Director: Dan Pengelly
I’m always excited to go to Centrepoint Theatre to enjoy one of their consistently good shows, and who doesn’t love a bit of Peter Pan? It was only as I approached the doors at the earlier than usual show time of 6:30pm that I realised that something was wrong. An early start time, school holidays and a children’s fairy tale all added up to one thing—there was going to be children there… I inwardly groaned at the inconvenience this would put upon me. It was an unusual experience to share this usually adult occupied space with kids, but I showed diplomacy and grinned and bared it. At half time I started texting friends with strong recommendations that they bring their kids to see Peter Pan, and felt a slight though quickly stifled pang of sadness that my children were grown-up.
The set didn’t give much away, looking sort of like an after-school kids club with a climbing frame of sorts and a tumbling mat. Cushions scattered at the foot of the front row seats gave kids the opportunity to be up close and personal. The cast really poured some magic out on that set. I had wondered how they were going to manage things like flying, I couldn't see any sky-hooks, but I needn’t have worried. I felt incredible joy watching an excellent cast of multi-taskers show just what you can do with some imaginative play and a few basic props. Audience interaction and a really quick-witted, enjoyable script kept both young and old laughing like children. Excellent timing and well-planned costume changes meant that among a whirlwind of activity the ‘Lost Boys’ were magically transformed into pirates and back again. Some actors manifested as at least four different characters in a cleverly seamless way.
Wendy played by Katie Atkins navigated the space between child and mother-figure with grace and charm. Tinkerbelle played by Ryan Ngarimu was delightful proving that star-quality acting is more than just having lots of lines. Captain Hook brought to life by David Fane (Bro Town and Sione’s Wedding) chartered a course between bad guy and lovable rogue that was pitched perfectly for children’s enjoyment. Mr & Mrs Darling were performed by the perfect package of Lizzie Tollemache and David Ladderman. The dynamic duo shone in their variety of roles showing their depth of talent and craft. I’d like to congratulate the whole cast and crew for this outstanding performance because they were all fantastic (it’s a long list). Director Dan Pengelly and the Centrepoint Theatre basement company have hit the perfect note on this family themed, pantomime-like, fairy-tale performance. Acting and imagination combine to remind us of the joy and simplicity of child’s play.
School holidays offer the perfect time to kick start your kid’s imagination on a show like this. In a world of special effects, iPads and blockbuster movies this pared back thrill of the imagination will lull children back to the charms of imaginative play. Why bother with props like a bed being wheeled on-stage when you could simply drape a white sheet over the backs of a few of the cast? This show was charming and refreshing in in its approach. I would happily attend a second time. Children eight and over will enjoy this Centrepoint production immensely, and adults will be wooed by Peter Pans invitation to never grow up.
Howard Ashman and Alan Menken's
Little Shop of Horrors
Abbey Musical Theatre
Wallace Development Auditorium
Director: Teesh Szabo
Review Date: 27/05/2015
I remember watching the movie version of Little Shop of Horrors and being blown away with what a crazy, spoof, sci-fi horror it was. The dentist and the plant ‘Audrey II’ were the main elements that stuck in my mind for terrifying reasons. It won’t matter if you haven’t seen the movie, you’ll still enjoy this excellent musical and it’s quite likely that you will never forget the dentist or ‘Audrey II’.
With an up-beat soundtrack and a lively cast you will not find yourself shifting uncomfortably in your seat or checking your watch. I found the characters in this show to be incredibly endearing with some really strong performances standing out from the crowd. Jessie Feyen’s role as ‘girl from the wrong side of town’, Audrey, was exceptional. Her accent was breath-taking and her characterisation impressive. It wasn’t just Seymour that fell in love with Audrey, we all did. Tyrell Beck as nerdy Seymour continued his run of strong roles with Abbey Theatre. Hopelessly in love with co-worker Audrey, Seymour had us all rooting for him to get his girl. Flower shop owner and Seymour and Audrey's boss 'Mushnik' was played with flair by Don MacBeth.
