Welcome to a world we thought we knew. A world where ‘pure imagination’ makes children feel like anything is possible. These dreams will be stomped on as you visit the factory of Willy Wanka: a complete disaster and downright wanka. Willy Wanka follows the original plot of Willy Wonka and the Chocolate Factory, but with the added threat of bankruptcy. You’ll need to go and see … Continue reading (Im)pure Imagination
Avenue Q is an amusing and cleverly written musical that covers sex, unemployment and even race with wit and daring. University College’s production, however, failed to reach the full potential of the script, as the songs and comedy often fell flat and satire was stifled by crudity. The show opened with a stumble, in part due to sound issues that lingered throughout the performance. While … Continue reading A Different Avenue
There’s nothing quite like the warm, supportive atmosphere of a college-majority crowd at a college play. The opening night audience of Newman’s production of The Importance of Being Earnest fed the energy of the performers, such that an already peppy play was bouncing off the walls in a way that was wonderful to watch. The most prominent stylistic choice in this production is the heavy … Continue reading Earnestly Entertaining
Aotu Theatre’s The Pillowman J: The ease with which McDonagh’s vague police state in The Pillowman was re-contextualised into the setting of communist China was pretty startling, and probably one of the strongest choices made in Aotu Theatre’s production. A legitimate, contextually appropriate police state? Check. A history of police brutality, false accusations, and silencing of artistic expression? Check. Effective, culturally meaningful and politically … Continue reading McDonagh Made New
There were a few things running through my mind when I settled down to watch Cabaret on its third and final night of performance, in what appeared to be a full house at the Union Theatre. The Emcee (Jack Wright) jumped straight into a rendition of “Willkommen”: Willkommen, bienvenue, welcome! Im Cabaret, au Cabaret, to Cabaret. The first of these was the question: what makes … Continue reading Cabaret
In her directorial debut for Union House Theatre, Petra Kalive has guided Echo’s strong cast to create a devised work that is both entertaining and thought-provoking. The performance opens with a brief retelling of the Greek myth of Echo and Narcissus before moving on to a series of self-contained scenes examining narcissism in contemporary culture. From the first scene the actors establish that high energy … Continue reading Echo: Review
Kissing Booth trails the debacles of four university-aged adults as they flock together in awkward get-togethers and interpersonal relationships, which culminate in a shocking conclusion. N.U.D.E.’s first ever production is generally well put together, with the set kept minimal but effectively dressed, and set pieces – especially the cumbersome kissing booth – used economically and cleverly. The production’s stronger moments, such as Ingrid (Rosie Yates) … Continue reading Kissing Booth
Thoroughly Modern Millie takes us on a journey through the Roaring Twenties – a decade characterised by its cultural edge and economic prosperity. From the small town of Kansas, Millie Dillmount sets off on an adventure to find herself a job and marry her rich employer. Although an easy plan in theory, Millie struggles with choosing between wealth and love. Overall UMMTA’s revitalisation of the … Continue reading Thoroughly Modern Millie
The Book of Everything is a sweet and thoughtfully devised play that shows post-war Amsterdam through the eyes of an overly imaginative nine-year-old. With a cast of just twelve and a set seemingly made of cardboard boxes, young Thomas’ world is immersive as soon as you step into the theatre. Erin Nicholson was endearing in the lead role and did an impressive job conveying the … Continue reading The Book of Everything
Guided by focused performances, Liam Bellman-Sharpe’s Antony and Cleopatra is an engaging production that seldom slacks in pace as it hurtles towards its tragic conclusion. Genevieve Cassin in particular cuts a powerful Cleopatra, whose remarkable stage presence commands respect. The control she exudes on the stage makes clear that the puppeteer in this game of political intrigue is Cleopatra, and her boundless ambition is absolutely … Continue reading Review: Antony & Cleopatra
The Dialog 