A Traveller’s Guide to Turkish Dogs is a delightful true story full of Turkish legends, colourful characters and the sort of love unique between a person and their dog.
Massive Crushes (Mulled Whine in association with My Accomplice) is a tasting menu of monologues served up on a platter of sex, death and flirtatious neuroticism. Nine deliciously depraved stand-alone solo pieces effortlessly weave their way through the highs, lows and lower-stills of love, lust and the femme experience. Expert storytelling, keen direction and powerhouse performances make this a must see show. Honestly, go see it now. Whatever you had planned, this will be better.
UMA LAVA, written by Victor Rodger and directed by Vela Manusaute, slams three narratives of three different lives together in the same breathing space. Three unlikely opposites find themselves thrust into a dingy, inescapable room, and coexistence seems impossible between the three. UMA LAVA could be a statement about the sacrifices people of colour make to survive and the potholes on the road to success within a society that historically places them second. But its focus, and main commentary, is on why people should be less garbage and open their eyes to the decisions and choices they make.
Power, grace and creativity shine as part of this year’s New Zealand School of Dance Graduation Season. Eight professionally produced performances highlight this year’s immensely talented graduates. With minimal set for each segment, the stories told by the students’ movement take focus. Together the pieces deliver strong bonds on stage and with the audience. Graduation 2019 promises a crisp glimpse into each students' bright future in dance.
What does a bit of smoko gossip, an orphanage escape, a post-kids divorce and writer’s block all have in common?
The 2019 Long Cloud Youth Theatre presents Breaks, a worthwhile dreamlike escape from everyday life. Written by Ben Wilson and directed by Keegan Bragg, this ambitious show offers an eclectic collection of stories inspired by the concept of breaks and all its forms. It is whimsical, dark, funny and not entirely what I expected.
Red Scare Theatre Company is back again—this time with Kieran Craft’s Adam NZ Play Award Shortlisted (2019) and Playwrights b4 25 Highly Commended (2018) play, Four Nights in the Green Barrow Pub, directed by Cassandra Tse. Hosted in the upstairs bar space at JJ Murphy’s on Cuba Street, this show is a warm-hearted piece of Irish theatre about a whirlwind gay romance.
by Laura Ferguson
Heading into the Random Stage at BATS the stage is lit in a red ambience, an actual stage elevated above the seating area, a rarity for BATS. The smoke machine is swirling, the band in the corner is thumping out an upbeat bass and the hairs on the nape of my neck are tingling with anticipation. Monster Songs is a supernatural pop concert filled with songs we love from pop and other from musical theatre, centred around monster-themed tunes. I love Hallowe’en, it’s my favourite time of year, so I was giddily looking forward to the show starting.
Photo credit: Katie Hill
Real life newlyweds Eleanor Stankiewicz and Marcel Blanch-de Wilt invite improvisors from NZIF to join them each night for an improv-filled double date in their New Zealand debut of The Newlyweds: Double Date. For their Wellington premiere on Thursday evening, they were joined by none other than Jennifer O’Sullivan and Matt Powell.
Introducing Wellington’s most eligible bachelors! Bachelor number one: “Bogan scum” Mike (Haydn Carter) from Reefton a sheep shearer with a heart of gold. Plaid-clad, Mike looks like he’s walked off the pages of a Footrot Flat’s comic strip. Bachelor number two: ̶K̶e̶v̶i̶n̶ Cevin “with a C” (Isham Redford) an impossibly rich, sobby “jaffa” is just as love sick as his rural counterpart. Who will win Lina’s (Monica Reid’s) Ice-Queen heart?
Photo credit: Alex Rabina
Dunedin-based improv troupe Improsaurus take the Random Stage in the second week of New Zealand Improv Festival. Their show is a longform, character-based narrative where the story is in the hands of a coin-flipper. So improvisors, gamblers, and Westerners alike: saddle yourself up for the wild ride that is Mild West: Draw.
‘Boy meets girl meets his boyfriend’ we’re told on the cover of Cock’s programme: it’s more than enough detail to tantalise, to get audiences to ponder on what could possibly cause such a circumstance. We hone in on John (Jack Buchanan), a man who deals with being attracted to M (Simon Leary), a man, and W (Karin McCracken), a woman, simultaneously. But rather than a story of infidelity, Cock is a pulsating tale that inspects the hate and pain that comes with love, the imposing labels that generate fear and anxiety in our world, and how making the ‘right’ decision can sometimes feel impossible.
And we’re back with another NZIF instalment. Impulse Theatre graced the Random Stage on Thursday evening (and will until Saturday 12 October) with their touring show Off Book: The Musical, which is exactly what it sounds like: an improvised musical. For this season, however, the cast of six is joined by Wellington’s very own Bethany Miller, who adds a dose of cheery optimism to the mix.
New Zealand Improv Fest officially opened on Wednesday night, spearheaded by Here’s a Thing: NZIF Kickoff, MC’d by Jennifer O’Sullivan. This show was jam-packed with the kind of audience anticipation that any kickoff performance should hope to earn. It felt like I was back in high school, attending my first ever theatre fest.
If you’ve been reading the many other reviews that were published more punctually than this one (my apologies), you will already know the premise for The Pink Hammer by Michele Amas. Four women take part in a female empowerment workshop reluctantly lead by Woody (Alex Greig) after Maggie Taylor, Woody’s wife and heavily-mentioned-and-never-seen character, has apparently fled with the $400 pre-paid fee each woman has paid.
Force people to spend time with one another and they will become friends by the end. This we know, especially if it happens on stage. Each of the women begin almost stereotypical: Louise, played by Anne Chamberlain, is such a nervous, jittery, mousey, sweet woman, you wonder if she’s ever left the house before; Siobhan (Harriet Prebble) is the bouncy young Irish woman who is the epitome of Nelly Furtado’s song I’m Like a Bird, which played in the pre-show amongst other empowerment songs sung by women artists; Annabel (Bronwyn Turei) is the staunch modern woman pushing hard feminism down everyone’s throats; and Helen (Ginette McDonald) is the strong silent horse breeder who doesn’t have a maternal bone in her body. Not to mention Woody who is just the typical tradie bloke who doesn’t like the women’s chatter nor their presence in his tool shed/man cave.
However, Amas doesn’t let them stay stereotypical. As the play moves forward, layers peel off, the characters reveal some honest realities, allowing the characters care for one other, and in turn us as an audience to care for them.
by Laura Ferguson
Much Ado About Nothing is part of the Alexander Sparrow and Katie Boyle comedy extravaganza currently being hosted at The Gryphon Theatre. There are nine different shows being performed by the talented pair. After seeing Boyle’s one-woman show of The Merry Wives of Windsor earlier in the year, I was intrigued at how Alexander Sparrow would put his spin on Much Ado About Nothing. While doing all the characters. On his own. I mean, wow.
Local Honest Reviews
At Art Murmurs, our aim is to provide honest and constructive art reviews to the Wellington community.