Tag: theatre

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A warm endearing night out

The Best Exotic Marigold Hotel

By Deborah Moggach
Director, Lucy Waterhouse
Producers, Stewart and Tricia Macpherson, Ben MacDonald
With
Rula Lenska, Harmage Singh Kalirai, Shaan Kesha, Sudeepta Vyas, Dhiya Redding, Georgina Monro,
Helen Moulder, Edward Newborn, Cathy Downes, Annie Ruth, Paul Barrett, Ravi Gurunathan, Alvin Maharaj, Tiahli Martyn, Kate Jasonsmith

Civic Theatre, Auckland until 5 May
then St James, Wellington and James Hay, Christchurch


Review by Malcolm Calder

I simply cannot remember when I last saw a large-scale commercial theatre production in this country. Music theatre and countless concerts yes, but not a straight play. In fact hardly ever!
Marigold Hotel is a huge commercial undertaking fraught with risk and a mammoth achievement.


So, first off, congratulations to the Macphersons and to Ben McDonald.

There’s always something about entering a big theatre that takes me back. Viscerally. Especially for something like this. Maybe it’s the deliciously faux theatrical decor, perhaps that unique smell or even just the sense of occasion that can never be replicated in smaller, newer venues. As such, I cannot even suggest a more apt stage for this production than Auckland’s Civic and its Wellington counterpart – I can only presume Christchurch’s Royal is unavailable.

Although she did not write the screenplay for the movie, Marigold Hotel is Deborah Moggach’s stage adaptation and is largely based on her original novel These Foolish Things. It was first produced in the UK a couple of years back and toured extensively before a run on the West End.

This New Zealand production brings in only the revered Harmage Singh Kalirai and the popular Rula Lenska from London to reprise the roles they created in the UK, and surrounds with a local cast overseen by Lucy Waterhouse to ensure consistency.

Put briefly, Marigold Hotel is hardly a serious drama. Rather it is a comedy that is endearing and loveable tale about a group of English retirees who, for diverse reasons, find themselves in a rundown
hotel in India. While not just a retread of the film, it presumes some familiarity with that source.


Miss Lenska’s Madge is a central role, and she is rightly billed as the star, Marigold Hotel is essentially an ensemble piece (supported with some backup) and provides ample opportunity for
each of the key characters to deliver from their immense experience. Many are recognisable, even for non-theatre afficionados, and it is a joy to see such on-point timing, situational awareness and
even improvisation around a couple of minor technical hitches with nary a blink.

There is not a weak link amongst them and some will remain memorable – Cathy Downes’ Dorothy being but one example.
Conversely, Moggach’s script provides only two-dimensional roles for most of the Indian characters. Harmage Singh Kalirai is a standout as the omnipresent Jimmy, but it was the near line-less Tikal
(Ravi Gurunathan) who captures with a rivetting on-stage presence, along with Sudeepta Vyas who wheedles and manipulates her Mrs Kapoor as only some mothers can.

However, it is also true to concede that Moggach’s first act might have benefitted more from tighter editing and the opposite in the second where the final denouement is a bit brisk.

On balance though, The Best Exotic Marigold Hotel is a warm and heartfelt story with a joyous finale that assures audiences of a good night out. It is an undertaking that is far from small for its
producers, and a welcome opportunity for some of our finest character actors. All are to be congratulated.

I wallowed.

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Diptych: Memorable Risk with Rewards aplenty

Reviewed by Malcolm Calder

Reviewed by Malcolm Calder

Auckland Arts Festival

Diptych

Peeping Tom, Belgium

Kiri Te Kanawa Theatre, Aotea Centre

Diptych: The missing door & The lost room

Concept / Directors, Gabriela Carrizo and FranckChartier

Until 24 March

Review by Malcolm Calder

I normally try and write these words as soon as possible after a performance.  But this time I couldn’t and eventually decided to sleep on it.  Only I couldn’t sleep either.  In my mind images and thoughts swirled in what I could only describe as atmospheric convolution.