Larger than life Damian Thorne played many roles—I don’t know how he got changed so quickly but he could teach my daughters a thing or two about getting ready to go out faster! His main role as psychopathic dentist Orin is outrageously good, wow! At times eclipsing the plant (which had its own ‘growing’ role) Damian brought all our nightmares of dentistry to life in hysterical over-the-top style. He brought agility and energy in bucket loads—I challenge you to watch his role without laughing. I honestly can’t imagine how the dentist could have been better depicted.
A trio of chorus characters brought some excellent harmonies together, and kept the upbeat, lively tempo rolling. Erica Ward had a brief cameo and delivered beautiful and powerful song.
The set was well used, flowing seamlessly and lighting was used to its best advantage to create a really enjoyable scene.
Audrey II was more than a one person job (played by duo Nate Davis and Jacob McDonald) and every stage of its life was incredibly well delivered. I’m surprised at how quickly I forgot that it was a puppet and bought into it as a character – a sinister character.
The final scenes drew me back to haunting memories of watching ‘The Night of the Triffids’ while I was too young, with an excellent combo of costume, and lights creating an eerie yet comical scene.
I’ve not had the privilege of seeing a show directed by Teesh Szabo before, and I was impressed at how tightly she'd pulled everything together. The combination of great set work, lighting, choreography, costume, props, and acting created a thoroughly enjoyable show that was a pleasure to see.
That Bloody Woman
By Luke Di Somma and Gregory Cooper
Directed by Lyndee-Jane Rutherford
A chance to honour Kate Sheppard for giving us the vote as well as getting entertained and educated made me feel ‘bloody’ excited to attend That Bloody Woman. With lead character (obviously Kate) being brought to life by award-winning actress Lisa Chappell (Gloss, McLeod’s Daughters and lots and lots more stuff, a whole career’s worth...) who I used to sport a poster of on my wall from her high-fashion Gloss days, this show had great pulling power.
I rocked up with my hubby (what a good and brave guy) to what was likely to be a high-oestrogen storm of hyped-up women. To be fair, the audience seemed well balanced gender-wise which was pleasing.
If you’re turned off by musicals keep in mind that this is a feminist, punk musical, and plays out a bit like being in a mosh pit at a Jacinda Ardern/Amy Winehouse/Madonna gig. The setting is punk with concrete walls, spray paint and a nod to the past with a heritage-style arch centre stage. The opening scene is a strong start and I’m not giving away any spoilers but depending on your inclinations you’ll either be shocked or jubilant with joy (me) at the first word out of Lisa Chappell’s mouth. Lisa, is an absolute legend as Kate Sheppard. Spending almost the entire performance on stage and belting out a heavy load of songs, Lisa carried the show with both strength and tenderness. Gathering the audience in to her flock and guiding us through Kate’s trials and tribulations as she fought to get the vote—Lisa had us all eating out of her hand.
A strong ensemble team of punk-styled women had Lisa’s back as they powered through what was a riveting history lesson and revival of a New Zealand hero. Ensemble member Indiya Henman’s snappy dance moves and strong, engaging acting were delightful. Leona Revell’s supporting act as Kate Sheppard’s best friend featured some excellent vocal performances and Trudy Pearson’s role as the vicar presiding over Kate Sheppard’s wedding was a delightful crowd-pleaser.
It wasn’t an all woman cast though with Jeff Kingsford-Brown playing a massively pleasing role as King ‘Dick’—Richard Seddon. As Kate’s nemesis Kingsford-Brown produced an excellent performance with great chemistry. Gary Clark and Steve Jenkins both got to be up close and personal with Lisa Chappell and fulfilled their small male-speaking parts well (Lol, I jest but really it is a small satisfaction to see men play second-fiddle to the women for a bit).
The on-stage band lead by Kane Parsons was part of the show and seamlessly fitted into the action. They did an excellent job of keeping the musical score flowing faultlessly (or covering up any errors well because I didn’t notice any).
