br /></p><p><b><a href="https://res.cthearts.com/event/34:3987/34:66665/">Tickets</a></b>: pay what you can</p><p><b>Performances</b>: online, anytime</p>Wellington Reviewshttp://www.blogger.com/profile/13560677247862952825noreply@blogger.com0tag:blogger.com,1999:blog-2927738201800002485.post-56504591995577121412024-02-17T15:06:00.000+13:002024-02-17T15:06:00.658+13:00Displaced<p> Displaced is a deceptively simple piece, mixing the personal with the public to tell a universal story through dance, poetry and film. Akeim takes us through his journey from Jamaica to the UK, from outcast to citizen - but perhaps never really truly dropping the outcast label. </p><p>We have forgotten how to be human. We have forgotten our roots or they've been torn from us. Identity is more than skin deep. We walk with our ancestors in this modern world, the generational trauma heavy on our back.</p><p>Visually beautiful the landscape moves from beach to forest to urban parks, streets and interiors; Akeim dancing or interacting with others, sometimes it's like he belongs but sometimes he stands out. I imagine this is the point, that this is how his life feels. How life feels for many, even if they were "born here." </p><p>You can watch this on the surface to enjoy the movement, music and poetry (couldn't find a word starting with M), or you can go deeper to really hear the message about decolonisation, about our humanity.</p><p><br /></p><p><b><a href="https://res.cthearts.com/event/34:3986/34:66664/">Tickets</a></b>: pay what you can</p><p><b>Performances</b>: online, 16 February-26 March 2024</p>Wellington Reviewshttp://www.blogger.com/profile/13560677247862952825noreply@blogger.com0tag:blogger.com,1999:blog-2927738201800002485.post-76817526531323329082024-02-15T17:36:00.004+13:002024-02-15T17:36:46.087+13:00Odyssea<p>You've heard of Odysseus, that questionable Greek hero, now meet Odyssea. She's the feminist counterpart to the myth. Instead of stealing, she barters and helps those she meets on her journey, who in turn help her.</p><p>It's a dance film with a twist, only one woman dances and we only ever see her highly painted hands. This seems impossible with the choreography spanning the screen and multiple hands appearing. The background music is always familiar but not quite the piece you think it is, making you question everything.</p><p>Fabric makes a landscape, a seascape, to host boats made from drift wood and other coastal pieces. It all appears so simple but it's obvious deep thought has gone into every choice. Odyssea is charming and somehow innocent - how is this possible? The whole is greater than the sum of its parts.</p><p>Part of Fringe's online offerings this film started as a pandemic project.</p><p><a href="https://fringe.co.nz/show/odyssea">Tickets</a>: $8</p><p><b>Performances</b>: view online, anytime</p>Wellington Reviewshttp://www.blogger.com/profile/13560677247862952825noreply@blogger.com0tag:blogger.com,1999:blog-2927738201800002485.post-79628374837621448912024-02-10T17:24:00.001+13:002024-02-10T17:24:09.091+13:00No Hetero / Exes and Nos<p>Two queer Canadian shows one after another at Circus Bar sounds like a great night. Yes, but also No. Unfortunately it means you inevitably compare the shows to each other and they have very different vibes. Don't get me wrong, both (as billed) are queer and Canadian and autobiographical - interestingly about coming out later in life - and also a little chaotic as all good dress rehearsals should be.</p><p>No Hetero very definitely has nothing to do with Taylor Swift; the friendship bracelets (bring cash to buy!) and show being split into eras are purely coincidence. Hadley hosting a show called the Taylor Swift Book Club <i>also</i> coincidental. She even emphatically promises to not mention Taylor Swift. Canadians are more like Americans that expected (sorry); they too go to summer camp and have very religious families. Hadley pokes fun at herself for the cringe worthy trends she followed and the obvious signs of her sexuality that were hidden under compulsory heterosexuality. Taking the audience on a joyful flashback through her life concluding with how she ended up here.</p><p>Exes and Nos is a musical journey through the dating life of Rachel Mercer through "cute angry songs". Initially, it seemed that the audience was flagging due to tiredness but they never really picked up. There are a couple of surprising twists to the show but they don't save it from being a bit of a downer after the energy of the first half of the night. The songs <i>are</i> cute but not quite punchy or polished enough and are lacking in presentation. The last song, with the most personality, is the best.