But first things first. Diptych comprises two parts – the first about a missing door, and the second about a lost room.  There is a third part, making it a Triptych, but we don’t see that here in this Auckland program.

My over-weaning sense of this company is the dynamic, slick and truly mesmerising movement in its choreography.  Belgian founders Gabriela Carrizo and Franck Chartier have established Peeping Tom as a unique force in dance theatre transforming hyperrealist settings into unstable universes that defy the logic of time, space, and mood.  This work and the company’s lineage to Pina Bausch are clearly evident and I can easily see why Artistic Director Shona McCullagh chose it as one of the centrepieces of her 2024 Festival.

As well as movement, Diptych also owes much to an all-enveloping soundscape that adds a hypnotic quality, overlaying music with live percussion and everyday noises.  This underpins the sheer physicality and many of the jarring and emotional shocks that lie ahead.

The staging starts out tiny and winds up using the full breadth of the stage giving it a cinemascopic quality.  And, just in case we missed it, the entire work is cinematic.  This is underscored by the introduction of rolling klieg lights, a boom mic and a set that is deconstructed then reconstructed by technicians in full view of the audience.

Completing the context, and further highlighting the illusion, are costumes that writhe and twist almost becoming creatures and taking on characters of their own, whilst echoing the movements of the dancers whose movements who, it seems, are controlled by non-logical and even gravitational forces.

Then my mind returned to ponder the word ‘convolution’ itself.  Turns out it’s a term that describes a form or shape that is folded in tortuous windings, or one of the irregular ridges on the cerebrum of higher mammals oran intricacy of form, design, or structure in which the combinations of power and the caprices of the powerful are ever-present dangers to survival (thanks Mr Merriam-Webster).

Yep, that’s about right I decided.  And henceforth, for me, Diptych became a convoluted dance theatre work.

I knew it was about a man’s mental anguish and I immersed myself in that tangled web.  It has no single direction veering between reality, memories, desires, dreams and nightmares.  At times I was slow to grasp a thread; at others I got it instantly.

Eventually I just stopped fretting about trying to work things out in any logical or linear fashion, sat back and let it wash or surge, over me.  And I’m glad I did because that is what Diptych is all about.  Rather than trying to ‘understand’ what Carrizo and Chartier were trying to say, the production itself taught me to just soak in it, to absorb it.

Yes, there was a missing door; and yes there were many surprises when some were opened.  But the perceptions, context, memory and horrors of doing so were different for every character on stage.   Similarly, an entire room got lost and the same applied.

What Festivals are supposed to do is introduce us to the new, the different and the normally unattainable.  So congratulations to the Festival for taking this risk with Dyptych.  It was certainly memorable for me – so much so that it never occurred to turn my phone back on again when leaving the theatre and I missed a raft of calls the next morning.

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A Very Old Man With Enormous Wings: Delightful Ingenuity

Reviewed by Malcolm Calder

Genevieve Hulme-Beamanand Manus Halligan

Auckland Arts Festival

A Very Old Man With Enormous Wings

By Dan Colley and Riverbank Arts Centre, Newbridge

Based on the short story by Gabriel García Márquez

Herald Theatre, Aotea Centre

Until 24 March

Review by Malcolm Calder

Director, Dan Colley

Lighting, Sarah Shiels

Sound, Alma Kelliher

Just outside of Dublin is a small town in Co Kildare called Newbridge. Its Riverbank Arts Centre, is funded by both the local authority and the Arts Council of Ireland, and it serves its community well. Rather like similar ventures in this country its facilities are available to local community groups, but at its artistic heart is a carefully-curated program featuring selectively chosen professional work from all over Ireland, the UK and Europe.

Unlike the vast majority of its New Zealand counterparts however, the Riverbank Centre is much more than just a receiving theatre. It also carefully nurtures talent and creativity and has developed into what is referred to in the trade as a ‘producing theatre’ with some of its work touring extensively

A Very Old Man With Enormous Wings typifies this. It is the work of a small cooperative group under the leadership of Dan Colley who have created a perfect show for young and old to share, gorgeously formed around music, puppetry and live video, but also thoughtful and emotionally rich in its exploration of human nature.

