Guy van Egmond ‘When one buys a ticket to a First Nations show, one expects to be gently and respectfully reminded that indigenous people deserve to exist.’ This line came from the end of A Nightime Travesty, in an aside where the performers took the piss out of snooty, white critics. But it was a useful line, because it summed up everything that the show was not.
Mia Oudes I am a complete outsider to what it is that Thank You, Ten is celebrating. I have never seen a Footlights show, but I was looking forward to sitting back to watch some musical theatre... and try to resist the urge to sing along.
Abby Lyons Oh That Theatre Company is a multi-award winning young theatre company whose work focuses on creating “fun, wild, camp, ridiculous while also sincere theatre’; and with the horrendous weather in Pōneke currently, this is right up my alley and I’m looking forward to a cozy piece of theatre.
Zoe Christall It’s a Friday night as I walk into the electric atmosphere of Circa One. Everyone’s had a long week and we are ready for some sexy rock n’ roll as boasted in WITCH Music Theatre’s downright (if you’ll excuse the pun) bewitching poster. Seriously, props to Roc Torio’s photography and WITCH’s marketing. If the poster is anything to go by, I’m prepared to be amazed (and possibly seduced) by Lizzie.
Austin Harrison The ABBA-inspired jukebox musical Mamma Mia! needs no introduction, but provides a worthy and joyous platform to introduce Whitireia’s Musical Theatre students to Wellington audiences. This is the programme’s full-scale production for the year, and with the support of program staff and industry pros, these emerging performers knock it out of the freaking park and gift me a contender for the most fun I’ve had at a show this year!
Jenny Nimon For NZICF 2023, two-time winner of NZICF Newcomer of the Year (yes, you read that right) Maria Williams brings us a new iteration of her show Anxiety…the Musical!? where anxiety is amended to ADHD following a decades-late diagnosis. For those not in the know, neurodivergence is often misdiagnosed (and mis-self-diagnosed) as anxiety due to stressors like overstimulation and masking pressure, so this is not a surprising pipeline.
Jenny Nimon 3 Steps Back, written and performed by Emma Katene (Ngāti Kahungunu) and directed by Kate Anderson, is a sharp and generous solo that attempts to map Katene’s experience with chronic fatigue syndrome (CFS) since her formal diagnosis in 2020. At once performance poetry, physical theatre and vocal show, Katene invites us to ‘sit back and perhaps even eat some snacks, while [she] sings and dances her way through the feeling of two dimensions colliding. Watch out though, you might even see some of your own pathways reflected.’
Megan Connolly Hell School: The Musical is an original musical created by a collective of students from the theatre programme of Te Herenga Waka Victoria University of Wellington and is directed by James Wenley.
Austin Harrison It’s a rainy Wednesday night. There are only two shows on in Wellington this week, and I’m stoked to be heading to the Gryphon Theatre for one of them. The Spitfire Grill promises to be a nostalgic look at small town America in the 70s, based on the 1996 film of the same name. The production premiered in 2001 off-Broadway and has taken 21 years to make its New Zealand premiere. Tonight is that night and, being a Wellington Repertory opening night, there is free food and drink and a warm buzz that immediately leaves the wind and rain outside.
Emilie Hope When Chansons – Songs & Stories from Piaf, Brel, & Me pops up, of course my interest is piqued. I’m French, on my mother’s side, and the show is advertised as a “musical journey through France”. So, I’m interested to see how French this would be, especially as I incorrectly assumed Stefanie Rummel was French – she’s German. And in this review, the real critic is my own very French mother.
Austin Harrison Spitz and Crumple is an improvised, smooth-lounge concert created and performed by Ben Jardine and Liz Butler. It’s the best improvised music I’ve ever seen, and the theatrical equivalent of a warm hug from your Aunty Jan. Strap in for a rave review!
Jenny Nimon Wellington Footlights’ production of Soho Cinders is colourful and comical, and it’s great to see a show with such a big cast at times like these. According to the programme, the show was postponed from November last year due to COVID-19, after their rehearsal period was interrupted by lockdown. It’s a shame that the show has to go ahead at reduced capacity due to the recent move into the Red setting, but the performers don’t seem all that fazed and bring plenty of joy and energy to the stage despite the bare seating block.
Jenny Nimon That’s All She Wrote is Red Scare Theatre Company’s latest spellbinder. In a move that shouldn’t be revolutionary but is, this show puts the work of female and non-binary musical theatre writers in the spotlight. Red Scare promises cabaret but delivers a robust experience that doesn’t skimp on any of the theatrical elements at its disposal, while still preserving that stripped-back feeling that gives the music space to be heard.
Jenny Nimon This is Fine: A Musical, directed by Pauline Ward and James Wenley, is an ambitious piece for Fringe. It is fully devised and weighs in at a whopping two and a half hours in length. Originally, this show was devised a year ago as part of a Te Herenga Waka – Victoria University of Wellington 300-level theatre paper, but, due to COVID-19 complications, it has only just hit the stage now with an expanded cast and crew.
Lizzie Murray She has the wardrobe of Mrs Doubtfire, a heart of gold and the frightening energy of Suzanne Paul. She is Pamela Hancock, proudly brought to you from the vibrant city of Bulls.
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