The Tempestuous

 Penny Ashton has knocked it out of the park again. After a slow start, seeped in misogyny, she whipped the audience into a feminist frenzy in a show more reminiscent of her "Promise and Promiscuity" than "Olive Copperbottom", though the latter somehow feels like it should be closer.

References to the bard include Hamlet, Macbeth and Taming of the Shrew; the script also owned a lot to reality TV. The score included instantly recognisable music. It was delightful to hear “double, double, toil and trouble” sung over Dance of the Sugar Plum Fairy and to watch a fight scene to Winter form Vivaldi’s Four Seasons (or as most New Zealanders know it “that song from the National Bank advertisement with the horse running on the beach”).

Ashton showed boundless energy; dancing around the stage and singing as she rapidly cycled through parts using excellent worldplay, even lampshading that she couldn’t do an Italian accent. Her brightly coloured costume was excellent and gave impressive, er, “lift.”

There is a small amount of audience participation but it’s all in good fun.

As with her prior shows there is hilarious merchandise in the form of fridge magnets and tea towels with amusing quotes from the sow.

Most touching was real tears when reciting a speech about the plight of women, so poignant at the time things were looking darkest on the other side of the world. 

Tickets: $30-40

Performances: 6 November - 1 December 730pm Tues-Sat, 430pm Sun

I Want To Be Happy

I Want To Be Happy is more disturbing than happy and perhaps not suited to anyone mentally fragile.

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.

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.

Tickets: $55

Performances: 6-30 September (times vary)

Skyduck: A Chinese Spy Comedy

We stumbled out of the theatre wondering what we'd just witnessed - genius or a drug induced hallucination? Skyduck is hyperconscious of its own ridiculousness, leaning into it to squeeze every last drop on to the stage.

Sam Wang convincingly portrays five distinct characters by infinitesimal changes in costume paired with larger changes in posture, facials and voice. He is 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.

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.

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.

Performances: 18-27 May

Tickets: $55

The Coven on Grey Street

 There's a tradition in theatre that Macbeth dare not be named for fear of the curse (Blackadder does an amusing sketch on this) set by witches. What then of depictions of Shakespeare's witches from the play? Is The Coven on Grey Street doomed? For its focus is those very witches.

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.

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.

This review is brought to you by the many versions of Season of the Witch listened to during writing

Performances: 29 April - 27 May (times vary)

Tickets: $55

Audience Care: ‘The Coven on Grey Street’ features mild swearing, fake blood, descriptions of suicidal thoughts, misogynistic language and supernatural violence. 

Land of the Long Long Drive

This school holidays head to Circa to see Land of the Long Long Drive. 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.

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.

My young companion had a simple review "I liked it too much."

Performances: 8-22 April (times vary)

Tickets: $15 

Summer Shakespeare: The Tempest

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 The Tempest at their most popular location, the Dell in the Botanical Gardens.

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 Timon of Athens (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.

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.

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.

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).

Performances: 11-25 February (times vary)

Tickets: $29

Things I Know To Be True

The Price family are a normal, nice, middle class family from Australia, though with four kids they are bigger than the average family. The parents, Bob and Fran, have worked hard to give their kids the opportunities they never had. And the kids have, well, squandered them.

Set in the backyard of the family home this play follows a very eventful year in the life of the Price family. In the way that a problem shared is a problem halved individual dramas become family dramas. Leaves fall, rain falls (literally) and so do masks. Each family member gets their time in centre stage to reveal the secrets they've kept from their family and the effects of this ricochet out.

It's about taking responsibility for your own actions, being your authentic self, growing up and, moving away from the safety of the family you've always known. At first everything appears perfect but cracks begin to show as we watch the family implode on itself. Can they find their way back to each other despite everything that's happened?

Don't see this show if you are at all embarrassed about crying in public. Do see it with a family member; it will open conversations that need to be had.

Performances: 30 April - 29 May (times vary)

Tickets: $52

The Dunstan Creek Haunting

"If there's something strange in your neighborhood..."