Costuming by Hayley Douglas was superb, especially Lisa Chappell’s almost steam-punk styled outfit which masterfully combined pants and a long dress and evoked a glam/punk Queen look.
I was surprised to find that two guys created this show – Luke Di Somma and Gregory Cooper, and I bloody salute them. It goes a long way towards paying homage to a hero who perhaps never received the hero-worshipping she deserved in her own life-time. With Lisa Chappell breathing new life into a modern Kate, and a strong cast backing her I felt that as a crowd we gave her the screaming, cheering, wild-clapping thanks she deserved. A standing ovation from the audience was a beautiful thing to see. Thank you Centrepoint Theatre and the cast and crew of That Bloody Woman—you were ‘bloody’ terrific.
Director: Scott Andrew
Manawatu Theatre Society
Before you read this review there is something important to know: my daughter plays a main role and I am going to say she’s amazing because she really is. This affects my credibility, I have none, I shouldn’t really be doing this—but I am.
For a change I didn’t attend opening night for this show—here’s why. There are two girls sharing the role of ‘Iris’, one of them is my daughter Faith Offord and the other is Jenna Shapleski on alternating nights. Opening night was Jenna’s night and the Mum in me took precedence over the reviewer in me—I wanted to see Faith’s portrayal first. I look forward to attending a showing soon where Jenna is playing the role of Iris. With a team of family and friends it was a wonderful party of supporters to turn up at The Globe with to see our wee star shine.
A simple set awash with blue light greeted us and evoked the blue glare that shines out from our computer screens. The Nether’s opening scene is set in an interrogation room where Mr Sims (Glen Eustace) is being interrogated by Morris (Hannah Pratt). The rest of the show jumps between the interrogation room, in real life, and ‘The Hideaway’ in The Nether. Hold onto your seats, this show blurs the lines between fantasy and real-life. Hannah Pratt’s portrayal of Morris was strong and took us on a journey of emotion—is she the good-guy or the bad-guy? Similarly Mr Sims traversed a line between good and bad—but is he on the bad side of good or on the good side of bad? Glen Eustace kept us guessing as he toyed with not just our emotions but with those of Doyle (Danny Goodman), Iris (Faith Offord/Jenna Shapleski) and Mr Woodnut (Michael Salmon).
It’s an eerie moment when a young Iris enters ‘the hideaway’ looking like a porcelain doll but acting in ways that are alarming for a young girl. The relationships depicted between Iris and Papa, and Iris and Mr Woodnut are unusual and unsettling. Director Scott Andrews has been careful with the management of these relationships and navigates the space well. Faith Offord (MY DAUGHTER!!!!) played a touching role as Iris. She was tender, articulate and a master of technique—just saying. The trust and connection on stage between Michael Salmon (who managed his difficult role with delicacy) and Faith Offord was evident as was the relationship between Glen Eustace and Faith. This extended the audience a comfortable space to connect with the content. Danny Goodman’s performance was exceptional and it’s hard to say much more without bringing spoilers into play.
There’s a lot of dialogue in this production but the subject material —how much we know about who and what we’re dealing with on the internet and who’s policing it—is riveting. It plays out like a bit of a ‘who dunnit’ but also challenges our perceptions of reality, and right and wrong.
The set was well used throughout the show despite its minimal presentation it somehow was very easily transformed from scene to scene. Live music added to the eerie scenario at the hands of Elijah Graham. In fact a light touch of everything: set, music and lighting really threw emphasis onto the story and the actors who carried the weight of delivering an intricate narrative well.
This is the first time that award-winning The Nether has been shown in New Zealand and it certainly has a lot to say. This production was tight—nothing was over or under done—it struck exactly the right note.
Still Life with Chickens
Director: Fasitua Amosa
Review Date: 7/4/2018
The Billboard for this production showed a woman holding a chicken and the title--Still Life with Chickens. The woman was exuding a Polynesian vibe and further investigation uncovered that this show promised to be a comedy about a woman talking to a chicken. Why was I excited to go?