</p><p>If you're queer, neurodivergent or just like a laugh, either show is good. If you're lacking in time or patience, see No Hetero.</p><p><br /></p><p><b>Performances</b>: 16/17 Feb from 7pm at Circus Bar</p><p><b>Tickets</b>: $20 each (or $30 for both)</p><p><a href="https://www.fringe.co.nz/show/no-hetero">No Hetero</a>, <a href="https://www.fringe.co.nz/show/exes-and-nos" target="_blank">Exes and Nos</a></p>Wellington Reviewshttp://www.blogger.com/profile/13560677247862952825noreply@blogger.com0tag:blogger.com,1999:blog-2927738201800002485.post-85720869053594577052024-01-27T17:44:00.000+13:002024-01-27T17:44:15.988+13:00Ngā Taniwha o Rūpapa | Dinosaurs of Patagonia<p>"The real Roberts has been retired 15 years and living like a king in Patagonia." - <i>The Princess Bride</i></p><p>It turns out that places mentioned in childhood movies <i>do </i>exist, and those places were once part of the same land mass as Aotearoa, and (here's the best part) there were dinosaurs. Touring from a palaeontological museum in Argentina, with an excellent integration of te reo and local facts making a unique experience, the Dinosaurs of Patagonia are at Te Papa till the end of April. </p><p>Featuring:</p><p></p><ul style="text-align: left;"><li>A dinosaur with <strike>six</strike> five fingers</li><li>Lots of interactive bits for the kids including a talking Tuatara (our own special "dinosaur")</li><li>12 casts of mostly dead and mostly recently discovered dinosaurs (creatures so huge, if you stood that close, we'd all be dead)</li><li>Casts of items you're allowed to touch (but not inhale) clearly labelled</li><li>A clear timeline to follow as you walk through</li></ul><div>Palaeontology is a prestigious line of work with a long and glorious tradition, it's exciting to see finds named after farmers who unearthed them, as well as scientists. The dinosaurs are compared to other, more well known, ones for context. </div><div><br /></div><div>It's not often we get exhibitions of this calibre down here, if you miss it, that would be the worst thing I've ever heard. Don't fear crowds, timed tickets mean these are well managed.</div><p></p><p>There are two things that could be improved:</p><p>1. Joan Wiffen's discovery of the first fossils in Aotearoa should be more central. It's hidden in a corner and you'll only know it's there if you specifically read the front of the divider it backs onto and spy it. The fossil in Te Papa's collection wasn't easily found in the Te Taiao | Nature exhibition either. Surely it would make sense to have big flashing lights around it during this exhibit, if not dinosaur prints leading to it.</p><p>2. The store is separated from the exhibition, probably due to the difficulty creating the space for this particular show. There are many dinosaur books, toys and figurines but unfortunately there appears to be nothing relating directly to the content of Ngā Taniwha o Rūpapa. Perhaps there aren't published books on these recently discovered finds, or figurines but this is a wasted opportunity to perhaps create a market for the travelling exhibition.</p><p><br /></p><p><a href="https://premier.ticketek.co.nz/shows/Show.aspx?sh=patagon23"><b>Tickets</b></a>: $15-30</p><p><b>Showing</b>: 16 Dec 2023 – 28 Apr 2024</p>Wellington Reviewshttp://www.blogger.com/profile/13560677247862952825noreply@blogger.com0tag:blogger.com,1999:blog-2927738201800002485.post-88591767446323050892023-12-07T22:55:00.002+13:002023-12-07T22:55:46.051+13:00IDIOM 2023<p> After last year I didn't think IDIOM could surprise me, after the hellscape that is parking in Wellington I was not primed to enjoy myself, I'd already decided to go home to bed at intermission (8pm is late for a show to start). It's almost embarrassing how quickly this show changed my mind.</p><p>Once again there was a mix of acts; an opera singer, a wrestler, circus performers, a drag king. Not to mention a successful world record breaking attempt and a repeat game of Pictionary. But it's the unique brilliance of Laser Kiwi which throws the acts together, mixing and matching for unexpected performances.</p><p>Every night is slightly different, not only due to improv and the vagaries of audience interaction but also the challenging live nature of each number. The adaptability and cohesiveness of this seemingly disparate group of performers shines through.