Art Murmurs - Reviews

Riding in Cars with (Mostly Straight) Boys

29/11/2016

Courtney Rose Brown

Riding in Cars with (Mostly Straight) Boys centers around Kyle (Tim Earl), a narcissistic, self-indulgent (at times cringy), but “ready for love,” gay man who is literally sitting in the passenger seat of life. The show is intimate; consisting of an hour long script confined to within and around a silver hatch-back. Written and directed by Sam Brooks (recent winner of the Bruce Mason Award) Riding in Cars with (Mostly Straight) Boys is currently touring around the North Island, making sure to hit the smaller towns on the way. Towns in which, like Kyle, the audience probably only knows one gay guy. Currently, the show is running at Victoria University’s amphitheatre before heading to Te Papa.

Album Party

29/11/2016

Dusty May Taylor

I sat down with Kate McGill and Frith Horan to discuss their tongue-in-cheek, pop-inspired brainchild Album Party, aka The Better Best Possible Album Party That Anybody Has Ever Been Two. Coming to Wellington’s BATS Theatre from 13-17 December, Album Party is launching The Besties Tour, a brand new collaborative venture between BATS Theatre in Welly and The Basement Theatre in Auckland. Winners of the 2015 Auckland Theatre Award for Best Entrance, Wellington natives Kate and Frith (with the help of their lovably demented characters TYLA and DENI$) are more than up to the challenge of spearheading a new initiative.

Magicians of Wellington

25/11/2016

Evangelina Telfar

Walking into the Propeller Stage at BATS theatre, there was four chairs in a line, pop music playing and purple lighting setting up a fun tone for the evening. I didn’t know what to expect, which was a feeling that continued throughout out the show, as there were several magical acts that all had a different style and seemed to really show the diversity of the Wellington Magic Club Inc. It was clear that there were some newcomers and some experienced magicians amongst the lot. This diversity was encouraging as it shows a growing interest in magic and will continue over the remaining nights of the show as there are different acts every night as the Club has 26 members.

Galathea: Into the Bush

25/11/2016

Courtney Rose Brown

Love is love. Galathea: Into the Bush celebrates that. On the 30th anniversary of Homosexual Law Reform, Twin City Productions presents a modern adaption of John Lyly’s Galathea; a romance comedy of Shakespeare’s time. The production crackles with great energy, excitement and tons of glitter. Directed and written by Ania Upstill, Galathea: Into the Bush is a celebration of self-acceptance through the exploration of sexuality and gender.

Galathea: Into the Bush is easily one of my favourite shows of the year. Each contribution to the production is exceptional: design, music and performance. Upstil’s direction creates a positive and comfortable environment to engage with the content, without feeling the need to have memorised a long list of terms from Tumblr to enjoy and understand.

Jack and the Beanstalk

24/11/2016

Corey Spence

The opening night foyer for Roger Hall’s Jack and the Beanstalk floods with eager children and their excited grown-ups. Pantomimes allow performers and audiences to let loose and take everything a little less seriously. Jack and the Beanstalk is a fun production well-suited for family outings, and for a show spanning two hours, it entertains for its entire runtime.

Hudson & Halls LIVE!

21/11/2016

Laura Ferguson

Stepping into Hannah’s Playhouse and into the crowd gathered for the Hudson & Halls LIVE! Show is a rather juxtaposing scene coming from the strong gales and general misery outside. Inside, the atmosphere is near frenetic with excitement. People all around the foyer are smiling, hugging, taking photos. I can hear people reminiscing about when they used to watch the show, telling stories of sitting with their families, everyone laughing along with the antics of the original Hudson and Halls. Having such a great energy even before the show begins was fabulous and I became enthralled in the energy of those around me and there was a tangible feeling of anticipation to see the show in action.

Hood Comedy 2: The Chuckling

18/11/2016

Bethany Miller

After finding the address without too much trouble, I take shelter from the nasty storm in Oliver Scripps’ flat where his second production of Hood Comedy is about to take place. Scripps and front-of-house are welcoming, with every kind of non-standard crisp, vessels for BYO drinks and a massive hall-like lounge decked with couches, mattresses, cushions. The colours and house lighting are warm and cozy and chilled music gently adds to the relaxed atmosphere. I feel immediately at home before 95% of the audience has even turned up. A tiny platform stage and lone microphone stand waits at the far end in front of a warm neutral curtain, all lit by two bright portable stage lights. It is the first image that confirms this relaxed space as a stand-up venue. Despite the treacherous weather, suburban venue, and casual no pre-booking style, the audience must entail nearly thirty people. It is probably at 70% capacity but feels full in the warm, intimate space. Either way, our difference in number and proximity to the comedians is clearly an unusual 'vibe’, brought up frequently by the comics.

Rukahu

17/11/2016

Laura Ferguson

James Nokise’s Rukahu began in a more unusual way from any other show I have experienced by starting in the foyer and led us in the style of a traditional powhiri into the Propeller Stage of BATS. After much love and greetings were given to us in Samoan by Nokise’s character, Jon Bon Fasi, we were arranged into a gendered formation and, lifting his phone in the air, he played an untradtional waiata and allowed us entry. His personable nature warmed the audience early on and made us willing participants in whatever this soloist star of Rukahu, had in store. This turned out to be a impromptu and energetic dance from Jon Bon Fasi and caused a dedicated following in the audience members who joined in.

The Rime of the Modern Mariner

12/11/2016

Courtney Rose Brown

This year’s STAB commission, The Rime of the Modern Mariner is presented by The PlayGround Collective. The production is an adaptation of an adaptation and the indecisiveness of the show’s direction makes it obvious that there is not a clear vision. The Rime of the Modern Mariner is presented as a conversation starter about human involvement in environmental issues. Upon arrival, the design elements hold true to this statement. Unfortunately the rest of the show does not.

Central

3/11/2016

Courtney Rose Brown

Central, written by Dave Armstrong, is set in central Otago, on the edge of the ‘beautiful’ hills. Loosely it holds ties to an environmental focus, but the central theme of the play revolves around class conflict. However, the show doesn’t dig deep far enough to offer anything new, preferring to reflect whatever class beliefs the audience already have. So I am unsure about the true intention of the show and who I’m meant to empathise with. Who is this story for, and what is it doing?

The President

2/11/2016

by Laura Ferguson

The President starts with a lonely set, an omnipresent Republican red light shining upon a laid-out suit. Pre-recorded dialogue starts the show, while we are still bereft of our host for the evening. An amalgam of differently biased opinions on the notorious man of the hour relax the audience into a state of easy laughter, readying us for what will come.