George Fenn Wolf (Oily Rag Theatre) is a drama about five Christchurch citizens sharing an unlikely living arrangement during the earthquakes. As the Earthquakes escalate their relationships turns sinister amidst a looming presence which may or may not be a werewolf.
Julia Burgisser My Pet, My Love is brought to life by Rob Gaetano and his performance of three distinct sections of his life. There’s the past as the child, the current 32 year old, and the future as the elderly couple.
Jonathan Hobman The Existentialist Survival Guide to Australia was four rules explaining how to survive social western Australia, specifically Perth.
Each rule was accompanied by questions to the audience or anecdotes and observations about German immigrant Russya Conner’s decidedly negative experiences there. Matt Loveranes Bron Batten is an artist. Her parents are not. This primary difference is what Sweet Child of Mine is all about. We often hear tales of horrific stage parents but often it is the other side of the spectrum, when there is a valley of disconnect between artists and their parents that is actually the more devastating terror.
Julia Burgisser With her opening line “Who thinks it’s about time to cull the human race?”, British comedian Sameena Zehra, shows us she’s a woman with a plan. Several plans in fact, but none so hilarious as her plan to fix what’s wrong with the world in general, with a quick quiz and a cull.
Brooke Matherly Death Never Blinks is a delightful, silly, and funny delve into a radio drama. Extreme low light mostly conceals the five performers: four stationed behind their microphones and one behind a desk full of literal bells and whistles doing live foley artistry. Each performer fully invests in the melodramatic fun of this parody of classic film noir style detective stories. Aside from Steven Youngblood performing as our leading detective Dick Mason, each of the three other speakers played multiple roles affecting a range of voices and accents as required.
Brooke Matherly Helen Bower steps onto a stage, settles on to her knees surrounded by a semi-circle of looping pedals, picks up her violin, and with a raspy pull of her bow, begins to create. Lost in the Looping Glass takes the audience through one magnificent soundscape after another. From thin wispy pulls to playful plucks, it’s easy...
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