So goes the familiar theme tune that introduces the audience to The Dunstan Creek Haunting at Circa Theatre. Lulled into a sense of security by the music and the ebullient duo, David Ladderman and Lizzie Tollemache introduce us to the sites and the stories of the gold mining days in Central Otago. Their tales begin with the tragic tales of 'Somebody's Darling' and the Chinese miners who refused credit by the mean-spirited grocer before morphing into the world of murder.

It's not long before we realise someone or something may have followed the duo out of the goldfields. Unexplained phenomena disturb the audience, strange occurrences disrupt the performers and a sense of dread permeates the theatre before the final denouement.

The more nervous were squealing while even the more cynical were unsettled and jumpy. The excellent stagecraft, sound and lighting all contributed to ratchetting up the tension and paranoia. For those of you who enjoy the gothic and the ghostly, this is well worth making the effort. Remember to sleep with the lights on when you get home though...

Performances: 9-20 July

For tickets, times and further details click here

Under Milk Wood

Projections play on sheets hung across the stage, depicting a seascape, a small town, as a voice drones...and continues to drone. The pictures are still beautiful but it drags, as do the dreams of the town people. The images become different bedspreads. Then, a sunrise through projector and light coming from behind, lovely.

Set in the small town of Llareggub (Bugger-All) there are quirky characters and nothing ever really happens. Narrators become townspeople and townspeople swap personalities. It's all small town life. The acting is wonderful, each person manages to distinguish between characters as they continue the rolling verse.

Is it a poem? Is it a play? No, it's just boring.

Unfortunately this show failed to capture my interest. It's supposed to be a comedy but there were mostly titters throughout the audience instead of the expected raucous laughter. A shame as it was a very good performance showcasing some of the best actors at Circa.

Performances: 13 October - 10 November, times vary
Tickets: $52

The Don

The subject matter of The Don is troubling in the time of #metoo. Not only does the guy rape women but somehow he makes them love him! (Can you tell the original was written by a guy?) That is really the only problem with this production. With all the other modern touches it would have been nice to have the performer mention the ludicrousness of the rape-turning-to-love and maybe assure the audience that the "bad guy" will get his comeuppance.

That aside this one man show is hilarious. Try to count how many different song lyrics he slides into the dialogue, marvel at how he dashes about the stage (and into the audience) distinguishable as five separate characters. At times it feels like a pantomime and there are certainly elements of that - singing, talking to the audience, oohs and aahs, but sadly we don't get to sing along at any point. It's also as ridiculous as a panto, the content was there in the original but it takes a modern hand to point it out so obviously.


Performances: 7-14 July, 6:30pm
Tickets: $27.50

Still Life with Chickens

It won the Adam Award for Best New Zealand Play last year so you can be pretty confident that Still Life with Chickens will be good. But how is such a simple set up - a lady in her garden, talking to a chicken good? I don't know what to tell you, it just is.

It's short but it packs a punch. The real grit is hidden in the middle amongst phone calls to granddaughters and feeding the chicken KFC...no, that really happened. Goretti Chadwick plays Mama who uses her passive aggressiveness to hide her loneliness and the skeletons in her closet. It's quite a talent to play to a puppet and a recorded voice.

I wouldn't have believed that a puppet could emote, but it did. The chicken is a character in itself, so much so that, even though the puppeteer is on stage you ignore him.

The play is sweet and well worth a watch but I wish it had more grit, that it explored the dark sides a bit more. Be warned that is only 45 minutes long - just a little over $1 a minute.

Performances: 8 May-2 June, 7:30pm (Tues-Sat), 4:30pm (Sun)
Tickets: $46

Peter Pan the Pantomime

All of Wellington mourned when Circa announced 2016 would be the last Roger Hall Pantomime. But this did not mean the demise of the ever popular summer production. Pinky Agnew and Lorae Parry, the wonderful pair who wrote the hilarious Destination Beehive 2017, took up their pens to provide us with this years appropriately heavily political panto; Peter Pan the Pantomime.