</p><p>Once again they are performing all December and I'm excited to see what they bring to the stage next year. </p><p><br /></p><p><a href="https://www.eventfinda.co.nz/2023/idiom/wellington"><b>Tickets</b></a>: $56.60</p><p><b>Shows</b>: 8pm, 1-23 December (no shows M/T)</p><p><br /></p>Wellington Reviewshttp://www.blogger.com/profile/13560677247862952825noreply@blogger.com0tag:blogger.com,1999:blog-2927738201800002485.post-7676870772256285542023-09-07T21:32:00.000+12:002023-09-07T21:32:00.808+12:00I Want To Be Happy<p><i>I Want To Be Happy</i> is more disturbing than happy and perhaps not suited to anyone mentally fragile.</p><p>Despite the premise being communication between a guinea pig and scientist there is very little interactive dialogue, it takes phenomenal acting to carry a scene without a partner to bounce lines off or even face. Jennifer Ludlam as Blinka and Joel Tobeck as Paul manage to bring a seriousness to an often amusing situation, though both are effectively talking to themselves.</p><p>Unfortunately the 70 minute show seemed to drag, perhaps due to the many scene changes or the dark content. Differences in space and size are handled very well, a human sized animal on a part of the stage and a mechanical rodent sized one on another. The underlying message may be about the plight of animals used in experimentation or that simply we're all animals when it comes down to it.</p><p><br /></p><p><b><a href="https://nz.patronbase.com/_Circa/Productions/2326/Performances">Tickets</a></b>: $55</p><p><b>Performances</b>: 6-30 September (times vary)</p>Wellington Reviewshttp://www.blogger.com/profile/13560677247862952825noreply@blogger.com0tag:blogger.com,1999:blog-2927738201800002485.post-78960001615169502152023-06-21T22:06:00.002+12:002023-06-21T22:07:24.798+12:00The Emperor’s New Clothes<p>In recent years Circa has expanded from their base of traditional theatre to include the more experimental which previously was relegated to Bats theatre; <i>The Emperor's New Clothes </i>is an example of why this was a great direction.</p><p>We're greeted by a woman in sensible black heels, white pants and a black blazer who thanks us for making this investment. On the walls hang many more pairs of white pants and black blazers. Will she don these throughout the performance? Something about her demeaner as she hails new comers makes me fear this might be one of those very rich spiritual gurus.</p><p>She addresses the audience with a salesperson patter and I'm confused, isn't this supposed to be a dance show? The unexpected continues and within the first five minutes she's naked. We are taken on a spoken (occasionally sung) and danced journey through the value of our being, each system, organ and sense precisely calculated. This is a confronting kind of economics, figuring out exactly what you're worth.</p><p>The timing is perfect, each move accompanied by live violin, keyboard and spoken monetary values. A body is a just a body, naked or clothed. Bare you see sweat form, muscles and tendons stretch. But not all things are easily accounted for and the show seems to lose focus towards the end, perhaps trying to do too many things at once. There is no grand end, just lights out and the audience pauses, uncertain if it's over.</p><p><br /></p><p><b>Performances</b>: 21 June–1 July (times vary)</p><p><b><a href="https://nz.patronbase.com/_Circa/Productions/2321/Performances">Tickets</a></b>: $38</p><p>CONTENT ADVISORY: nudity, strong language, sexual violence, economics.</p>Wellington Reviewshttp://www.blogger.com/profile/13560677247862952825noreply@blogger.com0tag:blogger.com,1999:blog-2927738201800002485.post-34673313178900835162023-05-18T20:46:00.001+12:002023-05-18T20:46:25.250+12:00Skyduck: A Chinese Spy Comedy<p>We stumbled out of the theatre wondering what we'd just witnessed - genius or a drug induced hallucination? <i>Skyduck</i> is hyperconscious of its own ridiculousness, leaning into it to squeeze every last drop on to the stage.</p><p>Sam Wang convincingly portrays five distinct characters by infinitesimal changes in costume paired with larger changes in posture, facials and voice. He <i>is </i>the full 70 minute show despite his props, apparatus, surtitles and accompanying video. Aside from acting in two languages there's also dancing, other choreography and some variable singing.