“My Concerto has had a brilliant and decisive – failure. At the conclusion three pairs of hands were brought together very slowly, whereupon a perfectly distinct hissing from all sides forbade any such demonstration”. So wrote Brahms after an early performance of his Piano Concerto No 1 in D Minor. The concerto has gone on to be an often-performed great favourite of the piano concerto repertoire. Joyce Yang as soloist and the NZSO amply demonstrated why to a capacity audience.

The first movement provides tremendous contrasts of majestic and lyrical themes, the second restrained reflectiveness, and the third urgent drive and rollicking momentum. Joyce Yang played with great commitment and intensity throughout, summoning simplicity and elegiac sweetness and thundering strength in turn, always with exquisite phrasing and within a wonderful partnership with the orchestra created by Brahms and Maestro de Waart.

The second work of the concert was a youthful one by Richard Strauss, Serenade for Winds in E flat major. It was good to see the NZSO’s excellent wind section profiled, though the work itself, while charming, was not the most riveting vehicle for doing so.

Maestro de Waart declared his love for Elgar’s music in the printed programme, and Elgar’s Enigma Variations was lovingly and gloriously delivered. Elgar composed the variations to provide musical images of himself and his wife, and 12 of his friends. The work has an engaging generosity of spirit and sunny optimism. He summons up a friend who produces cheerfully terrible piano playing, a friend’s daughter with a stutter, a beginner string player, a genteel lady, his publisher and long-term encourager whom he depicts with great warmth, and so on. This very English work is always stirring and the audience and orchestra will have gone away in very good humour, probably humming an Enigma theme.

This first performance by Orchestra Wellington in 2019 was intense, crazy, and fun. Fantastic Symphonies comprised two works by Berlioz, Symphonie Fantastique and Lélio, the first a five-movement symphony, the second characterised in the programme as a monodrama or melologue, with a dramatic narrator, two vocal soloists, and choir.

In 1830, Berlioz wrote the symphony to describe his feelings of anguished, unrequited love for an Irish Shakespearean actress. It tells of a musician haunted by a woman, in an agony of longing, failing to kill himself with an opium overdose but experiencing instead a psychedelic nightmare about being executed for her murder and about a ghoulish celebration of his death. Lélio describes the musician returning to living, still struggling with his passion but seeking a different purpose, recommitting himself to music and composing a fantasia on Shakespeare’s Tempest.

In his introduction, Taddei disparagingly and amusingly spoke of Berlioz’s music being fuelled by puppy love and opium addiction. This set the scene for the performance of Lélio. I am sure Berlioz did not find humour in his situation, but Andrew Laing as narrator chose to deliver an over-the-top performance of histrionic romanticism, which appropriately picked up the 21st-century cynicism of Taddei’s earlier comments.

Both works were wonderfully performed. Of particular note were the crispness of the symphony’s first movement, the lilting waltz and harps in the second Ball movement, the duet between cor anglais and off-stage oboe in the third movement, plaintive violas, mournful clarinet, lovely sonorities produced by six double basses and four bassoons, the drama of huge brass and percussion contributions, some beautiful ethereal singing from the Orpheus Choir, and the tender and romantic singing of tenor soloist, Declan Cudd.

By the way, Berlioz eventually married the actress. He spoke no English, she no French, it is said. The marriage did not last. What a surprise!

In Shakespeare’s The Winter’s Tale, Queen Hermione is accused of infidelity by her husband, King Leontes, and thrown in jail. After giving birth to her daughter in these confines, Hermione’s friend Paulina takes the baby princess to the king in the hopes it might soften his resolve. Raging for unjustified reasons, Leontes orders the baby be left in a desolate place to die. Hermione then faints and is presumed dead. After 16 years, a statue of Hermione is unveiled that turns out to be the real human. Amidst the confusion, chaos, and celebrations, the play ends.

