Lizzie Murray MoodPorn is Wellington’s Before Sunset. Red Scare Theatre Company and director James Cain presents MoodPorn, a new play by Matt Loveranes. Jane (Heather O’Carroll) and Atlas (Ali Foa’i) are two long lost friends who reunite after 13 years when discovering each other on Facebook. Their catch-up turns to cathartic closure as the pair fill in the blanks of the years they’ve been apart. The script is emotionally demanding, rich with film references and surprisingly funny.
Emilie Hope I like bodies. All kinds. I like muscle, I think it’s beautiful. The way it twists and curves around our bones. I especially love the way dancers have a superhuman ability to be both light and strong in their grace. Can you guess that I like dance shows? And there’s one at BATS right now! MEAT is choreographed by Tui Hoffmann and produced by the Dance Plant Collective, and explores the factory-farming industry and also what it means to have flesh.
Emilie Hope Ending the patriarchy often seems like a looming and impossible task. However, where politics and policies fail us, art will always ring true. There seems to be unapologetic feminism in the air that is ripping Shakespeare from his storytelling pedestal. We have seen it from modem adaptations of his greats like Summer Shakespeare’s Hamlet, to the blatant dismissal of Stockholm syndrome love with Gillian English’s 10 Things I Hate About Taming of the Shrew. This Long Winter joins these other fabulous productions by reinstating a HERstory into Shakespeare’s A Winter’s Tale. We follow Hermione (Erina Daniels) as she searches for her lost daughter, Perdita (Huia Haupapa), after a successful set up by her loyal friend Paulina (Jean Sergent). As she travels, she observes many other atrocities by men from other plays. Such plays include Romeo and Juliet, All’s Well That Ends Well, Taming of the Shrew, Measure for Measure, and briefly A Midsummer Night’s Dream. Harry GibbonsIt was with both a mix of anticipation and just a little trepidation that I took to review Wellington Repertory's The Royal Hunt Of The Sun's opening night.
Some knowledge of the tragic outcomes arising out of the clash of Inca and Spanish cultures underpinned by the greed for gold nearly 500 years ago on which the play is based feeds the anticipation of some very strong drama. Jenny Nimon Ghosts, floating, an autobiographical exhibition by Wellington artist and writer Briana Jamieson, features a range of media including oil paintings, poetry, and sculpture. The works act as “abstract shrines to people and experiences”, taking viewers on a journey through lost summers, and moving them to feel their way through their own memories.
Emilie Hope Hazel (Carmel McGlone) and Robin (Peter Hambleton) live in a quaint house by the sea in a post-nuclear meltdown area, when an old friend Rose (Catherine Downes) comes to visit. Histories are explored and uncovered while futures are proposed. This is probably one of the more left-wing plays Circa has put on. In The Children, the older generation have an active rather than passive and scapegoating role in the world’s future, particularly in an environmental sense. For this, I applaud and implore more of the middle-aged to elderly Wellington population to see it.
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