</p><p>The show is cohesive despite the mix of elements. Everything works in harmony from the lighting to the video, all prompted by the actors movements. The storyline doesn't make a whole lot of sense but then when has an action movie ever? Pop culture references add to the fun, light ride.</p><p>This immensely complex show highlights Sam Wang's potential as a writer and performer, here's hoping his next show adds an emotional punch too.</p><p><br /></p><p><b>Performances</b>: 18-27 May</p><p><b><a href="https://nz.patronbase.com/_Circa/Productions/2315/Performances">Tickets</a></b>: $55</p>Wellington Reviewshttp://www.blogger.com/profile/13560677247862952825noreply@blogger.com0tag:blogger.com,1999:blog-2927738201800002485.post-53029448508810320752023-04-29T22:30:00.003+12:002023-04-29T22:52:18.829+12:00The Coven on Grey Street<p> There's a tradition in theatre that <i>Macbeth </i>dare not be named for fear of the curse (<i>Blackadder </i>does an amusing sketch on this) set by witches. What then of depictions of Shakespeare's witches from the play? Is <i>The Coven on Grey Street </i>doomed? For its focus is those very witches.</p><p>In Aotearoa beneath the shade of a Pohutukawa, a beautiful and effective set, the weird sisters reunite for the first time in a decade on the occasion of one sister's wedding. The sibling dynamics are relatable, each sister reprising their familiar roles despite the passage of time. There are many call backs to Shakespeare in the script, you could tell who in the audience knew the original well.</p><p>It felt as though the production was geared more towards thespians than witches. Some of the seriousness was lost in theatricalness though it also has comedic touches. Only once is real emotion evoked, showing that it is possible. Two plot twists were signposted too clearly leaving no surprise. It's an enjoyable show for witches or Shakespeare buffs but it doesn't live up to its potential unfortunately lacking depth in plot and characterisation.</p><p>This review is brought to you by the many versions of<i> Season of the Witch</i> listened to during writing</p><p><br /></p><p><b>Performances</b>: 29 April - 27 May (times vary)</p><p><b><a href="https://www.circa.co.nz/package/the-coven-on-grey-street/">Tickets</a></b>: $55</p><p><br /></p><p>Audience Care: ‘The Coven on Grey Street’ features mild swearing, fake blood, descriptions of suicidal thoughts, misogynistic language and supernatural violence. </p>Wellington Reviewshttp://www.blogger.com/profile/13560677247862952825noreply@blogger.com0tag:blogger.com,1999:blog-2927738201800002485.post-3869989705321097062023-04-08T20:54:00.003+12:002023-04-08T20:54:30.553+12:00Land of the Long Long Drive<p>This school holidays head to Circa to see <i>Land of the Long Long Drive. </i>There is singing, dancing, gorgeous costumes, and set to tell a story about friendship, journey and conservation set right here in Aotearoa. The cast is diverse and delightfully talented; let's make piercings, tattoos, all genders and ethnicities the norm on stage. You may recognise Jthan Morgan from Cringeworthy also running at Crica, or previous pantomimes, she lights up a stage and it's a credit to her cast mates that they manage to shine just as brightly as she does.</p><p>The adults outnumbered the kids in the audience and they enjoyed it as much, if not more. We have more experience of road trips, could clap along and got more of the jokes. Personally I enjoyed the casual use of te reo. There was a moment that (I won't spoil but) everyone gasped, enchanted.</p><p>My young companion had a simple review "I liked it too much."</p><p><br /></p><p><b>Performances</b>: 8-22 April (times vary)</p><p><b><a href="https://www.circa.co.nz/package/land-of-the-long-long-drive/">Tickets</a></b>: $15 </p>Wellington Reviewshttp://www.blogger.com/profile/13560677247862952825noreply@blogger.com0tag:blogger.com,1999:blog-2927738201800002485.post-90071367281857771492023-04-04T18:50:00.003+12:002023-04-04T18:50:53.263+12:00Cringeworthy - Swinging in the '60s!<p> Cringeworthy shows are consistently a good time. Creator Andrea Sanders always beats out her younger counterparts for sheer joyous energy on stage. This time around they're tackling the 60's, as with the other shows expect dancing, singing and jokes about the period with the addition of go-go dancers! </p><p>The wig game was strong, as were the costumes and a very groovy set. The only thing lacking was the energy coming from the audience, it took till the last quarter for the (noticeably older) guests to give a fraction of the vibe coming from the performers. </p><p>Circa's prices have gone up (alongside everything else these days) but Cringeworthy includes a choose your price evening as well as one to meet the cast and an audio described performance.