Theatre
By Jackson Coe | November 18, 2008
Red Riding Hood
Written by Roger Hall
Directed by Susan Wilson
At Circa
Nov 15 - Dec 27 & Jan 2- 17
At the opening night of Roger Hall’s Red Riding Hood at Circa, I was promised by a friend beforehand that I was in for a treat. With likable characters, cheerful songs and jokes for all ages, I have to agree that Red Riding Hood certainly was a treat.
Directed by Susan Wilson, Red Riding Hood busts out all the witty banter and gags which have kept pantomime such a popular theatre form. The mantle of the dame (aka dude in drag) is donned by Julian Wilson playing Grandma Hood. Wilson unfolds himself as a true master of the dame, demonstrating early in the show a jocular flair in his lighthearted banter with the audience.
Grandma is helped out by her daughter Mother Hood (played by Donna Akersten) and in turn her daughter Red Riding Hood (played by Danielle Mason), the heroine of the show. Both are astute performers, but Mason in particular injects a glow into her role which reverberates throughout the whole play. Red Riding Hood’s love interest, the DOC worker Lance, is played by Nic Sampson, who proves to be one to watch in the future.
Of course, no pantomime could be complete without the villain. Much to the delight of a keen and vocal crowd, the Big Bad Wolf makes various exciting appearances…but perhaps the real villain is Sir Roger Bounder, an eager property developer played with comic delight by Gavin Rutherford.
Yet my favourite characters of the evening were easily Morris and Boris, played by Jane Waddell and Jude Gibson respectively. Their overblown physical performances, often clown-like, are some of the best examples of physical comedy I have seen in Wellington this year.
The cast are fairly well supported by the show’s design features. The costumes are easily the most striking component and here Paul Jenden is clearly in his element. Built upon increasingly abundant reds, the costumes are consistent in lifting the tone and mood of the show. Although the set is a bit disappointing, it is beautifully lit by Jennifer Lal with greens and blues which offset the rich reds of Jenden’s costumes.
Pantomimes are a great way to introduce kids to the magic of theatre, and Red Riding Hood is easily the ideal Xmas outing for the holidays this year.
By Jackson Coe | November 12, 2008
Heat
Written by Lynda Chanwai-Earle
Directed by David O’Donnell
At Bats
Nov 7 - 22
Reviewed by Jackson Coe
Heat is an adventurous and ultimately absorbing show, although I must admit that for some time I wondered where it was headed. It seemed to be a rather ordinary entry for the Stab Festival, but the moment Brian Hotter waddled onstage as Bob the penguin the show came together and I found myself excited and engaged by this production.
Written by Lynda Chanwai-Earle and directed by David O’Donnell, Heat is set in a hut on the lonely and isolated wastelands of Antarctica. A husband and wife, John and Stella, are on individual research missions, she investigating penguins and he studying climate change. Their confinement and isolation soon forces them to confront the loss of their young son and the show becomes a wild ride of rage, grief, denial and finally forgiveness.
The play’s actors all excel at what they do. Aaron Cortesi plays the fiery John with gusto, while Kate Prior as Stella gives a persuasive and compelling performance. While both performers are excellent, the real star of the play is Brian Hotter as the nude penguin Bob. Hotter’s performance is simply amazing, and observing him inject a visible psychology into an animal was just superb.
The set, designed by Brian King, seems to be a remarkably lifelike rendition of an Antarctic hut (I say seems because I have never been to one myself). Tucked into a corner and embraced by audience on two sides, it develops a physical intimacy across the course of the show which allows us access to the feelings of cabin fever experienced by the two characters. The exterior set components are more abstract, with a jagged glacier leading to a block of real ice, which works well but isn’t quite as fascinating as inside the cabin.