Its informality and studied casualness is very quickly established. Non-speaking actor Manus Halligan (well he makes some mouth-noises) is ‘doing things’ with tiny models on a table as the audience is seated. When the lights find a little focus, narrator Genevieve Hulme-Beaman simply announces “we’ve started”. She goes on to urge the audience for this offbeat adaptation of Gabriel García Márquez’s children’s story, to not go looking for a lesson. “There isn’t one.”

And that’s precisely what we get. It’s like a children’s story told by children and, as is often the case with children’s stories, introduces flashes of unexpected insight and depth. The story certainly examines the human response to those who are weak, dependent, and different and there are moments of striking cruelty and callousness throughout. But it essentially brings a magical revelation of itself to the stage and reveals itself through a beautiful, strange, emotional richness. It is offbeat, quirky, funny and its 43-minute runtime flies.

Above all it reveals what creative minds can generate using little more than ingenuity. And what can gestate in a small regional arts centre where producing is as important as receiving.

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Samoan play about the clash between traditional value systems and the modern world

Reviewed by Malcolm Calder

Semu Filipo as Pili Sā Tauilevā Photo: Anna Benhak

Auckland Arts Festival

O Le Pepelo la Gaoi, ma le Pala’ai

The Liar, the Thief and the Coward

By Ui Natano Keni and Sarita Keo Kossamak So

ASB Waterfront Theatre

Until 23 March

Reviewed by Malcolm Calder, 7 March 2024

A co-production by Auckland Theatre Company, I Ken So Productions and Auckland Festival

Director Ui Natano Keni

Producer Sarita Keo Kossamak So

Assistant Rehearsal Director Maiava Nathaniel Lees

Choreographer Tupua Tigafua

Composer Poulima Salima

Set & Properties Mark McEntyre & Tony De Goldi, GOM Arts Collective

Costume Design Cara Louise Waretini

Lighting Design Jennifer Lal

Sound Design Karnan Saba

Visual Design Delainy Kennedy, Artificial Imagination

I am a palangi and my knowledge and detailed understanding of fa’asāmoa is rudimentary at best.  So it would be presumptuous to pretend that I do – and no doubt very few Samoans would speak to me again.

My own antecedents settled here from Scotland, harking back mainly to small village communities in the north.   I have enjoyed visiting many times and am constantly learning things about their society from long ago.  So it would be presumptuous to pretend that I do – and no doubt very few Samoans would speak to me again!

My own antecedents settled here from Scotland, harking back mainly to small village communities in the north where they worked as crofters.   I have enjoyed visiting many times and am constantly learning things about their society and the customs young and productive people left behind in the fairly feudal society four or five generations ago when they sought betterment through emigration elsewhere.

However some customs and traditions travelled with them and scraps of those links remain today.  The result remains as some kind of low key but deeply-rooted spiritual melange – sort of what was ‘then’ overlaid with what is ‘now’.   Let’s face it, in my own case I have a spine that unfailingly frizzles each time I see and hear that lone piper playing Flower of Scotland high on the roof at Murrayfield before a rugby test.

All of which is a long way from Samoa. But the parallels are not dissimilar even though I approached O Le Pepelo with a certain sense of trepidation and even wondered if I had made a dreadful mistake during the first couple of context-setting scenes which are conducted almost entirely in Samoan.  Good heavens, I thought – Samoan speakers in the audience seem to be getting all the jokes while I didn’t have a clue!

But that soon changed as Samoan merged with English, my trepidatious concerns evaporated and I became totally absorbed as an excellent piece of theatre revealed itself.  You know … something about a simple story told well.  

O Le Pepelo started out that way.  The publicity machine had outlined the basic plot well – an ageing and ill village elder, concerned about who should inherit his position and status on his passing and the decisions this would require.  But that is just a context and this is a play that is so much more.  It is about a clash between the traditional value systems and customs confronting Pili and a more modern world where lifestyle becomes a determinant.  They are in no way simple.