</p><p>Fingers crossed the 90's Cringeworthy is in the works!</p><p><br /></p><p><b>Performances</b>: 1-29 April (times vary)</p><p><b><a href="https://nz.patronbase.com/_Circa/Productions/2311/Performances">Tickets</a></b>: $55</p>Wellington Reviewshttp://www.blogger.com/profile/13560677247862952825noreply@blogger.com0tag:blogger.com,1999:blog-2927738201800002485.post-26419638128321816932023-03-07T20:32:00.001+13:002023-03-07T20:32:05.615+13:00Watch Out Gay Panda<p><i>Watch Out Gay Panda</i> is a one man show that is partially improvised. It doesn't have the high energy or quick pace you'd expect from improv. It's really a coming out story set to improvised music, Dennis (the performer/panda) creates tracks and lays them on top of each other to create an echoing harmony. </p><p>The improvisation may be partly in response to audience feedback and partly him still crafting his show. The blurb for the show mentioned it would cover saving the species but that may have been an earlier draft. What you do get is discussion on sexuality/homophobia and culture/racism through the lens of a panda trying to live a human life. But as the panda aptly says "why should I stand on my hind legs like a human?"</p><p><br /></p><p><b><a href="https://www.fringe.co.nz/show/watch-out-gay-panda">Tickets</a></b>: $22</p><p><b>Performances</b>: 7-11 March, 630pm</p>Wellington Reviewshttp://www.blogger.com/profile/13560677247862952825noreply@blogger.com0tag:blogger.com,1999:blog-2927738201800002485.post-74471155783008070272023-03-02T20:53:00.001+13:002023-03-02T20:53:33.883+13:00A Lovely Day to be Online<p><i>A Lovely Day to be Online</i> is a rock concert about the internet for millennials - I say millennials because I'm one and I related. We're young enough to be obsessed with the internet but old enough to know it's not healthy. Through clever lyrics the good and the bad of the internet, mostly social media, are explored.</p><p>At its heart it's about the singer, Connor (who also plays keyboard, guitar and electric guitar while backed up by band members on bass and drums) and his journey through a very relatable experience. It was surprisingly emotional as well as funny and a little thought provoking.</p><p>My companion compared him to Tim Minchin except he's younger, wears shoes and can sing better. It's a reasonable comparison, they both mix comedy with music and commentary with a message. There is also the undeniable fact that they are both Australian males with long hair.</p><p>Tomorrow if the final night so get your ticket now!</p><p><b><a href="https://www.fringe.co.nz/show/a-lovely-day-to-be-online" target="_blank">Tickets</a></b>: $30</p><p><b>Performances</b>: 7pm 2-3 March</p>Wellington Reviewshttp://www.blogger.com/profile/13560677247862952825noreply@blogger.com0tag:blogger.com,1999:blog-2927738201800002485.post-36316290635458754632023-02-21T21:11:00.000+13:002023-02-21T21:11:29.907+13:00Sexy Golf Boy<p><i>Sexy Golf Boy</i> is Fringe at its best; weird and wonderful. Saying too much may spoil the experience though each performance is partly improvised, the performer is highly attuned to the audience. If you take your eyes off them for a moment, you may miss out - they're suddenly doing something completely different.</p><p>The venue (a bar above Sweet Axe Throwing) is gorgeous and well worth a look, several fainting couches (<i>chaise lounge</i>) are calling for someone to drape themselves across them. The performance area is intimate, there is no way to escape being seen though you can decline the audience participation (don't though, I am terrified by it ordinarily but here everyone is in the same boat).</p><p>The show is unexpected, awkward (more for the audience) yet somehow also charming. It's best to go in having no idea what to expect. There was meant to be a message buried in there but it flew over my head, I had a good time regardless. This is something you won't see every day. </p><p>Sometimes Fringe knocks it out of the park, this is one of those times.</p><p><br /></p><p><b><a href="https://www.fringe.co.nz/show/sexy-golf-boy">Tickets</a></b>: $20</p><p><b>Performances</b>: 7pm 21-25 Feb</p>Wellington Reviewshttp://www.blogger.com/profile/13560677247862952825noreply@blogger.com0tag:blogger.com,1999:blog-2927738201800002485.post-67243725035596775742023-02-17T20:36:00.000+13:002023-02-17T20:36:36.385+13:00Nailed It - A builder play<p><i> Nailed it!