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Review: The Amateur Amateur Dramatic Society – charming, darling, mwah, mwah

Erin Harrington reviews The Amateur Amateur Dramatic Society, a roaming show that developed over three afternoons during the last weekend of the Bread and Circus World Backyard Buskers Festival. This was originally published on Theatreview, in what may be their last review from Ōtautahi Christchurch. This year’s World Buskers Festival is, necessarily, a pared down… Continue reading Review: The Amateur Amateur Dramatic Society – charming, darling, mwah, mwah

Review: Hardcase Hori Housie – a night of games where everybody wins

Erin Harrington reviews Hardcase Hori Housie, which is playing in the Bread and Circus: World Backyard Buskers Festival 2021. This review originally appeared on Theatreview as part of their festival coverage. Hardcase Hori Housie is an interactive night of song, stories and games, offered as one of three evening cabaret-style productions as part of this year’s Backyard… Continue reading Review: Hardcase Hori Housie – a night of games where everybody wins

Review: The Die – a portside deep-fried thriller

Ruth Agnew reviews The Die, a new drama by Joe Bennett, directed by Mike Friend and staged at Lyttelton Arts Factory. Joe Bennett’s tale of fried fish, fate and fatality is a localised kitchen sink drama that suits its Lyttleton setting beautifully. Mack is a portside version of Death of a Salesman's Willy Loman, who… Continue reading Review: The Die – a portside deep-fried thriller

Headless Women and the politics of being seen

The performance research project Headless Women asks: what are the politics of being seen? How do women find a place to exist in a world that asks them to be, on one hand, hypervisible and objectified, and on the other, silenced and invisible? Can dance and movement offer us a different way of speaking, when… Continue reading Headless Women and the politics of being seen