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Featured and Performing Arts

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    • Review: Rent
      • Christmas has come early to Gryphon Theatre, with Kauri Theatre Company’s tinselled up production of Rent selling out before opening to those begging for a chance to see creator Jonathan Larson’s iconic Winter-set musical. I am grateful director Lox Dixon has tackled such a huge artistic project to bring Rent back to Wellington, so I […]
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    • Review: Ruthless
      • Reviewed by Talia Carlisle “Where does talent come from?” This is the key question asked by character Sylvia St. Croix (Bea Lee-Smith) in Kauri Theatre’s talent-full production of Ruthless at Gryphon Theatre on until Saturday. The show, directed by Bonita Edwards is brimming with talent from Bea Lee-Smith’s sequin covered entrance. There’s cheerful dance numbers, […]
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    • Review: NO SLEEP
      • Reviewed by Rebecca Stubbing. Friday the 13th was the perfect occasion for NO SLEEP, a joyfully chaotic improv show presented at this year’s New Zealand Improv Festival. The show began at 9:30pm on the wonderful Stage at BATS Theatre, and the slightly sleepy audience were immediately reassured by the performers not to worry, we were […]
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    • Review: A Bit Dramatic
      • This show was incredibly popular and got reviewed multiple times during the Improv Fest! Check out a variety of those reviews below. – Reviewed by Thalia Kehoe Rowden In an intense, moving 60-minute show, the cast of four take inspiration from real-life journal entries – unseen until the performance – and invent and explore the […]
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    • Review: Mamma Mia!
      • Te Auaha’s Musical Theatre cohort for 2023 is bringing Mamma Mia! to our shores this September, and we are all better for it. A spellbinding, fabulous version of Catherine Johnson/ABBA’s jukebox musical knocked my absolute socks off last night, and I’m seriously considering going back to see it again. You might have seen the 2008 […]
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    • Review: Prima Facie
      • By Nadia Freeman Prima Facie shares an authentic story of a woman’s experience of assault and navigating the judicial system to seek justice. The nearly sell-out season demonstrates that despite the raw and challenging subject, there is a strong calling for stories like this.   Rape is a word people don’t want to say, and for […]
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    • Review: 35mm
      • By Talia Carlisle Everyone is talking about 35mm, and it’s not a measurement, but a movement it seems, from the sound of new fans I’ve talked to. 35mm is a musical written by Ryan Scott Oliver on at Gryphon Theatre until Saturday, which incorporates music, original choreography and a live band led by musical director […]
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    • Review: Fifty Shades of Ray
      • Reviewed by Talia Carlisle. On a rain-splattered Wellington evening, I find myself refuge in BATS Theatre’s Studio space where paper “worries” are hung on string across the small stage. An eager smattering of audience members buzz in excitement, waiting for Ray Shipley to enter, fresh from a popular Christchurch season with a well-crafted set ready […]
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    • Review: Romeo & Juliet
      • Image credit: Stephen A’Court Reviewed by Talia Carlisle What a magical place Wellington is, when you can start your evening with gin and fresh seafood at Cinderella’s for the Wellington on a Plate Launch – and pop down to the St James Theatre, home of the Royal New Zealand Ballet for their opening night of […]
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    • Review: Into the Woods
      • Image credit: Maeve O’Connell. Reviewed by Talia Carlisle Not dissimilar to the high fashion of the Met Gala, I adorned my best tiara and lavender frock, ready to descend Te Auaha’s stairs to Witch Music Theatre’s Into The Woods. There isn’t a more magical staircase to a fairytale full of laughter. If the eye-catching advertising […]
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    • Review: Concept for a Film
      • A Beautiful Harmony of Theatre, Music and So Mush Spore.   I loved the novel format of storytelling that ‘Concept for a Film’ delivered. The scene opens with Max Barton, sitting at a desk that faces the audience, reading out the script for a film. These readings are intermittently dispersed with many disruptions including phone calls […]
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    • Review: The Sensemaker
      • Produced by ‘Woman’s Move’ from Switzerland and co-directed by choreographers Elsa Couvreur and Iona D’Annunzio. The Sensemaker starts as a clever and understated comedy that uses dance, movement and sound as its main devices. Theatre like this is at its best when minimal and perfectly timed, which is a key strength of The Sensemaker. The […]
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    • Review: The Culture
      • The Culture, starts before the performers come on stage with a montage of video footage of news articles on systemic and political misogyny. This sets the scene for the everyday ways women are disadvantaged that are so embedded, that they often go unnoticed. The newsfeed soon fades out, the lights come up, and Will and […]
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    • Review: Limits
      • Reviewed by Nadia Freeman Photo credit: David Vagg This is no typical dance number meant to distract and delight you with sparkles and clap-along numbers.  Limits sits in the realm of theatre that is to challenge its audience and give them a chance to view what it might be like to step into the shoes […]
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    • Review: Professor Wild Returns
      • I’ve never seen a show at the zoo before, but that’s where Professor Wild Returns takes me for my first review of NZ Fringe 2023. Another entry in the incredible Austin Harrison Theatrical Universe, this solo show resurrects Harrison’s segment ‘Professor Wild’ from What Now in 2009 as a full-length show for adults, set amongst the climbs of the […]
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    • Review: The Griegol
      • We need more shows like this. The kind that effortlessly transports you to the same childlike sense of wonder, akin to the first time you are read what will become your favourite story. And it is no coincidence that The Griegol, written by Hannah Smith and Ralph McCubbin Howell, revolves around the power of storytelling. […]
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    • Review: Owls Do Cry
      • Owls Do Cry is not your typical theatrical retelling of a book. Instead, it is a complete reinterpretation of the work through movement, design and song.   The show starts very light-hearted with a chorus of singing, movement and audience interaction. As the show continues, however, it draws you into the real pain and fragility of […]
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