</i> is not the delightfully screaming Nicole Byer of your badly baked dreams. It was promoted as "supporting women in the trades" but instead comes across as a warning to stay far away. This second offering from the appropriately named Awkward Company feels like students doing it for credit.</p><p>A building crew loses a member who is replaced with a *gasp* female apprentice while they are undergoing a Health and Safety review (due to the death being on site). A huge opportunity is missed, a female crew with perhaps a token male or a female crew acting like blokes would have been much funnier than this misogynistic childish bunch. They all needed to be called on their shit rather than the solitary female caving to be accepted.</p><p>The set was fine, as were the costumes, obviously someone has an "in" at BCITO. The safety gear fashion show was the one highlight. The actor playing bumbling Brick was believable and had such beautiful cheek bones he should really try drag. The others overacted, (yelling is not acting) with the exception of Donald who could have camped things up more. The script was made worse with bad timing. Perhaps they were attempting slapstick but none of the necessary elements were there for it to work.</p><p>Even builders wouldn't find this funny, they'd be embarrassed to learn this juvenile humour is how they are viewed. It was disappointing this show didn't deliver on its premise, on the other hand, at least it's mercifully short.</p><p><br /></p><p><b><a href="https://www.fringe.co.nz/show/nailed-it--a-builder-play">Tickets</a></b>: $20</p><p><b>Performances</b>: 17-19 Feb</p>Wellington Reviewshttp://www.blogger.com/profile/13560677247862952825noreply@blogger.com0tag:blogger.com,1999:blog-2927738201800002485.post-2726783254893217812023-02-11T18:19:00.000+13:002023-02-11T18:19:48.518+13:00Summer Shakespeare: The Tempest<p>Summer Shakespeare has been a Wellington tradition for 40 years, often performed outside despite our somewhat tempestuous weather (see what I did there?). This year's offering is <i>The Tempest</i> at their most popular location, the Dell in the Botanical Gardens.</p><p>This is one of Shakespeare's uncategorised plays, not really tragedy (no pile of dead bodies at curtain close) nor comedy (though a jester and drunken butler both make an appearance). Weird magical creatures appear who are somehow enslaved to a mere man, yet the plot makes more sense than <i>Timon of Athens </i>(a previous Summer Shakespeare choice). A man was usurped by his brother and plots revenge, causing a tempest to land his brother, amongst other nobles, on his island of exile. For Shakespeare the ending is soft - a title is regained but the brother walks free.</p><p>There's something fitting about watching a play set on an island in the outdoors. There may not be allocated seating but the audience is guided to appropriate locations ensuring everyone can see and aisles are maintained. Sound was variable, some performers were miked while others relied on the stage mics (which occasionally picked up movement). The water elements were handled well but it's a shame they show more colour than most of the costumes, a differentiation in colour or cut may have highlighted rank and made characters unique.</p><p>The production has swapped some genders and included a non-binary character (played by excellent non-binary performer Susan Williams who I've seen elsewhere carry an entire show) on a rotating cast list. (Other) Noteworthy performances include Anna Secker as the believably innocent Miranda and Charlie Potter who sang beautifully as Ariel. The alternate cast flit in the background of scenes, presumably presenting floaty nymphs, being more of a distraction than anything else. The ecological theme is only evident when shipwreck survivors are offered plastics that float in the sea and somehow misses that natures powerful spirits are subjugated to a man with a book and a grudge.</p><p>Tips: bring layers to wrap up as it gets chilly, bring a chair if your body no longer feels like it did when you were 20 (limited chairs are provided), you can picnic before and during the performance, give yourself plenty of time to find a park and walk to the Dell (it's behind the rose gardens).