The Magnificent Weirdos’ Tea with Terrorists, written and performed by Sameena Zehra and directed by Sabrina Martin, is a masterful solo show where comedic storytelling combines seamlessly with warmth and intimacy making every minute count. The triumph of this show is Zehra’s unapologetic approach to every retelling of her often dark, sometimes salacious (and always funny!) tales of her life in and across Kabul, Kashmir, and the UK. The skilled nuances to Zehra’s honesty demand she is listened to in the way that never feels, just that– demanding, it’s not just honesty– it’s an unaffected conviction in her ability to hold a room. ​

​Theatre company, Rollicking Entertainment’s latest offering to Circa Theatre is a deep dive into the world of hauntings and superstition. Inspired by performers Lizzie Tollemache and David Ladderman’s discovery (while on their honeymoon) of the many ghost stories which ruminate through the lands and minds of Central Otago, The Dunstan Creek Haunting is both a joyful adventure and spooky as heck.

​Footnote New Zealand Dance presents five emerging artists in their short-term dance company, ChoreCo 2019. In Nobody Hears the Axe Fall the talented team suspend reality and envelop the audience in a visceral, haunting world.

​There is always something incredibly special about being at Circa Theatre, and tonight is no different. Gathered in the foyer, wine or beer in hand, we are here to see the opening night of Molière award-winning, The Father by Florian Zeller. The glitz and glam of theatre comes alive in our faces, a sparkle roguishly twinkles in an eye, dazzling smiles beguile, a sparking crackle of infectious laughter catapults through the room. Anticipation for Zeller’s black comedy creating a susurrus throughout the room... We sit, the lights dim, the play begins. I am immediately enthralled.
 
The Father is a black comedy surrounding the titular character André (Jeffrey Thomas) and his struggles with Alzheimer’s. His daughter, Anne (Danielle Mason), tries so hard to keep her father comfortable, while simultaneously attempting to lead her own life. In every scene, André is sure he is in his own flat, except the furniture and artwork continuously changes around him, so I know that can’t be true. The disintegration and reforming of what is true and what is not becomes a constant of The Father. I am forced to examine each new truth as André states them. We are in England, no, we’re in Paris. This is André’s flat, no actually, it’s Anne’s husband, Pierre’s. Zeller’s conceptual writing style creates a piece of art that looks disjointed and confused as I walk around it, but when I strike that perfect angle, everything lines up and makes sense. Sadly, this moment never quite comes for André and he wanders, endlessly lost, even as others consistently tell him he has seen it’s true form many times.