The Centrepoint Theatre has been consistently delivering high-quality performances so I attend expecting satisfaction—plus comedy is my favourite genre. The programme revealed that Still Life with Chickens won ‘Best Play 2017’ in the Adam NZ Awards so all signs were encouraging.
Set in a functional backyard furnished with a vegetable garden and a washing line ‘Mama’ played by Goretti Chadwick moves slowly about—like a tired old woman— delivering a simple yet revealing narrative about the ins and outs of her life. At the surface level this is comedic and entertaining, but beneath the tough facade that slips occasionally we get a look at what simmers beneath.
Goretti expertly delivers the role of Mama, so that we are both fearful and fond of her in equal measure. Goretti’s real life age is a mystery to me— at a guess anywhere from twenty-five to sixty years old— but a combination of costume and great acting made her believably a very old Mama. Her confidence in delivering comedy was effortless and the emotional range that she visited had me along for the ride, at times having a lump in my throat and at times laughing.
Quite surprising, was finding that the chicken was a puppet (this was no lame duck but a high-class chicken puppet). How I expected a real-life chicken to participate I don’t know, but I hadn’t been prepared for it to appear in the form of a puppet. I inwardly cringed when I realised that a puppet was coming out but it turns out I didn’t need to get into a flap about it. Puppeteer Haanz Fa’avae-Jackson played a strong role as the chicken but simultaneously seemed to not exist on stage. Somehow he magically seemed to become part of the background which is hard to believe considering he was miked up and making chicken noises. While the chicken was an active part of the play, Haanz’s ability to channel all his energy into the chicken meant that his own presence on stage was minimally noticed. The chicken pecked its way through the layers of Mama’s tough exterior revealing her inner vulnerabilities.
Lighting was used to great effect along with excellent sound technique to support what was essentially a one-woman, one-chicken show. A nice bright set was well used and a well chosen place to show how mundane housework can germinate philosophical musings.
Still Life with Chickens (I love the naming of this play) is a short but sweet show, lasting for just one hour. But, as with most high-quality things you don’t need to consume huge amounts to be totally satisfied. This show is still brooding away in my mind as I think about all that it revealed; it won’t be forgotten soon.
Manawatu Theatre Society
Regent on Broadway
Director: Steve Sayer
Excitement swelled throughout the foyer at the Regent on Broadway for Friday night’s opening of Grease’performed by the Manawatu Theatre Society, and a broad demographic of people filled the seats of the theatre. The lights dimmed and the band started with a roar as the curtains rose, and you could be forgiven for thinking that you’d been transported back in time to find Olivia Newton-John from the movie version of Grease standing on the stage.
Olivia’s doppelganger playing Sandy was actually Georgia Bergeson—recently seen as a Survivor NZ contestant— who with her petite frame and perfectly sweet Aussie accent (if Aussie accents could ever sound sweet) had us all falling for her charms. Georgia showcased her excellent dancing skills, very natural movement, and her tender singing solos were well articulated.
The show really accelerated to life when the classic ‘Greased Lightning’ scene roared into action complete with a magically transforming car—I was distracted by the dancers and when I looked back the car was fully restored, word to the wise, keep watching if you want to see how they made that happen.
Taylor Ellis’s role as Danny Zuko was well played out, he had Danny’s personality spot on, and—with his T-bird gang—some of their over-emphasised swaggers were extremely comedic.
The ‘Pink Ladies’ were a pretty exceptional bunch. Leader of the pink pack—Rizzo—played by Renee Evans was an absolute knock-out. With a great vocal performance and enough swagger and sass to fill the whole stage, Renee really nailed her part. There were more than a few goose bumps during her stunning solo performance of the song ‘There are Worse Things I Could Do’. Laura Signal’s role as Jan was believable and adorable; her impressive acting abilities were well showcased in this role, and Frenchy was portrayed perfectly by Frankie Curd, with her timid attitude totally figured out.