In This Long Winter, Sarah Delahunty imagines what might have happened to Hermione (a gut-wrenching, grief-ridden performance by Erina Daniels) in those 16 years. Thanks to Paulina (the compelling Jean Sergent, who delivers sick burns with a glint in her eye), Hermione escapes to look for her daughter Perdita (the charming Huia Haupapa). Accompanied by the obnoxious Emilia (Alice May Connolly, whose approach to an unlikeable character is commendably considered), Hemione wanders the wilderness, encountering various other Shakespearean characters along the way.

Delahunty’s script is witty and eloquent, filled with Easter eggs for fans of the Bard. References to Titania’s infatuation with Bottom in A Midsummer Night’s Dream, and Shakespeare’s famous stage direction “Exit, pursued by a bear”, are my personal favourite moments of the play. Mostly, the action is clear enough for the uninitiated, though the characters Juliet (not from Romeo and Juliet) and Helena (not from A Midsummer Night’s Dream) cause a bit of confusion.

Performed with passion and immeasurable talent by Carrie Green, Charlotte Forrester, and Isaac Thomas, Holly Ewens’ beautiful music is seamlessly entwined into the story. Production design by Michael Trigg sees a breathtaking rendition of a storm and the clever use of chicken wire.

This Long Winter is a haunting and tremendous work, exquisitely written and realised by this talented team of 28. It possesses a refreshing sense of meaning, purpose, and urgency. Go see it now.

Jordan Peele’s 2017 debut Get Out scored him an Oscar for Best Original Screenplay, cementing him – and the horror genre, now definitely enjoying a renaissance – as Hollywood forces to watch. Us, his sophomore effort, isn’t quite as narratively disciplined, but is nevertheless a riotously fun genre exercise that walks the line between laughs and scares with glee.

After a cryptic opening sequence, we meet the Wilsons: a middle-class Black family holidaying on the Californian coast. There’s Gabe (Winston Duke, dripping with dad-joke energy) and mum Adelaide (Lupita Nyong’o), as well as their two kids: Zora (Shahadi Wright Joseph) and Jason (Alex Evan). Us establishes a light, funny home life that swiftly turns dark when the Wilsons’ doppelgängers (played by the same actors) turn up on their driveway, dressed in blood-red jumpsuits and wielding golden scissors.

The Wilsons’ holiday home soon becomes a murderous funhouse that Peele’s camera manoeuvres around with fluid ease. Doors conceal frantic bodies, bare feet slap on wooden floors somewhere down the hall… But each shot is taut, purposeful, in sharp contrast and focus. Despite the old-school feel of its slasher gore, Us’ cinematography is so contemporary; the moving shot of a bloodied (and brilliant) Elisabeth Moss is my highlight.

Nyong’o is superb in her twin role of Adelaide and Red, her homicidal double. As Adelaide, she’s fierce, enigmatic, maternal. Red, on the other hand, is deeply chilling, expressed through a raspy voice interspersed with loud gulps. She moves as if guided by a metronome, her posture ramrod straight and her walking staccato.

The Easter eggs in this movie – referring to pop culture, religion, and other horror films – are delightful. The Shining is the most obvious influence, as Peele nicks both the creepy twins and the extended birds-eye shots of the landscape. But in the third act, when the horrors begin to unfurl, Peele’s ideas pile up too quickly. While Get Out felt elegant, Us feels overstuffed. Diving into its late plot developments does the movie no favours; it’s best enjoyed on a visceral level, behind a cushion if necessary.

Robin (Peter Hambleton) and Hazel (Carmel McGlone) are retired nuclear physicists living on the east coast of England. A natural disaster has triggered an unnatural one at a nearby powerplant, and the nuclear fallout has been catastrophic. After helping with the clean up, the married couple decide they’ve done their bit and now carry out a peaceful existence just outside the exclusion zone.

Peaceful, that is, until their old friend Rose (Catherine Downes) shows up.

Downes is marvellous, riding the turbulent waves of her character with masterful control. A moment where she stands back, crude smile on her face as she watches the lethal consequences of her actions unfold, remains firmly imprinted in my mind’s eye.