Some of the lighting is emitted directly from onstage sources such as small lamps and torches, contributing to the naturalism of the show. There are also some more standard pieces of lighting equipment which help create an almost spooky ambience. These are said to be powered by sustainable energy sources such as solar panels, which is an excellent and thought-provoking idea. However, some claims that the power sources may not be as efficient as we are lead to believe may diminish the show’s credibility in this area. (see here to debate the details)
Gareth Farr’s haunting soundscape is another of the show’s strengths. The hollowness of the Antarctic is beautifully invoked through what could be the distant cries of whales or animals. At first his compositions don’t seem to totally match the chipper dispositions of the characters, but by the end of the show they have grown to mirror their bleak emotions which helps us make sense of what they are going through internally.
Heat is a great play which takes some time to warm up, but come the ending it is clear that it is a worthy addition to this year’s Stab lineup.
By Jackson Coe | November 9, 2008
The Little Dog Laughed
Written by Douglas Carter Beane
Directed by Willem Wassenaar
At Downstage
Nov 7 - 29
Reviewed by Jackson Coe
The music is pumping, the lights are flashing and the crowd is roaring as we enter the auditorium at Downstage and take our seats for The Little Dog Laughed. The faux excitement is infectious.
Yet with closer inspection we see hints that the play’s themes are more harrowing than we may at first assume. The atmosphere is staged. The iconic ‘Hollywood’ sign, a symbol of stardom and fantasy, lies scattered about in ruins. Dreams are in pieces and we are about to explore the tough reality that the things we want and the things which will make us happy are not always the same thing. This stunning production shows that director Willem Wassenaar finds it no struggle to demonstrate again and again his sharp aptitude for directing riveting theatre.
Richard Knowles plays Mitchell Green, a rising actor on the brink of stardom who ‘suffers from a slight recurring case of homosexuality’. His agent Diane, played by a saucy Renee Sheridan, is trying her hardest to make sure Mitch succeeds while helping to keep his sexuality a closely-guarded secret. Her efforts are undermined when Mitch falls for Alex, a young rent-boy played by Kip Chapman. In a series of racy exchanges we see the two exploring an intimacy which gradually turns to love. The show comes to a climax when Alex’s sometime girlfriend Ellen, played by Sophie Hambleton, returns with a complication which could either be a serious problem or a genius solution.
Amidst the more notable strengths in this production is the script, a quality work penned by American playwright Douglas Carter Beane. We know that Hollywood films push an idealised version of heterosexual love, and that the industry which surrounds it is no better. In undermining many typical narrative components the play taps into a more subversive analysis of human relationships. For instance, one of the driving forces of the action is agent Diane’s work to get a play turned into a movie; in a self-referential twist, it seems to be suggested that it is the very play we are watching that is being discussed. We think that we are breaking away from the Hollywood system until we hit the ending, when we realise that the might of the Hollywood machine, that picture of happiness which habitually shapes us into its image, cannot be escaped so easily. All in all, it is in my opinion a damn fine piece of writing.
The play’s themes are reinforced well by Daniel William’s original set design. The set is comprised of the ruined letters of a Hollywood sign, signifying that we are treading a world beyond Hollywood ideals where the true desires of the individual may have more chance of being realised. His set pieces move fluidly and surprisingly naturally about the stage, considering their size and shape, and the whole visual package is remarkably crisp.
The play’s content is suitably challenging for actors and audience alike, and here director Willem Wassenaar has guided his players superbly. The stage is alive from beginning to ending, and a range of risque moments are handled with utter expertise…it’s pretty safe at this point to say that Wassenaar knows his hot men, that’s for sure.
This play is a great piece of contemporary theatre with real themes, engrossing performers and a pertinant message. Wassenaar’s work continues to be some of the most interesting and engaging in Wellington, and the future of Wellington theatre will be bright as long as he is here.
By Jackson Coe | October 30, 2008
Apollo 13: Mission Control
At Bats
Oct 18 - Nov 1
Reviewed by Jackson Coe
The promise when entering Apollo 13: Mission Control is of an interactive and immersive theatre experience where the audience directly take part in the action, and for most of the audience this promise is delivered upon.