This leads quite easily to discussion and debate, to adaptation and expectation, and eventually to a form of resolution.  Different characters flesh out these themes, and the more they do so, the more complexity and depth is revealed.  In fact, this simple story told well quickly moves to a grander more universal scale without losing its more intimate familial setting.

The bones of O Le Pepola are fleshed out with sparkling characterisations, liberal sprinklings of comedy and a remarkably competent cast, while my more personal echoes of the Scottish diaspora points to its universality.  Keni and So point to this using a fairly classic idiom that echoes the dilemma of a certain Shakespearean king.

In the village of Moa there are three key protagonists. The ill, aged and dying Pili Sā Tauilevā (Semu Filipo), a longstanding chief or Ali’i and his two children.  His eldest son Matagi (Haanz Fa’avae-Jackson) is a traditionalist with high expectations, while his daughter Vailoloto (Ana Corbett) returns from New Zealand embracing the new and the future, appalled because she cannot get a strong wifi signal.  Pili is strongly supported by his wife Fa’asoa (Aruna Po-Ching) .  But it is Masina (Andy Tilo-Faiaoga) who quietly and assuredly reinforces the dignity, wisdom and humility that underpins the both th inherited position and the play itself and becomes a significant part in its resolution.

Billed as a darkly comic exploration of mores and debate, O Le Pepola expands on something we all know a little about, gives it a contemporary currency and its key characters will remain with me for a while yet.

Auckland Theatre Company and Auckland Festival are to be congratulated on bringing this work to life.  It is on point.

Oh, and I loved the chickens.

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Not King Lear: A sophisticated play addressing social and personal issues

Reviewed by John Daly-Peoples

Auckland Arts Festival

Open stage: Not King Lear

Hobson Street Theatre Company

Until March 10

Reviewed by John Daly-Peoples

Goethe once noted that “Ein alter Mann ist stets ein König Lear” – an old man is a King Lear, meaning that the problems which Lear faced were the same for all old men.

Lear’s problems were not necessarily of his own making as events and people conspired to take advantage of him and he found himself virtually alone, deprived of home, authority and family.

This gradual loss of place in society is central to a new play “Not King Lear” which is directed by Adrain Jackson who has worked for many years Royal Shakespeare Company and with people experiencing street homelessness in London

In this latest play he has created a playful yet serious retelling of the story of an old man in conflict with his children, who gives away his authority and falls into homelessness and mental ill-health.

“Not King Lear” has had input from and is performed by members of the Hobson Street Theatre Company which works in partnership with the Auckland City Mission, with an aim to tell stories that are based on real life experiences, addressing social issues.

There is level of sophistication to the play  that is rewarding both in terms of the ideas it explores about relationships and homelessness but also in its approach to theatre.

In making use of Shakespeare’s original text, they are able to background some of the issues with a few passages from the play and some brief character and plot outlines. They present most of the Act I dialogue of the speeches of the three sisters which includes the powerful speech by  Lear.

The cast also use this as an opportunity for jokes about the characters with Regan being referred to as Vegan and Cordelia as Corduroy. There are other parts of the play which are dealt with in a light hearted and ironic way while others are eloquent and insightful.

The players are uneven in their acting skills but there is a passion and honesty to all the performances which make for a rewarding theatrical experience. Some of the actors are brilliant with the one playing Lear providing a profound and expressive interpretation of the character.

The play has elements of Shakespeare’s approach to drama with the idea of the play within play as we see in Hamlet or Midsummers Nights Dream while another sequence features is a Men’s Group which touches on the issue of estrangement.

The audience participation is at a very different level. Early on the audience was asked to take out their cell phones, divided up into groups who then have to find things on their phones which will get used later in the show. So people had to search for Branch, Climate change, Storm and Trumpet. These then  became the source of sounds which audience could then contribute to the soundscape. So when the King first appears the Trumpets let their trumpets blast away.