It was a shame neither of them acted, it would be a treat to have Helen Clarke wonder on stage and face off against Captain Hook (Simon Leary). He was excellent, dashing and dastardly, a very strong performer. The lost boys of New Zealand parliament (who lost their seats in the recent election) were great dancers too. Mother and daughter, Katie Pie and Xena Lily, could have carried the whole thing themselves if they'd needed to.

The first song was a little iffy, we were unable to understand any of the lyrics, and a couple of the others questionable. But from Captain Hook's Hooked on a Feeling things picked up, the full cast rendition of Reach for the Stars was excellent. Wendy (Camilla Besley) had a sweet voice and should have been given songs appropriate for her, especially when paired off with strong singers Katie Pie (Gavin Rutherford) and Xena Lily (Bronwyn Turei).

As is tradition, there was a large local flavour though at times it felt laid on a bit thick. There didn't appear to be any original songs, opting instead to repurpose pop songs. They were familiar to the audience but didn't always fit well. It'll be interesting to see if this writing pair will do next years show also.

Aside from all of that, it's a great time. Singing, dancing, bad guys, audience interaction. The kids loved it and there are plenty of jokes for the adults too.


Performances: 18 November - 13 January (times vary)
Tickets: $18/52

Mousing Around

There were quite a lot of songs. I liked how they used the Winnie-the-Pooh quote. It would be good for younger kids cos there were all the Frozen and Moana stuff and younger kids really like that.

They just do singing and they did dancing. Very lots of dancing. It was a bit cheesy. You couldn't see them too well when the smoke machine was on.

It was kinda strange how they had three Frozen songs in a row and they only had one song from the other movies (Parents correction: there were at least three songs from the Lion King and two from Beauty and the Beast).

This was a great sing along show, though the kids didn't know all the songs - I think they could have got away with just having Frozen and Moana as the kids liked those best. If you're stuck for something to do with the kids over the holidays you might even enjoy this.

Performances: 3-14 October, 11am
Tickets: $10

The Wholehearted

Wholehearted will start conversations, honest conversations. Told through what I can only call interpretive dance it's the story of all people, yet there is no storyline.

I spent a lot of time trying to figure out what the cast where doing, what the boxes represented, what they were trying to catch (their heart? love? memories?). It's almost a stream of consciousness across several people.

It is beautifully choreographed, each member participating in another's story so seamlessly. Sheer curtains create windows to interesting tableaux, all perfectly staged.

What is it about? It's about the human experience, how we open ourselves to others and it's lovely to watch.

Tickets: $30
Performances: (Wellington) 20-23 September, 7pm
Harcourts Hawke’s Bay Arts Festival (27 September)
Christchurch - Papa Hou (3 – 7 October)
Dunedin - Fortune Theatre (10 to 13 October)

https://www.massivecompany.co.nz/thewholehearted

A Doris Day Special

Ali Harper is a delight. Though this show doesn't have the breadth of Legendry Divas there's still plenty to enjoy.

Ali is Doris Day as she tells us about her life in a television special. There's video and audio accompaniment with a gorgeous rack of clothes. Doris had a tragic life but somehow managed to keep a smile on her face. Her positive outlook took her through several husbands and the loss of her best friend, her son. She was an early animal activist, still working in that area into her 90's.

The script is great, integrating costume changes with pre-recorded pieces and, of course, live singing. In case you didn't know, Ali is very talented.

The audience was a little older but the show is enjoyable for all ages.

Tickets: $46
Performances: 16 September - 14 October (times vary)

Anahera

Anahera means angel and she looks like one standing in white. Is this what I'm meant to see or am I reading too much into this?

What lies beneath the surface of a seemingly perfect family is appalling. It left me gaping in horror more than once. But somehow you feel for these awful characters, possibly because you feel for them before their awfulness is revealed - to the audience or to themselves.

The programme has only two lines about the show itself; following the annoying trend of having notes from the writer and director instead of pertinent information. The poster doesn't show Anahera but instead the actress who plays Liz - weirdly with ferns behind her which made me think it had something to do with the jungle.