McGlone is equal parts blundering charm and candid bluntness, demonstrating a light-handed and thoughtful approach to the character we sympathise with the most. Her plight is beautifully written and portrayed.

Hambleton brings to light the internal conflict of a character of contradictions. Robin behaves wickedly (towards women) and admirably (towards cows). He is a sick man acting in perfect health; a man who would happily leave his wife while using his dying breath to protect her. Hambleton’s acting chops are firmly on display in this performance.

Susan Wilson has curated every element of this Circa Theatre production to perfection. The cast is flawless. John Hodgkins’ slice-of-life, functional set captures the essence of a charming cottage in the English countryside. Marcus McShane’s lighting design complements and never detracts from the action, while Oliver Devlin’s haunting sound design ups the stakes of the mystery every time it features. Leigh Evans’ choreography is charming and disquieting when considered in conjunction with something brown and icky I can’t reveal here. The juxtaposition of her lovely, hilarious dance and this ‘something’ is beyond striking. And Sheila Horton’s naturalistic costume design ties it all together in a pretty apron bow.

It all adds up to an incredibly engaging show I couldn’t take my eyes, and can’t take my mind, off.

For many of us, discovering our talent at 21 would be lucky. But there is something about the highly capable end of the creative spectrum that means you can be considered a latecomer in your twenties. (Blame Mozart?) Anna Clyne is one of those, really only taking up composition when she was 21 years old.

We heard three movements from her Abstractions, each written in response to an artwork in the collection of the Baltimore Museum of Art. It would be interesting to know why we didn't hear the full five movements. What we heard was a highly engaging and unusual depiction of the emotions roused in the composer on viewing the pictures, rather than an attempt to portray the image itself in music. Such a personal account feels rare but genuine.

Berlioz’s La Mort de Cléopâtre (The Death of Cleopatra) was considered so innovative that it has only become widely known in the last 40 years. Again a tale of personal emotion, but this time the composer is telling Cleopatra’s story. Cleopatra was sung by American mezzo soprano Susan Graham and she gave a very fine performance.

Gustav Holst’s The Planets is a popular piece, a strong influence on some of the more widely recognised film music of the 20th century (think Star Wars.) Well-known works are sometimes hard to make into memorable occasions but, under maestro de Waart’s direction, the live performance was so much more exciting, delicate, enthusiastic, evocative, and engaging than a recording we might all be more familiar with.

It was not hard to see the picture Holst described in the music. Every planet had its own distinctive character conveyed through the orchestration and the performance. The absolute standout element was the women of Voices New Zealand Chamber Choir fading, exquisitely, to nothing, at the end of the known universe.

Pluto was not discovered until 1930 so we can only wonder how the smallest, most distant one-time planet would have sounded to Holst.

I really wanted to like Daffodils. But when the random friendly stranger next to me asked my opinion as the credits rolled, I started with “can I be honest?”

Even at 93 minutes, Daffodils dragged. Its flat characters, jarring use of a much-hyped Kiwiana soundtrack, and soapy writing made for one of the most disappointing New Zealand movies I’ve seen in years.

Based on the stage show of the same name, Daffodils is the love story of Eric (George Mason) and Rose (Rose McIver), who meet by chance on a drunken, stormy night in the Hamilton Domain. To the ire of Rose’s well-to-do parents, the pair fall madly for each other, get married, and eventually have two daughters. One of their girls, Maisy (Kimbra), narrates their (spoiler: doomed) tale through voiceover and song.

I’ll start with the good stuff: Mason and McIver work admirably with the material they’ve been given, and the set dressing is pitch-perfect (shout out to the tomato-shaped ketchup bottle in every kitchen scene).