There is some very effective staging as in the final sequences where projected images of the mean streets of Auckland are used as a counterpoint to Lear’s blasted heath and the filmed images of the homeless pushing shopping trolleys is replicated with a shopping trolley being moved around the stage.

The inclusion of this work by the Hobson Street Theatre Company alongside international productions in the Auckland Arts Festival is to be commended and shows that New Zealand theatre has a crucial role to play in addressing social and personal issues as well as reaching new audiences. 

To subscribe or follow New Zealand Arts Review site – www.nzartsreview.org.

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Manifesto full of relentless energy and amazing invention

Reviewed by John Daly-Peoples

Auckland Arts Festival

Manifesto

Aotea Centre

Until March 10

Reviewed by John Daly-Peoples

Thankfully Manifesto didn’t have a manifesto, any sort of declaration of the intent or views on issues, but they did make manifest their intention to entertain, amaze and transport the audience.

Nine musicians with a selection of drums, cymbals and bells ranged above a group of white clad dancers who sat,  calmly  facing the audience. But then the first burst of cymbals sent a shock wave through the dancers, followed ten seconds later by another explosive sound with a corresponding eruption of the dancers – and so it begins – torrents of sound which galvanized the dancers into hectic sequences of dance.as they responded to the changing tempo of the drumming. They seemed to be responding as though to electric shocks or the physical impact of the sound waves with their somersaults, kicks, lifts, throws and breakdance moves.

In one sequence one of the dancers took on the role of choreographer / director, controlling the chaotic assemblage with wild gestures.

As with all dance the there is a connection between music and movement but with Manifesto, they are for the most part inextricably linked, each beat corresponding to a jump, twist, leap or limb  gesture.

The performances are a mix of modern dance, aerobics, gym workout, athletic workout (one practicing their archery skills) and individual self-absorbed responses.

Some of the sequences are reminiscent of the stylish Cirque de Soliel routines, others are more poetic in their grace and line. There was even sequence which could have alluded to The Rite of Spring with tightly grouped bodies. Other times their movements were epileptic, militaristic or like that of clockwork figures.

One sequence saw the dancers performance a series of fast paced pas de due as they raced around the stage showing off various dynamic, dexterous, challenging , dangerous  and expressive moves. These actions and reactions had much in common with contemporary dance

There were a couple respites and in one of periods a Bob Marley look a like engaged briefly with each of the drummers as well as the audience before being assaulted by a thunderous attack from the combined drummers.

The show, choreographed by Melbourne-based Stephanie Lake was full of relentless energy and amazing invention and there is only two more shows on.

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“The Effect”: A sizzling chemistry lesson coming to Auckland Theatre Company

John Daly-Peoples

Zoe Robbins (Connie) and Jayden Daniels (Tristan)

The Effect by Lucy Prebble

Auckland Theatre Company

ASB Waterfront Theatre

 April 16 –  May 11

John Daly-Peoples

Straight off a highly acclaimed season at London’s National Theatre, Auckland Theatre Company is presenting The Effect, written by BAFTA, Golden Globe and Emmy award-winning co-executive producer and writer Lucy Prebble of the HBO international hit series, Succession (2018-2023) in their 2024 line up.

“The Effect” will be directed by Benjamin Kilby-Henson (King Lear) and feature major stage and screen stars including; Jayden Daniels (Head High, Celebrity Treasure Island), Zoë Robins (Amazon’s The Wheel of Time), Jarod Rawiri (Long Day’s Journey into Night) and New Zealand screen legend Sara Wiseman (Under the Vines, Creamerie).

British playwright and producer Lucy Prebble shows all the razor-sharp flair that made her a star writer on Succession in this deft dissection of medical ethics and the nature of human attraction.

The review of the work in the New York Times gave it a strong recommendation.

“Are you in love, or are you merely experiencing a giddy dopamine rush? Are those two states even meaningfully different? Is there a true, innermost “you” that is distinguishable from your neurochemistry?