In this creative and enterprising STAB show, the audience take on roles as operators in the control centre for the Apollo 13 space mission. The interior of Bats has been ripped up and restored with cool space-mission consoles equipped with flashing buttons, headsets, phones and monitors. Unfortunately due to space constraints there are not enough consoles to go around and some people, such as myself, are shunted up the back and miss out on playing with all of the exciting gizmos and gadgets.
The bulk of the show is well crafted. The most stricking apect is a generous and sophisticated serving of multimedia, including a live feed of the astronaughts as well as images of the real shuttle in action. James Milne’s evocative compositions assist in setting a respledent tone for the show and are exceptional pieces of music even on their own.
As an interactive theatre piece the show relies on actors who are capable and confident in working with an unfamiliar crowd every night. Jason Whyte holds down this talented group as the control room boss Gene Kranz, a man under immense pressure who must issue orders to everybody in the room as the mission turns to a disaster around him. Dramatic tension is explored through the presence of Michael Whallen, played by Michael Whalley, who questions Kranz on a few of his decisions. All of the actors are very good at what they do in the show.
While the work itself may be good enough, when I entered the auditorium for the first time I was immensely dispirited to see that I had been forced up the very back, missing out on all the cool equipment (chairs, headsets, buttons) which everybody else recieved. As I watched the people up the front enjoying themselves I became steadily more annoyed that I had been tossed the arse-end of the experience. My heart did flutter with excitement a little bit when we had to check under our seats for folders, and I enjoyed exercising my brain with some on-the-spot algebra, but ultimately this show failed to deliver on the experience it promised me. I was disappointed.
By Salient | October 20, 2008
An ex-Salienteer is in this free production. Check out the the review here. More
By Jackson Coe | October 13, 2008
Wait Until Dark
Written by Frederick Knott
Directed by Peter Hambleton
At Circa
Oct 11 - Nov 8
Reviewed by Jackson Coe
Wait Until Dark is teeming with flair from before the curtain even opens. I’m often one to get quite excited by curtains, especially when they are used with panache. The magnificent red curtain which greets us as we enter the auditorium to see Wait Until Dark hints at a rich experience to come, an experience which is cleverly constructed and masterfully executed. A show such as this is what plays are all about; a robust script, a detailed design and superb acting. More
By Jackson Coe | October 12, 2008
Adagio
Directed by Deborah Pope
At Downstage
From October 10
Reviewed by Jackson Coe
There has been a hum about Downstage for the last few weeks which shows no signs of diminishing. Following On The Conditions… and Bare, we are granted the spectacular circus Adagio, directed by Deborah Pope with original music by Jonathan Crayford. The show is an exciting demonstration of physical aptitude which blurs boundaries between theatre and circus (if, indeed, there are many to begin with). Adagio is an action-packed spectacle which is definitely a crowd-pleaser. More
By Jackson Coe | October 12, 2008
Tryst
At Studio 77
October 7 - 10
Reviewed by Jackson Coe
Sexual politics abound in Vic’s final three shows of the year.
The opening play is written by Tony Kushner and has a rather long title, which I shall write here in full simply for the novelty of being able to do so. It is called Terminating, or Sonnet LXXV, or Lass meine Schmerzen nicht veloren sein, or Ambivalence, and is directed by Charlotte Bradley. Hendryk is a self-proclaimed gay man, played by Ralph McCubbin Howell, who has developed an unhealthy connection which he takes for love with his psychologist, herself gay, played by Hannah Smith. It becomes apparent that the two are both incredibly lonely despite also being involved in separate relationships, and their complex entanglement explores, to appropriate the title, an ambivalence towards sex and sexuality. More
By Jackson Coe | October 6, 2008
Okay guys, bear with me while I try my hardest to make this final column good but not pretentious. Pretentious wrap-ups really fuck me off.