</p><p><b><br /></b></p><p><b>Performances</b>: 11-25 February (times vary)</p><p><a href="https://www.eventfinda.co.nz/2023/the-tempest/wellington">Tickets</a>: $29</p>Wellington Reviewshttp://www.blogger.com/profile/13560677247862952825noreply@blogger.com0tag:blogger.com,1999:blog-2927738201800002485.post-25910479305517292542022-12-03T10:53:00.001+13:002022-12-03T10:53:11.703+13:00IDIOM<p> Idiom is a variety show in its truest sense. There are traditional acts like cello playing and dance with the more modern circus, comedy and…ping pong? </p><p>Laser Kiwi (a comedy trio) host an electric evening of performances all throughout December. They deftly manage the audience when one of them goes off script and the audience follows, adapting as they go, flowing onto the stage concealed behind props to appear as though by magic (the one act missing).</p><p>It’s the intersections of the acts that really make the show work. It opens with a ballerina in a tutu on a table while ping pong is played to a pounding beat, that same ballerina later dances in pared down leggings and bra to live percussion, the percussionist accompanies a juggling act. It doesn’t feel like separate performances, it’s cohesive. Even the audience gets involved with a game of Pictionary which was perhaps the funniest part of the evening and entirely unscripted.</p><p>The recurring robot is funny the first few times but their act should be halved and their dialogue kept to a minimum to maintain the punchy humour. Otherwise the music, the performers - even the stumbles! - were all enjoyable.</p><p>It would be an excellent outing if you haven’t organised your work Christmas yet.</p><div><br /></div><p><b>Performances</b>: 2-23 December, 8pm</p><p><a href="https://www.eventbrite.co.nz/e/idiom-tickets-408387055677"><b>Tickets</b></a>: $50</p>Wellington Reviewshttp://www.blogger.com/profile/13560677247862952825noreply@blogger.com1tag:blogger.com,1999:blog-2927738201800002485.post-66796260738428972162022-11-05T12:49:00.000+13:002022-11-05T12:49:09.370+13:00Owls Do Cry<p><i>Owls Do Cry</i> is a "contemporary response" to the Janet Frame novel. The novel may speak to an older generation while this performance is geared towards a younger; "contemporary" is very apt. However, you may find yourself equally confused whether you've read the book or which generation you belong too. </p><p>The performance isn't something that would generally fit the narrow category of theatre, but like any performance the experience is subjective. Some of it was enjoyable, some bits were elements from the book and sometimes I wondered when it was going to end. My companion found it spoke to them in an undefined way; they enjoyed the performance but couldn't put their finger on why.</p><p>The fourth wall was often broken; performers spoke directly to the audience, acknowledged the book existed and that they were actors rather than the characters. The book itself makes an appearance - on stage and in the audience. It was distracting to be given a book then have to pay attention, then difficult to release.</p><p>Something in the marketing reminded me of <a href="http://www.wellingtonreviews.co.nz/2021/03/strasbourg-1518.html">Strasbourg 1518</a> and there were similarities; semi nudity, performers throwing themselves around stage seemingly at random but it's actually finely choregraphed. Unlike Strasbourg, <i>Owls Do Cry</i> speaks directly to the audience and includes them, we are participants rather than voyeurs. Performers break into song, the movements are almost acrobatic so much so that we worried for the older actors backs.</p><p>The lighting deserves special mention. You don't often consider lighting during a show but here it was a performer itself, equally important as the human counterparts. A barely lit person on a black stage becomes a crucifix, a beacon, words meld into each other then become waves and water drowning the actors.</p><p>You may enjoy this or you may spend the 70 minutes wondering when it's going to end, but it will give you something to think about. If you go in expecting a literal translation of the novel you'll be in for a shock.</p><p><br /></p><p><b>Performances: </b>3-13 November (times vary)</p><p><b><a href="https://www.circa.co.nz/package/owls-do-cry/">Tickets</a>: </b>$54</p>Wellington Reviewshttp://www.blogger.com/profile/13560677247862952825noreply@blogger.com0tag:blogger.com,1999:blog-2927738201800002485.post-11526265366395299082022-10-04T11:06:00.002+13:002022-10-04T11:12:42.675+13:00The Wasp<p><i>The Wasp</i> is a creepy delight. There are twists on top of twists on top of twists, only one of which I didn't see coming. This may have been intentional so you have a moment of "oh no, I know what's going to happen" or I could be patting myself on the back for being so very, very smart. I suspect it's the former.