These are some of the tricky questions explored by Lucy Prebble’s thought-provoking play, “The Effect”

The play revolves around two young people, Tristan and Connie, who take part in a trial for a dopamine-based psychiatric drug with powerful antidepressant properties. Initially, they seem to have little in common — he’s a working class lad from East London; she’s a bougie psychology student from Canada — but as the trial progresses, a tender rapport develops.

Throughout the study, the participants are monitored by two psychiatric doctors, Lorna and Toby, who debate their findings: Is the drug pulling their subjects together, or are their feelings organic? And if one of the trial participants was actually receiving a placebo the whole time, what then? Prebble keeps us guessing.

Throughout, the pair’s gradual transition from wary awkwardness to intense mutual magnetism is convincingly rendered, in large part thanks to the actors’ terrific onstage chemistry.

Things get messy in the latter stages of the experiment, as both the doses and the emotional stakes increase, leading to a fraught and affecting denouement.

The stiltedly ambivalent friendship between the two middle-aged doctors provides an intriguing subplot. We learn that Lorna and Toby once romantically involved, many years ago. Lorna is prone to bouts of depression, but refuses to take medication; Toby, on the other hand, is a true pharmaceutical believer.

“The Effect” is healthily skeptical about scientifically deterministic approaches to emotional well-being, channeling a dissenting tradition that dates back to the anti-psychiatry movement of the 1960s; its moral sensibility recalls Ken Kesey’s  1962 novel, “One Flew Over the Cuckoo’s Nest.” The play’s revival is particularly timely as a new generation of wellness gurus have, in recent years, latched onto the idea that much of human behavior can be explained away as neurotransmitters or hormones simply doing their thing.

Prebble invites us to ponder the implications of such thinking. Connie is initially uncomfortable with the notion that two people can fall in love just like that (“It takes work,” she insists), and wary of her attraction to Tristan. He, in response, makes the case for mystery, and thus articulates the play’s key message: That a world in which all feeling is viewed as a matter of chemistry would be a bleak one indeed.”

 

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Romeo and Juliet. An entertaining theatrical production of a theatrical production

Reviewed by Malcolm Calder

Natasha Daniel as Juliet

Romeo and Juliet

By William Shakespeare

Pop Up Globe Company

Director David Lawrence

SkyCity Theatre, Auckland

Until 25 February

Review by Malcolm Calder

After a brief, and apparently successful, season of Twelfth Night at Q Theatre last year, Pop Up Globe Shakespeare Company has popped back up again in 2024.  This time with one of Shakespeare’s safest classics Romeo and Juliet running in a brief back-to-back season with a remounted Twelfth Night, at the larger SkyCity Theatre.

This venue is a far cry from the company’s heyday in the scaffolded pseudo-replica behind the Q Theatre, followed by 3 years in the leafy environs of Ellerslie.  Romeo and Juliet makes the transition well and the house-full sign was out for Opening Night.

This is rumbustious theatre with the primary aim of entertaining people.  And if it manages to change a few minds that’s a bonus.  The Opening Night Romeo and Juliet audience was an interesting and highly-varied bunch with a huge age spread and attending for many different reasons.  Not unlike the audiences at Ellerslie. Nor, come to think of it, many of Shakespeare’s own audiences.

This one ranged from boomers to their grandchildren and all points in between. There were probably some serious Shakespearean afficionados, but many seemed to be longstanding Globe-converts along with some who were just looking for a good entertaining night out, rather than a draining one with significant mental effort required to ‘understand’ often subjective new work.

David Lawrence’s Romeo and Juliet certainly had something for everyone.  No longer in the scaffold-replica Globe, he has developed a close-knit ensemble that works and moved them around both the stage and the theatre itself so that they came to own the joint. This resulted in part of the audience being on stage, and the actors spending a fair bit of time in the auditorium.