School principal ‘Miss Lynch’ played by Sophia Parker looked like she’d stepped straight out of the movie, but some cheeky subtleties Sophia masterfully added were well enjoyed by the audience. Rocky Rowland’s portrayal of pesky Patty was irritatingly good; she brought excellent dancing skills to the show.
The band led by Roger Buchanan was exceptional, providing a full and enjoyable feel to the stage, and nailing every song they performed. Singers Johnny Casino—Elijah Graham—and Teen Angel—Douglas Ransom— tuned into a bygone era and absolutely nailed memorable Grease songs like ‘Beauty School Dropout’ and ‘Born to Hand Jive’.
There were some opening night technical errors which are likely to be ironed out quickly, though one memorable unplanned line “I forgot about my ****** gum” heard due to a mic/timing error had the crowd in stitches.
The big numbers we all came for were there, and some high-energy dancing had some audience members singing and dancing in their seats. It’s hard to go far wrong with a well-loved show like Grease which is laden with nostalgia yet still able to captivate young audiences.
Director: Chris Burton
PNBHS/PNGHS Production 2018
Review Date 15th March 2018
It seemed appropriate that my theatre companion for PNBHS and PNGHS’s production of Anything Goes should be my own little drama queen teenager. As we sat down in the Speirs centre at 7:30pm she leaned in with some inside information to impart—Half-time is at 9pm—she savagely whispered. Part of me died at the thought of how long I’d be seated in there.
The lights dimmed and off we went to a New York speakeasy bar in the 1930s. Glamour and rich acting talent hit the stage when Reno Sweeney appeared and had me searching my programme in the dark to figure out who was playing the part. It was Katie Atkins who proved to be a real star for the entire voyage through Anything Goes. Combining strong vocals, good dance skills and a confident, natural, acting-style Katie’s light beamed brightly from beginning to end.
Soon the whole set was breathtakingly revealed and in full swing. We were all aboard the S.S American! What a set! Bustling with a crowd of passengers all decked out in 1930s art-deco glamour and accompanied by the band that were already settled in on the deck of the ship, we found ourselves totally on board with the show. As the Ocean Liner prepared to depart, the scene is set for some hilarious on-board antics and many of us were dancing in our seats.
With gangsters, dodgy business men, priests, high society, and low society men and women on board there is a lot to work with in this production, and director Chris Burton has done the lot!
Excellent talent was show-cased on board the S.S American. Digby Werthmuller’s role as Lord Evelyn Oakleigh was absolutely spiffing. An audience favourite, Digby’s depiction of Evelyn showed an expert grasp on comedy and brought many a belly laugh forth from a joyful audience. Callum Crawley's depiction of love sick Billy Crocker came to life when he revealed his excellent singing skills. Tender scenes between Billy and high society debutante Hope Harcourt played by Anna Drombroski were delicate and believable. Anna’s ability to act out Hope’s shy emotions was commendable. Anna Orwin-Higgs depiction of wayward gangster’s moll Erma was sublime and packed with sass, her accent impeccable.
There’s too much to say about this production. The band led by musical director Paul Dredge set an excellent atmosphere, the costumes were divine and on point, the set was lively and enjoyable, sound and lighting was smoothly managed and never did I find myself shifting uncomfortably in my seat and wondering when it would be all over. There was tap-dancing, singing, comedy, and dance sailing along at a rate of knots. At half time I felt excited for the second half.
There was an awkward moment... With Anything Goes being created in the 1930’s there are some relics of a bygone era which most of us are pleased to farewell—racial caricatures. I was pleased to see these issues addressed by Director Chris Burton in the beginning of the programme.
All in all I would think that PNGHS and PNBHS have a lot to be proud of with their production of Anything Goes. The S.S. American was absolutely packed with talented young men and women and they took us on a wonderful journey.
What makes Amy Masters Yoga different?
Amy is a down-to-earth yoga teacher and spiritual guide who combines yoga with ancient practices such as aromatherapy, astrology and spiritual awareness to aid you on your journey towards your best self. You can immerse yourself in her intuitive, inspirational, power and healing, and discover your inner goddess.
