Monica Moore News

The synergy and 'flow of the show' were perfect due to excellent direction and a talented cast who fully invested and understood what was required. Bravo to them all for achieving this.

From the vibrant opening number (The Anti-Polio Picnic), the cast let rip with power and passion that does not drop throughout.  Each performer grabs every moment with intensity and commitment to showcase their learning and talent while displaying their devotion to the craft.  The lyrics are crisp, witty and genuinely laugh-out-loud funny if not cringe-worthy. (I dare anyone not to watch a?oeGirl, Can I Kiss Youa??.?a?? through their fingers.)  The rockabilly score adds energy and pep and the music (with band skilfully led by Musical Director, Kate Marshall) is immaculate.

a?oeNeighbourhood Watcha?? shows that veteran playwright Alan Ayckbourn still has his finger on the social pulse. Alan Ayckbourn said that, a?oeI'm always a great believer, when I write a play, to narrow it down to the people. Plays are about people for me, not about issues a?' the issues arise from the people.a?? 

Teen angst is currently in the spotlight on Broadway, with the bullying and suicidal themes of 'Dear Evan Hansen', the catty coterie in 'Mean Girls' and the outcasts of 'Be More Chill'. The American high-school has been used as a familiar setting for any number of musicals over the past 70 years to great success and BARE: A Pop Opera is a dark, rock musical that incorporates the stereotypical characters of the high school genre and their respective struggles with self-discovery, sexuality and acceptance.

Highly polished quality vocal performances in 'A Night of Cabaret' delighted a full house at Papakura's Theatre Company on August 31 st . Queen Street, is a highly accomplished female quartet (Renee Maurice, Emma Bishop, Chantel Wilson, Sharon Hewlet), and in their inaugural appearance, wowed the audience with a wide range of genre in their songs from musicals and films.

The singing, both chorus and solos, put the quality in quality with each number being so good that it was difficult to comprehend that the next one would be too. But out they rolled, one after the other; simply supreme.

I don't think I've ever felt as uplifted on a wet wintry Tuesday evening as I was at the opening night of Barbarian Productions'

Mark Steyn called My Fair Lady the 'perfect musical' with the 1956 Broadway production winning a number of Tonys and setting records for the longest run of any show on Broadway up to that time. It has since been followed by numerous revivals including a popular film version starring Rex Harrison and Audrey Hepburn in 1964.

It's funny, it's a social commentary, there's satire and pathos. There's human connection in spite of the social constructs dictating division and there's betrayal, examination of conscious as well as frivolity and superficiality. And the notion that we are more connected than we think was made popular by this play.

The production team have brought together a creative collaboration that well- celebrates a much loved story. Director Stephanie Green, Musical Director Terry Gentle and Choreographer Nikoia McKelvie have been thorough in their work and come together to present something very special to the local community. Very special indeed.

The forest dwellers were mesmerising. The use of Te Reo to portray Shakespeare-speak was beautifully executed. Accolades to Anatonio Te Maioha in his portrayal of Oberon and Renaye Tamati as Titania. These two brought a level of myth, the spiritual and passion totally enhancing, honouring and making the story part of 'us'. Beautiful. The forest scenes were spellbinding with ancient creatures of myth and legend replacing the usual fairies. Those who could not understand the Te Reo could still understand the story. Te Maioha and Tamati respectively played the roles of Theseus and Hippolyta wearing a clever combination of traditional and Maori. Clever. Reuben Butler as Puck is sensational with his agility, delivery and all round high energy.

Watching the groundlings interact with the cast on Saturday night was heartening. Young people fully engaged and wanting more - eager to participate in all the goings-on. Yes! Frivolity, flippancy and folly hit the mark with the full audience despite Auckland turning on it's coldest and windiest weather that could have easily distracted and derailed. But the weather was no competitor for the waves made from leaf blowers, the stylised french sailors, the stunning costumes (Valentine's was my new all time favourite ever) and the general tomfoolery highlighted within this great yarn of disguise and dissipation (whether calculated or heart-felt)

The manic physical shtick is perfectly delivered and both director and cast have hit the mark. This is not easy to achieve particularly within a static set but it is so well delivered that we were mesmerised and fully into all the goings-on. The laughs were hearty and came in the right places and the more I noticed each character's actions the more I laughed.

The vocals, particularly the sensational harmonies more than did justice to honour the music of Stephen Sondheim

Director Cian Elyse White assisted by Romy Hooper has captured the heart of this beautifully crafted story by NZ Playright John Broughton bringing together a young Maori man and a young Scottish woman in the commonality of appreciation of the beautiful views from the lush hillside of Ngā Puke in Hawke's Bay. Waru,(Kimo Houltham) a young Māori farmer, and Angie,(Simone Walker) a budding Pākehā artist of Scottish descent, accidentally meet and despite their vastly different backgrounds, they have an immediate connection. As the Second World War breaks out, Waru joins the Māori Battalion and Angie becomes a nurse. When their paths cross again on Crete, much has changed. Will the two make it through the horrors of war and back to the beautiful pastures of Pōrangahau?

Set in post-Nazi Netherlands, the story is delivered through the eyes of 9 year old Thomas and highlights his perspective on the domestic violence within his family headed by an abusive Christian fundamentalist. Underpinning the story is the great kindness that people are able to give despite their circumstances and the willingness to stand up for love even from a position of apparent powerlessness. I can't help but think of our own social problems here in New Zealand and how this play is an excellent reflection of how a community can overcome.

The story, music and delivery, takes one by surprise settling right into the middle of the heart and morphing raw emotion through the veins; simply 'taking over'. The daily norms of behaviour evaporated and I was 'in' the show. I was transported to a place of primal emotion that pushes past control to a place earthed in the rawness of connection and love. The very essence of human emotion, need and desire juxtaposed against 'how it should be' is brought to the fore in a beautiful simplicity. Jesse Peach's vision of simplicity and allowing the emotion to be 'enough' had to be cleverly crafted. Illumination of humanity within simplicity hard to acheive and he's done just that.

This is a great gift to your children in the holidays when you are looking for something to do- but it's only on until July 14th so book quickly!

This is great gift to your children when you are looking for something to do in the holidays; books, music, laughter and fun! This was our first trip to a Tim Bray Theatre Company show but it won't be our last! Bookings are filling fast so I'd recommend you get organised so you don't miss out!

After years of hard work and countless rejections, Eleanor's first book is finally published. Her closest, and rather up tight, friend, Addison - who has sworn not to throw a party in her honour - promises an event of conservative proportions and 'close friends' only. What ensues is an evening of dysfunction, drama and dismay as secrets are are outed, dreams are shattered and relationships stretched to their limits.