More importantly and perhaps significantly, he achieved this with a cast that largely exuded strength. Today, holding a large-ish room for a long-ish time is an effort for many actors  –  even more so when the language and its Shakespearean rhythms are pretty important and this cast manages to do so almost uniformly. Juliet’s balcony speech(Natasha Daniel) is a great example, accentuated by her very location in the theatre.  Her clarity and power was something shared throughout the ensemble.  No spoiler alert about where she was though.

In fact, all the more serious characters hold their ground well, and set things up for others to generate a load of belly-laughs.  Let’s face it, pretty much everyone knows that R&J is rife with deaths, so why not play the lead-up to them comedically.  Keeps the masses entertained y’know.  And while we’re about it, let’s make the deaths a bit gory and gruesome as well!  So it’s perhaps no accident that the ticketing categorisation for this Romeo and Juliet avoids the conventional header ‘Theatre, tragedy’ and uses ‘Theatre, comedy’ instead.  It is.  And it works.  As both a comedy, but one undershot with tragedy.

Many of Lawrence’s cast have appeared with Globe in one form or another over several years.  For example, I found Salesi Le’ota (Nurse), who I first saw in Globe’s Hamlet  5 or 6 years back, has grown immensely, developing his strength, energy and immaculate timing considerably  He is at the heart of the comedy, ably supported by Frith Horan, whose energetic, clownish Mercutio really becomes the ‘saucy merchant’ Nurse brands him to be and almost overshadows Tybalt (Adrian Hooke) and even Friar Laurence (Kevin Keys).

That said, this production remains a tragedy at its core.  And Natasha Daniel and Alistair Sewell (Romeo) give us two very young lovers drawn together by adolescent passion but tragically fated to wind up nowhere.  They carry it well.

However, this remains essentially a theatrical entertainment.  The cast is aware of this and the audience is too.  And that leaves plenty of space for the delivery of Shakespeare’s words, time to play with the emotions he has drawn and just plain have fun. 

In summary ?  Well,  Romeo and Juliet seems almost like a theatrical production about a theatrical production.  That is just great and it’s refreshingly good to see the Pop Up Globe Company at work again. – Enjoy

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An immersive Tales of an Urban Indian experience

Reviewed by Malcolm Calder

Nolan Moberly (Simon) in Tales of an Urban Indian

Tales of an Urban Indian

An immersive TIFT experience

By Darrell Dennis

Director Herbie Barnes

With Nolan Moberly (Simon) and Dean Deffett (Stage Manager)

Jan 11 to 14 2024

The Bus Stop, Corbans Estate Art Centre

Review by Malcolm Calder

11 January 2024

I went for a 90 minute ride today.  With others.  On an AT bus.  In and around some of Auckland’s western suburbs.  And an actor called Nolan Moberley told us a story. 

I’m glad I did.  Because it left me drained.  Exhausted.  And not a lot of theatre does that to me.

Moberley gave us bus passengers a character named Simon Douglas, an indigenous Canadian born on an Indian reservation in British Columbia perhaps 50 years ago.  He is a product of the Canadian Indian Residential School system. Tales of an Urban Indian focusses on his struggles with self, on family and heritage and on the world in which he lives during childhood, adolescence and early adulthood, moving into an ever-increasingly urban lifestyle. 

His issues are shared by a cohort that is international.  But the context of each is unique.

This story is moving and painful at times.  It tells of segregation, alienation and rejection.  It tells of aspiration and maybe even – hope.  As Simon says, “it’s a story I need to tell, not because it’s extraordinary, but because it’s common. Too common, and it’s not told enough. It’s a story about my people …”.

In this country we have some awareness of our own socio-historical context and, to some extent, we like to think we comprehend something of the Australian terrain too.  Or perhaps we only think we do. 

For some reason however, Canada is not imprinted on our national consciousness in the same way.  Hardly at all in fact.  And that is what made this performance so strikingly different for me.  The issues may not be dissimilar.  But the context certainly is.