Healing is in Amy’s soul. From finding the practice of yoga as a teenager to working as a paediatric nurse, her natural empathy and a powerful connection with an inbuilt spirituality drives a strong urge to enlighten others - like a ‘cosmic mother’ nurturing personal growth.
Amy has been a qualified yoga instructor for four years but has held her own routine practice close for fifteen years. As well as being a reiki practitioner she is also a qualified astrologer and feels drawn to use these skills more to help people on their life journey. Uniquely Amy is interested in astrological yoga, a bespoke yoga session designed particularly to meet the needs of a person’s own individual needs:
“An astrological natal chart is a snapshot of the sky at the moment you were born. In essence, at the moment of your first breath is when you come into accord with the energies of the universe. That remains fixed throughout your lifetime. Your natal chart gives clues to your major life lessons, shows your destiny, reveals your personality traits and hidden desires, as well as points the way to your soul’s purpose".
With a growing knowledge of the ancient Indian science of Ayurvedic healing (bringing harmony through all aspects of life being in balance) involving the use of essential oils, natural treatments like oil hair masks, medicated oils, and foot massages, Amy offers powerful health benefits to your mind, body and spirit.
Amy’s personal experience of parenting has given her insight and understanding into the needs of mothers and babies as they adjust to their new and growing relationship. Her insight from her own experience as well as that of being a paediatric nurse means Amy has unique skills from which to offer holistic care and attention to new Mums. Weekly yoga classes for post-natal mums and new babies cover physical movement for the post-natal body, stretches to relieve aches and pains, baby massage techniques, as well as take home tools to help adjust to changes brought about by motherhood that will help support body and soul.
Amy runs hatha and yin yoga sessions in Levin and Palmerston North. Aside from offering the restorative benefits of yoga, the new mums and bubs sessions offer valuable social interactions between new mums. Using aromatherapy oils to infuse her yoga sessions with extra benefits offers divine invigoration for the senses.
Amy wants to embrace other women who have a thirst for their own fountain of love and happiness, helping them to honour themselves by giving them space and time to explore new methods of self-care, allowing them to take a breath from everyday life, and find the rejuvenating power within. Amy guides women to explore previously unchartered territory aiming to achieve healing, wellness, and relief from the rigours of life by enhancing and expanding their inner dialogue. She hopes that, like her, women will be ‘forever practising’ and learn to master these skills themselves.
Workshops designed to help women reconnect with their femininity in a healthy, safe and embracing environment happen throughout the year, and helps to awaken their inner goddess. Positive self-talk and self-love lead to female empowerment as Amy assists an awakening to women’s spiritual femininity and helps form deeper connections with ‘soul sisters’ within the workshops. Other workshops focus on aromatherapy, meditation, yoga, and pampering, as well as ‘make and take’ workshops using special aromatherapy oils. A red tent group focusing on uplifting and building emotional villages for women is also in the ideas stage.
You can focus your ‘inner eye’ on Amy’s yoga sessions and workshops by following her facebook page ‘Amy Masters Yoga’, her skills may be the answer you’ve been searching for.
The Love List
Director: Dan Pengelly
Review Date: 22nd February 2018
Thursday night was a chillier night than usual for what I’ve come to think of as a hellish summer, and I was in a low mood as I pulled up to Centrepoint Theatre to see The Love List. My theatre attending companion furnished me with a glass of rosé to help warm my chilly mood but as we found our way to our seats I commented on how cold it was in there. I leaned forward and nastily whispered ‘this better be funny enough to warm me up’ and then I sat back and looked around the audience for someone new to get angry at.
You know that you’re watching some extremely high quality skills when you forget about everything going on around you and become so intently entrenched in a story that you feel like you’re actually part of what’s happening. Laughter erupted from my insides, and such was the vigour with which I writhed around in my seat and craned my neck so as to make sure I wouldn’t miss anything, that I gained a body temperature that was no longer angering.