You'll recognise the three main actors from TV and past Circa productions. Neenah Dekkers-Reihana as the title character is so different from what I've seen her portray before; she is innocent and righteous. Her wide eyes at the very opening making you realise how young and nervous the character is.

Anahera was harrowing, so much so that it stuck with me afterwards. I'd remember and almost shudder at the thought. I felt like the story lacked a resolution or maybe it's meant to show that they don't exist in real life. I'm left feeling unsettled.

Performances: 9 September – 7 October (times vary)

Tickets: $52

A Doll's House

A Doll's House is an enjoyable, but I wouldn't say pleasant, play. Nora is a relatable character,  I know many versions of her. The acting for her felt forced at the beginning but considering how she developed it fit, though my companion didn't agree that it was necessary. Many women will recognise Nora's struggle to be everything to everyone and losing herself in the process.


The set was interesting but also distracting. Something simpler could have served better.


Because there is no interval I was very aware of every minute of the 1 hour and 40 minutes of this production. I'm not convinced they needed children for anything other than cuteness factor which seemed a stretch to keep them out of bed so late.


Performances: 5 August-2 September (times vary)
Tickets: $52

Young & Hungry Festival of New Theatre 2017

The Young and Hungry Festival is a long night of theatre. Last years seemed even longer as the best piece was at the end. This year they reversed things and had the best piece at the start. One of the patrons is Dame Kate Harcourt who, despite being 90, is very active in theatre currently appearing at Circa in Destination Beehive. The other patron is Taika Waititi. Two big names supporting emerging talent. It was a shame neither of them appeared on opening night but Bats Theatre was packed anyway, there may not have been room for them.

On offer this season are One Night Only, Fallen Angels and Attila the Hun. If you're only going to make it to one I recommend One Night Only. There was not one thing about that production that I did not love; the acting, the dancing, the singing, the script, the use of props, they even managed slip ups well. It was funny, inventive and unexpected.

As a side note it would be great if the programmes said more about the production itself. There's a lot about the festival, a cast list, as well as notes from both the script writer and director leaving no room for details about the play. This year there were warnings for shows but these only appeared at the box office, not online, when booking or in the programmes. I might be a bit pedantic but some of the content was disturbing and theatre goers need to make informed choices.

Performances: 14-29 July; 6:30/8/9pm

Tickets: $20 each or $51 for all three

Larger Than Life

If you grew up in New Zealand in the 1980's you are going to love this show. It visits all our cultural icons (though Dalvanius and the Patea Maori club are sadly missing) with a healthy slice of irreverence.

The show is somewhere between a comedy routine and a musical. It's a piece of my childhood, even the songs I didn't know sounded familiar. There are a lot of homosexual jokes but, though they claim to be trying to push the envelope, it's not offensive.

There was a surprise appearance by Georgina Byers herself. I managed to control myself from approaching her after to tell her how awesome I think she is, an opinion it's clear the actors share.

MVP goes to Brady Peeti for his killer voice but Shadrack and Chris are right behind.

Performances: 14-17 June, 7:30pm
Tickets: $25

From Te Rēhia Theatre Company, the people who brought us solOthello

Three Days in the Country

Full of familiar faces Three Days in the Country teems with talented actors. The strong acting of lead Bronwyn Turei dominates the piece as much as her character dominates the household. If you've ever seen her in Go Girls you'll have trouble believing she's the same woman. Natalya is a complex character, easy to get wrong. But from her tiniest facial expression to her screaming collapse Bronwyn is exquisite.

The set design is a little weird but the costuming is to die for. The structure must make them uncomfortable but the actors move as though they were modern clothing, the layers would be very inconvenient in the scripted summer.

The storyline is hilarious and tragic. Everyone is in love but all of it is unrequited. Everyone is chasing each other across the property. Everyone is walking in on everyone else and getting the wrong idea.

It has a great life lesson that I wish I'd known when I was younger:

"Never love or be loved and you'll be fine."

Performances: 27 May - 24 June (times vary)
Tickets: $52