Nolan Moberley gives a bravura performance, somehow keeping his footing as our big blue bus as it lurched over traffic humps and narrow turnarounds.  I’m not sure if the itinerary was random or carefully programmed but there was something deliciously ironic as we passed smashed up deserted and graffitied houses that somehow echoed the words of the script.  Or how Simon’s vain attempts to get work in films, fancying himself to be James Bond, came just as we passed some of the giant sound stages that encircle this part of Auckland.

Accolades to our driver who found his way into and through some impossibly teensy streets and to stage manager Dean Deffett who revealed stage management skills delivered by sign-language.

After 90 minutes I was starting to wonder how director Herbie Barnes would round it all off – or get Simon off the bus, to coin a phrase.  He did.  But no spoiler alerts from me.  You will just have to take your own ride to discover how.  It is fitting, apt.

First Nations theatre has developed an ever-increasing international voice over the last few decades and Talk Is Free Theatre (TIFT) is to be congratulated for sharing thus Canadian story with other parts of the world, for finding commonality there and for such a breathtakingly exhaustive bus ride.

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An Arts Festival show which has the reviewers wondering

John Daly-Peoples

Auckland Arts Festival

Scott Silven “Wonders”  

March 19 – 24

One of the more intriguing acts on at the Auckland Arts Festival this year will be Scott Silven’s Wonders.  The clairvoyant, mentalist, and performance artist has dedicated his career to unique form of theatrical  illusionism which fascinates audiences.

He studied hypnosis in Milan at 15, gained recognition from the American illusionist David Blaine at 19, and headlined one of the United Kingdom’s most prestigious theatres at 21.

In Wonders, Silven invites the audience on a journey through his childhood memories in the lowlands of Scotland, connecting his participants with the myth and mystery of the landscapes that shaped him. This show is said to go beyond the traditional theatre experience, offering an interactive, audience led, performance that explores the power of connection through illusions.

What is extraordinary about his show is the response of reviewers who grapple with trying to explain what they have witnessed in seeing one of his shows

A Melbourne Time Out reviewer said of Silven, who talks to the audience about his early exploration of the family attic –  “he also explored the corners of his own mind, and he claims that he began to discover his ability to make mental connections to the world around him in weird and wonderful ways. Interspersed in this narrative are demonstrations of Silven’s extraordinary skill as a mentalist, which involves audience members at every turn. His ability to convince that he’s reading minds – and that random audience members are able to perform similar feats under his instruction – is absolutely dazzling. The complexity of his work is spectacular, and he draws together the threads of just about every “ta-dah” moment in the final moments of the show. Even non-believers, like myself, will be blown away by the artistry.”

A Sydney reviewer was also baffled  “Silven does not perform your typical brand of magic, using visual illusions and tricks to stun the audiences. Instead, he uses the power of language and of the imagination to draw the audience in, fostering magic out of the power of human connection. One by one, he brought members of the audience up and seemed to be reading their minds. In reality, a lot of the time he was actually guiding them as to what to think. That prepared monologue at the start that felt out of place was actually an ingenious way of planting motifs and ideas in the audience’s mind that they would bring back to him later. Every little bit of speech had a purpose.

Some moments felt scarcely believable. When an audience member said their prize possession as a child was a “Snoopy” dog, Silven reached under his chair and pulled out a billboard he had written earlier predicting that the prize possession of the audience member he called upon would be a “Snoopy” dog. Is this too much of a coincidence? Did he have plants in the audience? Did he have an assistant furiously typing up a billboard backstage and slipping it under the stage curtain to his chair when we weren’t watching?”

And The Guardian reviewer said of another of his shows  “Silven’s use of storytelling and setting creates something genuinely magical, and it’s a joy to willingly suspend disbelief and slide into a sense of wonder not experienced since childhood.

And with that comes connection. Not the psychic kind Silven suggests, but the kind forged by a shared sense of discovery. Across the table, eyes are shining, guards are down, and there’s the odd report of goosebumps. The childhood game of Chinese whispers, further confounded by whisky, brings things to a delightfully silly finish.

I emerge still a sceptic, but certainly not a cynic.”