GIRLS & BOYS is a one-woman show by Dennis Kelly under the direction of Eleanor Bishop. It brings a new level of intensity and grace to the stage, Beatriz Romilly giving us a captivating exploration of human emotion and experience. Originally performed in London and New York, and now here by Auckland Theatre Company, the […]
Midnight Confessions is a pajama-party confessional revelling in the joy, naivety and confusion of teenage friendship and growing up. A love story to girlhood and a more innocent (physical) age.
Scenes From The Climate Era delivered a series of scenarios from past, present and future —short conversations ranging from scientists in Antarctica, at a bioengineering think tank, about alternative ways to cool the planet, ethically deciding to have children, maintaining community during devastating circumstances. It dives deeply into serious and thought-provoking topics but balances its […]
Red, White and Brass is a story that needed to be told, first on film (screenplay by Halaifonua Finau and Damon Fepulea’i, directed by Damon Fepulea’i) and now retold on stage in this wonderful adaption by Leki Jackson-Bourke. It is a story of passion and identity. And how to be a fan.
Nicola Cheeseman is Back is a one-woman show about that one woman’s discovery that time runs as inexorably downhill as her now sagging body — that the big choice to make for anyone of any age, is to make your own choices — and to make them now — and then hang on for dear […]
The Dumb Waiter is a two-character one-act play by Harold Pinter. Last night in Ellerslie, too few people enjoyed a deliciously delivered Pinteresque moment by (potent pause) Productions.
AN IDEAL HUSBAND is a comedic play by Oscar Wilde first performed in London in 1895. A man must stop his wife from finding out that he’s built his entire career on selling out a political secret. The play exposes the problems with high society and deals with complex moral themes in a comic way.
THE RIME OF THE ANCIENT MARINER is one of those stories that everybody knows, but few have ever heard, and rarely as well delivered as this. It’s a poem, you know, by Coleridge — from the very dawn of the Romantic Era — full of ice and snow and haunting spirits who punish an evil […]
AIGA is Sāmoan for family/whānau. Family is what Lusi Faiva (Lusi’s Story, Tuapou, Mr & Mrs Jones) almost lost, as a child institutionalised with cerebral palsy, then rediscovered. It’s the support of her theatre family now that lifts her up, works with her, helps her tell her story.
BEFORE KARMA GETS US is what this is called. But what the hell “it” is I’m really still struggling to say. It was mime, it was magic, it was artifice. It was art. My partner reckons she has never laughed so hard. So if it’s anything at all, it’s a success.