Monica Moore - Page 6

Having been part of writer Leki Jackson Burke's 'south side' school experience I can validate that he has expressed the heart of the experiences of young Pasifika people as they negotiate their way through high school. A determined mother, empathetic teacher, the importance and relevance of performing arts and young people who are willing to overcome difference and find connection in their commonality are all relevant themes well represented in this contemporary piece. 

Director Kaitlin Spedding and Musical Director Ashleen Fain clearly understand the power of music to evoke theatrical catharsis, and powerfully present an emotional thought-provoking universal conflict that draws us into a heartfelt story. The artistic crafting and beauty of this top quality and professional production is one which deserves full houses.

Intelligently and meticulously directed by Zane Fleming, many layers unfold throughout this professional quality two-hour narrative. The opening minutes - sound effects in blackout effectively capture and convey the backstory - the horrors of modern day warfare - which alerts us to expect scars and wounds, emotional, psychological and physical. On lights up, we are immediately drawn into the disquiet.

Superbly directed by first time directed Robin Lane and supported by a young musical director Sammie Campbell, the forty-four cast members (aged from 6-16) have the audience laughing almost from the opening moments.  Lane is delighted to have had the opportunity to direct this show, one which he has fond memories of, as it was his first show, aged five, playing Angelo, in Fat Sam's Gang. Lane says this is why he sees the show as more like a game than a show - and indeed, that concept comes spinning clearly through the action.

As soon as you step into the gloomily lit theatre, the 'once upon a time' mystery of the fairy tale woods immediately enchants you. The blue gloomily lit scenery of the woods is so beautifully painted that it's as if you are really there. You are drawn into the story even before it unfolds. The 'magical' set is miraculous! Superbly co-directed by Regan Crummer and Paulette Hadley, the young cast (aged 10-18) engages the audience immediately and captivates them until the end.

At the opening performance of 'The Man Whose Mother was a Pirate' on Saturday afternoon it was not just children being richly entertained , but all attending who were young at heart thoroughly enjoyed a slick 50-minute musical play.

A full house on the Wednesday after opening night is always a good sign that the grape vine is sp Pukekohe Performing Arts production of 'Chicago' serves up a glitzy night of high energy entertainment.

I've never felt quite so transported into the realities of a convent or the freshness of a mountain or the sadness of a man who has lost his wife and is too aggrieved to notice his children. This is quite discombobulating (in the best possible way) considering I've grown up with the movie, appeared in the musical twice and directed it. The singing is sensational. Under the guise of Musical Director Andrew Christie assisted by Vocal Coach Kerry Ackerman the harmonies are on point and the light and shade most definitely in all the right places. Accolades to the orchestra who supported the performers so ably. Michael Potts (Captain von Trapp) has a voice that is almost too big for the senses. He worked it to perfection bringing us near the point of 'overwhelm' then subtly pulling back. Potts took the feelings evoked by the music to new heights. I could literally smell the edelweiss and those top notes - wow. He is a gifted being.

Written by Albert Belz, 'Astroman' captures a kiwi slice of life from the '80's; a heartfelt and energetic piece highlighted with humour, struggle and plenty of 'ah-ha', 'ha-ha' and 'awww' moments in all the right places.

This performance not only circumnavigated around my heart several times but captured it in a willing surrender of raw emotional energy. I have never seen or experienced anything quite like it. The raw, basal emotion that was produced from the carefully crafted vocal sounds was simply incredible; dynamics like I've never seen before. If you can go, you must, if you can't, find a way!

It's those feelings and desires to which we can all connect. Shakespeare knew this well - and the direction of this play presented a range of skilled and moving performances that had groundlings in front of me, and the audience seated in the bays of the lower gallery beside me, entirely captivated.  It is an outstanding final show in the 2018/2019 Pop Up season.

How apt being here just after the celebrations of International Women's Day! All feminists need to see this and those who are not, also need to see this. It is bawdy so leave the under 16's at home. Although billed a comedy ( and it is certainly very funny), there is a great commentary about how women used their subservient role to get what they wanted and when the nun forgives the Mayor at the end (spoiler alert!) women come out on the moral high ground - clever clever clever!

North Shore Music Theatre's 'The Last 5 Years' is a heartbreaking, emotional roller coaster from the first glorious note to the last. It's compelling and you simply do not want to miss this!

Neil Simon's 'California Suite,' a 1970's series of stories set in a fictitious Beverly Hills Hotel Room gives us a snapshot of relationships and the human condition within 4 different scenarios. Sometimes funny, sometimes poignant each piece is engaging revealing a deeper more significant insight of the characters involved.

Leading ladies Megan O'Reilly playing Dorothy Brock and Geena Hutton as Peggy Sawyer are both powerhouses of talent. O'Reilly certainly channels her inner diva, stepping into the role like a hand in a glove. She plays up her 'past her use by date' persona until she sings and dances revealing talent galore and matching her onstage rival, Geena Hutton, step for step, kick for kick and voice for voice. Hutton is superb.

While this is a light-hearted frolic through a well-crafted piece, there is irony in each of the characters and levels of social commentary particularly around the issue of euthanasia. Social status, acceptability and credibility are all well represented.

A thoroughly entertaining evening for anyone wishing to explore the early years of a master songwriter and an absolute must for fans. The songs are intimate and complex with compelling harmonies and characterisation.

Those over 18 are guaranteed a night of raucous laughter. The comedy, the skill, the surprises, the wanton sexual overtones and the laughter, oh the laughter! It's all there in this incredible show brought to you by a line up of international talent

Having already tasted 'the fine wine' after an exquisite journey with 'The Daylight Atheist', award-winning playwright Tom Scott's story about his father, I was unsure how I was going to feel about 'Joan', Scott's play about his mother. 'Joan' takes us on a different path and so it should.