If you’ve read these pages from time to time throughout the year and enjoyed them, I’m glad I’ve done my job. If you didn’t read the pages, that’s all good coz you were probably going to the shows, seeing them for yourselves and making your own decisions about what’s good and what’s not. I mean, what the hell does a critic know anyway? More
By Jenna Powell | October 6, 2008
The THEA 324 production of Journey to the West “may not be for everyone,” but one must admire the rhythmic use of time, space and movement used by the cast. Journey to the West is based on the classic Chinese novel Xi You Ji which blends together traditional Confucianism, Daoism and Buddhism. More
By Fiona Clark | October 6, 2008
A four-year-old girl whose imaginary friend pitches up with a suitcase full of dildos and pornography and then snorts cocaine and throws rubber penises around the room? Disturbing. I like the fact that this particular show is sponsored by D.Vice (they of marketing genius and designer sex gear for adventurous folk). More
By Jackson Coe | October 4, 2008
Blasted
Written by Sarah Kane
Directed by Kat Thomas
At The Basement Theatre, Toi Whakaari
Oct 1 - 4
Reviewed by Jackson Coe
It’s funny to think that just a few months ago, Sarah Kane was barely a blip on my radar. Yet in the space of just a few months, I’ve been exposed to two of her most daring and provocative works. They sure don’t describe her as a Brutalist for nothing - her work certainly commands a strong reaction. Kat Thomas’ production of Kane’s Blasted at Toi Whakaari is a remarkable realisation of Kane’s first play, and is every bit as intense and dangerous as I was expecting. More
By Fiona McNamara | September 29, 2008
Hailed as an icon of New Zealand theatre, Toa Fraser’s Bare celebrates its tenth anniversary with this Silo Theatre production at Downstage.
Under the direction of Oliver Driver, Morgana O’Reilly and Curtis Vowell commit convincingly to fifteen characters, whom they impressively flip between. A highlight was certainly O’Reilly’s hilariously “profound” lecturer. More
By Jackson Coe | September 29, 2008
Written by the Russian Romanticist Alexander Pushkin, The Little Tragedies is a series of three short plays based on various European stories. These classic myths range from a tale about Mozart and Salieri we might recognise from the movie Amadeus, to a story about the infamous Don Juan and a cheeky statue. More
By Jackson Coe | September 22, 2008
From within the spectre of a looming election emerges On The Conditions and Possibilities of Helen Clark Taking Me as Her Young Lover. The show, now its second run in Wellington, is a polished gem of political satire dedicated to that thought which has crossed most of our minds but which we normally would dare not say aloud - that unutterable topic of Helen Clark’s sex life. More
By Salient | September 22, 2008
What do Arabs do on September 11? Play doublestack Jenga! And inevitably Ibrahim (the funny one) will get out the jelly jet planes for laffs. That is, according to Noor Razzak at San Fran Bathhouse’s Double Header comedy show. More
By Jackson Coe | September 22, 2008
A subtle sense of morbidity hung over THEA 304’s latest season of plays. While humour was the course of the day for all three of the plays offered, each was marked by a hint of darkness and even death. Empty Pleasures offers an eclectic mix of plays which are fun yet slightly gloomy. More
By Uther Dean | September 15, 2008
‘In all the human race not one trace left of my dream.’ Empty Pleasures, the third season of works to come out of the directing course THEA 304, is a triptych of darkly comic plays about the bittersweet gap between wish and reality, expectation and execution. More
By Jackson Coe | September 15, 2008
I laughed, I cringed, I cried (a little), but most important of all, I totally related. Neil LaBute’s Some Girl(s) is a ‘how-not-to’ guide, outlining exactly how not to deal with past relationships. Don’t call them if you don’t love them any more, don’t call them if your affair is over, and don’t call them if you don’t care. More
By Fiona Clark | September 15, 2008
Each year Footnote Dance (the company developed in part to provide professional opportunities for contemporary dancers outside of the Royal New Zealand Ballet) showcases the work of a significant choreographer. In the third annual Forte season the company chose Claire O’Neil, whose work Mtyland formed the feature work in a series of three performances. More
More music articles