I had no idea what The Love List was about before I saw the show, and I’m glad about that. It was such a delight to watch it all unfold before me. However for your benefit I’ll briefly describe the content. The Love List is a realistic, yet fantasy based comedy exploring the qualities of a perfect woman and more broadly the imperfect qualities of all relationships. This description does no justice to the show that I saw – sorry, but seeing is believing.
I confess that though Millen Baird (Leon) is of NZ Television fame -having appeared in many an award winning show including 800 words and Shortland Street to name a few recognisable ones
(I only know that because of the programme), seeing him in real life was an absolute treat. With such a lot riding on delivering snappy and comedic dialogue this play could easily have fallen flat in unskilled hands but Baird really brought the goods with his excellent, incredibly funny depiction of a worldly, lovable, lothario, writer. Siobhan Marshall (Justine) – also a frequent flyer on our local screens in shows such as Outrageous Fortune, Shortland Street, and The Almighty Johnsons – carried off what must have been a challenging role with an ease that was extremely comforting. Her ability to multi-task is a skill which should not be overlooked simply because she made it look so easy. One of the things I really enjoyed about seeing this cast working together was the sense that they were all really enjoying themselves too. The chemistry between long-time mates Leon and Bill (played by Aaron Ward who most recently portrayed the extremely hateable Adam Ross in Shortland Street) was exactly as you would expect in real life and another reason why everything felt so believable. The dialogue was slick, with excellent one-liners and a plethora of local references which ensured that you shared every single in-joke on the list!
The Love List has magical qualities to enchant its audience. How can I begin to separate the parts when they were so seamlessly melded together? The set by Ian Harman was perfect because I forgot I was looking at a set and fully believed I was hanging out in a middle-aged bachelor pad, the lighting by Tayla Pilcher was excellent because I believed that the actors had gone to sleep and woken up in the morning and it wasn’t just a trick of the light. The direction by Dan Pengelly must have been truly wonderful because that bachelor pad was alive with natural movement and genuine sounding conversations. It was like I was living inside a 3D TV show in which they would need to tone down the audience laughter for fear it would drown out what was happening on stage. That’s a good point actually, I wasn’t insanely laughing on my own. We were ALL laughing.
I could make a long list of reasons why you should see this show and ultimately I think The Love List should be at the top of your list of things to go see.
Abbey Musical Theatre
Director: Andrea Maxwell
Review Date: 9th February 2018
Ordinary Days is a musical which explores the ordinary lives of four ordinary people living in New York. Written in 2008 by Adam Gwon it is intended to be an intimate production focusing on four people coming to the realisation that meaning and beauty can be found in any ordinary day.
The set was a pleasure to gaze upon. While it did scream NEW YORK loudly, it also had a comforting and serene feel to it that made me feel relaxed and intrigued. I was lucky enough to get my own private art lesson from a theatre companion who had donated one of his pieces of art by artists Craig and Karl to the set, and so I am also slightly smarter now than when I arrived. I’ll take this moment to also say that the arm rest between seat E28 and E29 needs attention please.
Pianist Bronwyn Boddy brought the show to life when she entered the stage and took up her position at the keyboard for the duration of the play. The responsibility for keeping the musical score moving along in time was well rested on her shoulders as she did a superb job.
If you’re not a fan of musicals and don’t know the storyline of Ordinary Days this may not be the show for you. The entire narrative of this production is told through song, so also if you’re of the type that doesn’t listen to the words of songs then you’ll have no clue what is happening. If you get your hands on a programme though, a thorough synopsis of the story will fill in the gaps.
Tayla Clark’s role as ‘Deb’ the typical, female, New York, grad student was well played. Tayla brought more than a well practised singing voice to the role, embodying her characters traits in a subtle and believable way as well as having good comedic timing.
Ordinary days is an intellectual show, there are no dancing numbers or sexual innuendo, that you might find in other more upbeat productions, but a focus on relationships and aspirations of two sets of people living in New York. Art, relationships, and self discovery are the order of the day in Ordinary Days.
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