I have been eagerly anticipating Three Dead Dogs since last Halloween. The Wellington theatre company Horse With No Name is back, bringing with them this funny, uplifting, heartwarming, tear-jerking show. The title is self-explanatory and anyone who has felt that unconditional heartstring tug for a pet, family member or even stuffed animal will be able to empathise with the love and care shown in this play.
by Laura Ferguson
Confession time: my knowledge of Don Giovanni, is limited to the fact that it is, in fact, an opera. Probably one by Mozart or Beethoven. The former turned out to be correct.
Performer Stuart Coats and director Lyndee-Jane Rutherford have wrestled Mozart’s epic tale of debauchery and regret into a one-man, one-hour jaunt of Don Giovanni. Beautifully synchronised with the amazing pianist Thomas Nikora, Coats energetically flings himself into the story of Don Giovanni, who, after a lifetime of dueling and sleeping with anyone who will have him, is dragged into hell for refusing to repent .
by Laura Ferguson
George Fenn’s G+Force begins with onomatopoeic sounds, forming an ASMR-like experience. Gluts and stuttering send a tingle down my spine. I’m already jittery and bright-eyed, eagerly awaiting the start of my first Fringe show of 2018, and the effect of this perceptual phenomena easily transmutes into the relaxing buzz of endorphins once the show begins.
“Psychological flexibility is the sign of a healthy mind. A friend once told me ‘people have the right to their own stories’. Both of these things seem true, and yet they work against each other.” We May Have To Choose demonstrates, even in its very title, that ideological conflicts don't necessarily live on either side of a fence called truth.
Who are you? Who? by Best on Tap bravely explores this difficult question through an equally brave form. They present audience members’ anonymous self-assessments as a string of improvised scenes and stories, where improvisation stems from truth over comedy. By playing towards “Honest Truths” Best on Tap aim to challenge the preconception that improvisation should primarily be funny. But how truthful can an interpretation be? We write our brief identity blurbs onto cards, place them in a bowl and witness the portrayals of ourselves unfold.
May Contain Sex Scenes sets its tone up in the title. A gentle tease (may contain sex scenes?), the work plays with our expectations and the question of whether it will ever meet them. Laden with awkward tension, Sex Scenes soars through the joys, pleasures, and fumbles found in anticipation.
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