Lizzie Murray Ivan Aristeguieta presents a traditional stand up show with professionalism and lands consistent big laughs in his first Wellington show. The Venezuelan’s comedy show’s title The Fourth Floor references an idiom describing turning 40 years old. Aristeguieta reflects his experience of getting older, food as metaphors, relationship deal breakers and ridiculous differences between his home land and new found home in Australia.
Jenny Nimon Best of the Fest, a Festival award winning show, opens this year to a sell-out audience. The queue to San Fran blocks the door to Floridita’s, and the energy is high. In the late show to end all late shows, NZICF brings us the works of Li’i Alaimoana, Jadwiga Green, Guy Montgomery, Melanie Bracewell, Tony Lyall, and Phil Nichol.
Jenny Nimon PETTY B*TCHES is an energy spike for a stale evening. In an hour of sass, song, and sideways looks, award-winning Aussie comedians Boo Dwyer and Tash York run a course on how to be petty, helping the audience become certified bitches.
Austin Harrison This week, nestled on the top floor of BATS Theatre, Ray Shipley brings us what is possibly the best little comedy show in Wellington. Within two minutes of the show beginning, Shipley has an audience member literally snorting with laughter and acknowledges it by saying, “All laughs are welcome here”. This is very much the tone of the show. Shipley is mind-bogglingly comfortable in their own anxiety and somehow cripplingly and charmingly self-aware all at the same time.
by Laura Ferguson  I bought tickets to Frickin’ Dangerous Bro as soon as I saw they were for sale. I had an excited thrill in my chest to show my partner this year’s iteration of one of my absolute favourite shows of 2018. I had talked Frickin’ Dangerous Bro up a lot in the twelve months since last years Fred Award nomination for Best Show and compared every skit show since with 2018’s Humble. Now, I admit, this is a bit of a frickin’ dangerous strategy that often sets the unknowing performers to fall off a pedestal they didn’t know were they on. As I chewed my thumbnail in my seat, anticipating the start of the show with my partner jiggling excitedly beside me, I wondered if I had done them a disservice. I was so wrong. The lights go down and BAM the hilarity begins immediately. 2019’s Legacy is exactly that, carrying on the excellence the trio have already achieved and carrying it to even greater heights.
Lilli Margaret Robbie Nicol, Finnius Teppett and Mitchell Botting took on the unusual and downright difficult task of making a comedy show out of climate change, in Comedy Festival’s A Party for the End of the World, written by the aforementioned Nicol and Teppett, with Stella Reid, directed by Reid. Nicol and Teppett perform comedy that is both socially engaging and grounded in classic New Zealand humour - think Jemaine Clement meets John Oliver.
Jenny Nimon The Blair Witch Projector, a new show from 2019 Billy T Award nominee and 2018 Best Newcomer, James Mustapic, is a wry and witty reflection on his past comedy. He claims to be leaving his video-based humour behind in the pursuit of “real comedy”, only to be haunted by the ghost in his projector who is intent on making him relive his repressed memories and ruining his show.
by Laura Ferguson Huzzah it is Comedy Festival time again! What better way to start it than with a trip to see one of my favourite Wellington comedians, Li’i Alaimoana. The 2017 Billy T Award nominee is giving us more of what we love in this years’ show, Seriousli’i? And honestly, shouldn’t there be Best Name award because Seriousli’i? would definitely get my pun-loving vote.
Lizzie Murray When committing to view Raw comedy, you never know if you’re going to get cringe or crass, tasty or tasteless. The Raw Meat Monday comedy show offers a platter of different styles, skills and stories. This week, ten novice comics took the brave step from bathroom mirror to the stage at Fringe Bar to share up to six minutes of their piping hot (sometimes half-baked) material. Last night’s MC Guy Montgomery was tasked with balancing a lukewarm audience with shaky newbies. His manner was consistently warm and encouraging towards the comedians and made the audience laugh at itself for their own lack of enthusiasm.
Lizzie Murray Director Ross Jolly presents a captivating production of Samuel Beckett’s modernist play Waiting for Godot. The cast delivers high energy and keeps the audience engaged despite its dreary plot. Polished performances, sophisticated set design, and dreamy lighting add colourful depth to the play where nothing happens.
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