But there are so many things that don’t work. The covers of New Zealand classics by the band Lips are at best, not bad. And in not quite the same way as a musical, where everyone in the movie participates in the song-and-dance number, Daffodils’ characters mime songs that the others can’t hear. It slows down the pace, and worse, it sticks us in emotional spaces that often don’t quite line up with the scene. The most mismatched for me is an early moment when Rose becomes fiercely jealous that her not-yet-boyfriend Eric is greeted by another girl. She has a slow-motion musical moment in the corner of the dancehall that feels completely unearned.

Moreover, the swirl of assumptions at the centre of their relationship breakdown is sitcom-level stupid, and could be solved with a five-minute conversation. What could have been a sensitive and insightful chance to look at Pākehā stoicism is given a simplistic, hugely frustrating treatment.

Yeah nah, you can probably give Daffodils a miss, eh.

Bear North follows a band of three merry travellers and one wolf. One of the strangest shows I’ve ever seen (winning out over Bald Man Sings Rihanna, which you’d think would be stranger), it’s a feel-good blend of song, storytelling, and interpretive dance that to me represents the essence of the NZ Fringe Festival.

Roy Hutchins is the leader of the pack. He wears a dress, bear gloves, and a large bear head. Playing a keytar and driving the conversation with the audience, he has a gentle, warm nature and is instantly likeable. The thing that I most appreciate about Hutchins is that he asks for consent before putting anyone on the spot and never forces audience interaction. When Hutchins performs, he looks surprised to find himself onstage, which is more endearing than anything else.

Sue Bradley wears a butterfly half-mask, plays an electric violin, uses a stomp box of sorts to create rhythm, and provides backing vocals. She shines on the electric violin, adding a gorgeous folk element to the music that sets the tone for the evening.

Stuart Drake on electric guitar wears a high top hat and whistles real nice. He has a sparkling smile and a serene energy, acting as an anchor to the rest of the group.

And then we have Wolfie. What on earth can I say about Wolfie? During what is a mostly ordinary (but still special) concert, Jake Brown does interpretive dance in a wolf mask. The whole time. A scene where Brown dances with an audience member is lovely, otherwise his spirited performance is just bizarre, but excellent.

The music disintegrates at times into a bit of a shambles, but it all adds to the charm of Bear North. I’d hazard a guess to say it’s a partly improvised work, so a bit of chaos can be forgiven. Though I’d love to see a touch more rehearsal, I wouldn’t change a word (or note) of this strangely touching show.

My Fitbit generally reports an average of 70 heartbeats per minute. During Muscle Mouth’s System, my BPM went up to 140. I wasn’t clapping too hard – in fact, I wasn’t moving at all. I was just that invigorated.

System is set in a dystopian world whereby, when a body becomes obsolete, it can simply be replaced. In the corner of a room (set design by Ross McCormack), this data transfer occurs. Two bodies (McCormack and Luke Hanna) spasm and merge, twitch and fuse. System is riveting and disturbing in one breath, drawing on sci-fi influences and the morbid fascination of its audience.

In System, McCormack aimed to create a simple narrative. Even going into the show knowing it, some design elements confused the concept.

A robotic, discordant, unintelligible voice occasionally cuts through Jason Wright’s otherwise incredible, transfixing sound design. Suggesting some sort of powerful overlord, the voice detracts from McCormack’s phenomenal choreography and sends the audience down what is, to my knowledge, entirely the wrong track. If there had to be a voice at all, I would have preferred a detached, clinical one – the kind you hear in a sterile hospital over a loudspeaker. And to make the plot abundantly clear, in the final blackout, I yearned for that voice to say “transfer complete.”

I also felt there were a few too many gimmicks and illusions, although they were mind-boggling. McCormack sinking into a seemingly solid block had me watching through parted fingers, and shadows cast by Natasha James’ electric lighting and AV design caught my breath in my chest. But the dancers moving the blocks around felt arbitrary at times. These sequences could have been shortened to encompass only the necessary set changes.

Nevertheless, McCormack and Hanna are at the top of their game, giving all of themselves in a performance I will never forget. Watching System is to watch masters at work. This statement encompasses everyone involved in Muscle Mouth – a company that never ceases to amaze and astound me.