Everything in: Reviews
An exhibition about the Pacific should centre Pacific scholarship, right? Lana Lopesi asks this question of Te Tuhi’s Moana Don’t Cry.
Matariki Williams explores the diverse experiences of motherhood through the work of ten mother artists.
Lana Lopesi explores the reawakened practices in Te Uru Waitākere’s ʻnames held in our mouths’.
Chevron Hassett reviews the potential and the future of ‘Māori Moving Image: An Open Archive’ at the Dowse Art Museum.
Simon Palenski considers Christchurch Art Gallery's latest photography exhibition, Nathan Pohio, and the story of Aotearoa.
Returning to her grandmother’s home in the Lac Seul Reserve in northwestern Ontario, Canadian choreographer of mixed Oji-Cree and settler heritage Lara Kramer confronts a latent war lurking under the surface. Madeleine De Young reviews.
New Volumes critic Waveney Russ digs into the decolonising power of Grace Bentley's new one-woman solo at Basement Theatre.
James Tapsell-Kururangi explores the themes within the work of Chevron Hassett, of whānau, whenua, whakapapa and finding connections in cities, and across oceans.
How do we deal with doomsday on stage? New Volumes critic Rachael Longshaw-Park goes from the board room to the Basement with Fractious Tash's latest surrealist apocalypse.
New Volumes critic India Essuah heads into darkness with Working On My Night Moves, a new performance work from Julia Croft and Nisha Madhan that challenges us to imagine a world radically reshaped around feminism.
New Volumes critic Rachael Longshaw-Park reviews Bad Mood, choreographer Tallulah Holly-Massey's compelling final entry in her Basement Theatre residency.
Rewritten and remounted after a season at Te Pou earlier this year, Such Stuff As Dreams is a romance about a restless barista and a schizophrenic busker. New Volumes writer India Essuah reviews a show whose appeal lies in the little things.
White Man Behind A Desk Robbie Nicol leaves his desk behind in this new hour of jokes, pratfalls and thought leadership... for one specific thought, anyway. New Volumes writer George Fenwick reviews the TED-esque end result.
What if spaces designed for living in were given over to art?
Francis McWhannell asks whether the real Simon Denny might be standing up.
Antony Millen responds to Michalia Arathimos' debut novel Aukati and finds a complex relationship forms between himself and the story.
Shannon Friday reviews the Circa Theatre production of Venus In Fur, a surprisingly coy adaptation of a steamy, brilliant script.
Finnius Teppett's new script plays fast and loose with narrative convention as it explores the complexity and inevitability of human connection. Mia Gaudin reviews it and finds that its pleasures ebb and flow.
Now performing in their home town after a season in Edinburgh Fringe, Binge Culture's Ancient Shrines and Half Truths turns residents into tourists. Matt Loveranes reviews.
Hannah Banks reviews BATS Theatre's STAB production for 2017, Body Double, a fierce, exciting whirlwind of personal stories and semiotic discourse around sex and sexuality that doesn't always pull you in.
Silo Theatre's latest production sets Prokofiev's Peter and the Wolf in a magical miniature Auckland. Madeleine de Young reviews.
Director Ben Henson's bold Auckland Theatre Company mainstage debut opened last Thursday. Sam Brooks reviews.
Adam Goodall reviews Under, a "modern day memory play" that involves the audience in one character's act of remembering and takes us on an affecting, if familiar, journey.
Matt Loveranes reviews Waylon Edwards, Jane Yonge and William Duignan's strange, surreal WEiRdO, a comedy about a finding your identity in a Pākehā world that would rather you didn't.
Adam Goodall reviews Lucy Marinkovich's dance/theatre/cabaret mash-up Lobsters, a thrilling exploration of identity, love and a lobster telephone that Dalí made one time.
UnstuckOpera present their second work, an intimate opera/cabaret based on Schubert's Winterreise song-cycle. Kate Prior reviews.
Melissa Laing reviews the two shows which made up Uther Dean's double bill last week at the Basement
Shannon Friday reviews an unconventional and deeply moving night of storytelling and interview about the New Zealand sex industry, as told by the industry.
Paul Young reviews the highly-anticipated new work from New Zealand choreographer Sarah Foster-Sproull.
Shannon Friday reviews Satisfied Customers, a new play by Ben Wilson (I'll Be Fine, Fred Is Cold) about love, loss, desperation and mediocre pop-rock.
Adam Goodall rocks up on to Johanna Cosgrove's Aunty, a hilarious one-woman family reunion, and falls for its flamboyant titular host.
The big-budget 80s spectacle currently playing in a West Auckland warehouse leaves Kate Prior severely underwhelmed.
Ella Gilbert's solo show plays with ideas of constructed femininity. Jess Bates reviews.
Adam Goodall reviews a new trio of short plays by prolific Palmerston North-based writer Angie Farrow, now at BATS Theatre.
Janet McAllister reviews Rutene Spooner's Super HUGH-Man.
Mia Gaudin reviews Eamonn Marra's I, Will Jones – some deft storytelling about being a bit lost.
Matt Loveranes reviews My Accomplice's return to the Wellington stage after an 18 month hibernation, and finds an emotional and hopeful portrait of depression, anxiety and the difficult relationship between two sisters.
Jackson Nieuwland reads Black Marks On The White Page and asks himself, what makes a story?
Erin Harrington reviews Arthur Meek's new work, a slippery re-interpretation of Samuel Butler's Erewhon for our times.
Erin Harrington reviews Christchurch Arts Festival's premiere season of a new musical by Luke di Somma
Adam Goodall reviews Anahera, a 2016 Adam Award finalist that’s hard to discuss without ruining its most remarkable turns, and hard to praise without some key regrets.
The importance of challenging history, Jessica Douglas on Brett Graham's recent exhibition.
Amy Weng reviews Alice Canton's ambitious documentary work currently playing in the Matchbox season at Q Theatre.
Maraea Rakuraku reviews Caging Skies, an anemic and stubbornly old-fashioned drama about a Hitler Youth who discovers his family is hiding a young Jewish woman.
Miria George's latest is a hard-edged sci-fi dystopia about a New Zealand starved of water; Adam Goodall digs into its important, impatient broadcast.
What does a name really hold? Hana Pera Aoake considers Quishile Charan and Salome Ofa Tanuvasa’s recent exhibition at Enjoy Public Art Gallery
Melissa Laing reviews Shane Bosher's production of A Streetcar Named Desire and finds a production in which the Louisiana heat feels surprisingly cold.
Jo Randerson and Thomas LaHood dig deep into the absurdity of gender performance; reviewer Hannah Banks joins them for the ride.