</p><p>Two women meet, it's been 20 years since they last saw each other. But have either of them changed, can we ever change? The acting was such perfection that it felt like eavesdropping on someone's conversation. Even when the characters almost switch roles in the second act it was so believable that the breath caught in my throat. </p><p>We never really heal from the scars of childhood; even if we escape cycles of abuse it's still within us. Somehow there are laughs too, it's darkly amusing. The scenes unfolding on stage are extreme yet somehow scarily relatable. There is something so satisfying in a good revenge plot, it almost makes you wish you had an enemy.</p><p> In one word: brilliant.</p><p><br /></p><p>Trigger warnings (or content warnings) should be front and centre, not buried at the bottom of the programme under the title "audience care" or the bottom of the webpage with no title at all (under the much more prominent run time which was all in red). Once tickets have been purchased, or the audience member has sat down, the sunk cost fallacy comes into play. It is unacceptable in this day and age to spring this sort of content on unaware and potentially vulnerable audience members. Circa: do better.</p><p><br /></p><p><b>Performances</b>: 1-29 October, times vary</p><p><b><a href="https://nz.patronbase.com/_Circa/Productions/2222/Performances">Tickets</a></b>: $54</p>Wellington Reviewshttp://www.blogger.com/profile/13560677247862952825noreply@blogger.com0tag:blogger.com,1999:blog-2927738201800002485.post-14968949707496126232022-06-16T11:48:00.001+12:002022-06-16T11:48:15.595+12:00The Wedding Singer<p>The essentials are the same but The Wedding Singer musical is different from it's source material. Slight plot changes culminate in a hilarious Vegas scene as Robbie "collects" impersonators - perhaps something better handled on stage than on screen where it might have ruined the heart of the movie. That's what's missing in this show; heart. There are bad wigs, big musical numbers and awful accents, but no heart. </p><p>A fundamental flaw in the concept is that the two main characters, Robbie and Julia, aren't flashy enough to carry a musical. You'll find the side characters are pumped up and any of them are more than capable of having their own show. In fact I'd pay good money to watch Linda's (Ashlee Hammerin) musical, she could carry four. Also of note was Romy Vuksan as Holly, Julia's cousin, when she was wasn't overacting but had a solo and a Madonna inspired outfit she was unmissable. Give Linda and Holly free rein and the show would be 100% better...though it should be noted that both characters were overly sexualised. The rapping grandmother (Susan-Ann Walker) deserves a mention, but only for that one song.</p><p>Christian Charisiou is much hotter than Adam Sandler but where Sandler's Robbie is innocent and charming, Charisiou's Robbie comes across as arrogant, obnoxious and, as George notes, in need of an anti-psychotic. Elise McCann's Julia Sullivan was irritating rather than innocent, skipping the wide eyed ingénue they were aiming for. There's an innocence to the leads in the movie that comes across as stupidity in this production. I couldn't care about them or their romance, though part way through the second half I <i>almost</i> felt it when they had a duet about the love they were hiding from each other.</p><p>The cast sings original songs rather than 80's classics so there are scarce chances to sing along, a huge disappointment. It was so over produced that I almost walked out after the first song. The second act opens with the most annoying genre convention of a very long pointless song.</p><p>The audience was older than expected, heavily 60+ rather than 40+ and often unmasked as masking was not a requirement of the venue (another reason to skip this one).</p><p>This is all cheese and cringe but no charm. If you loved the movie, don't see the musical.</p><p><br /></p><p><b><a href="https://www.ticketmaster.co.nz/the-wedding-singer-tickets/artist/984952">Tickets</a></b>: $79+</p><p>Performances: 10-19 June (Wellington, show then moves to Auckland)</p>Wellington Reviewshttp://www.blogger.com/profile/13560677247862952825noreply@blogger.com0