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Reviews

The Burn of a Thousand Suns | Regional News

The Burn of a Thousand Suns

Written by: Jillian Webster

Jillian Webster

Reviewed by: Kerry Lee

After escaping New Zealand via questionable means and surviving a harrowing experience in the middle of the Pacific Ocean, Maia and her new companion Lucas find themselves in the soaking ruins of what used to be called California. While they’re a few steps closer to reaching their goal of the Old Arctic Circle, it isn’t long before they find new dangers trying to stop them.

In her latest entry of The Forgotten Ones saga, The Burn of a Thousand Suns, Webster has managed to ratchet up the tension by introducing newer and far deadlier threats than Maia ever faced in Aotearoa. Everything from the harsh deserts of California to marauding gangs in Los Angeles bring a new intensity that I didn’t feel in the first book. Everything in this broken new setting seems to want to harm or kill them by design.

Just like the first book, The Weight of a Thousand Oceans, the world is extraordinary and comes alive off the page. With the dangers ramped up this time, it’s nail-biting stuff. Every time Maia and Lucas found themselves in hot water, I was literally on the edge of my seat eager to see how they would find a way out. 

Maia herself has grown since the first book, and far from being the wide-eyed innocent she was in Webster’s first entry, she has evolved into a confident, strong character who takes on everything thrown at her. Her bond with Lucas (whom she met in the first book) continues to grow. They make something of a dynamic duo who complement each other nicely. I cannot wait to find out if their relationship develops even further than it already has in (hopefully) the next book. 

Reading The Burn of a Thousand Suns was a real treat and once again I find myself in that strange position of not having anything to complain about. All I can do now is sit back and patiently wait for the next instalment of The Forgotten Ones saga.

Cloud Cuckoo Land  | Regional News

Cloud Cuckoo Land

Written by: Anthony Doerr

Fourth Estate London

Reviewed by: Ralph McAllister

Anthony Doerr won the Pulitzer Prize in 2015 for his desperately moving wartime story All the Light We Cannot See. The novel remains one of my favourites of the last decade. And now, we have Cloud Cuckoo Land, an epic of 600 pages, beginning and ending with a Greek myth and, in between, five stories which cover wonderful journeys of fantasy and reality. All are linked quite simply by books, ancient and modern.

We meet Konstance, with her parents in a spaceship Argos already having travelled 65 years from a ravished Earth, much of her time spent in the ship’s library exploring legends and what may or may not be truth. Anna lives in Constantinople in the 15th century awaiting the Muslim Sultan’s attack while secretly learning to read. Omeir has been living in a farm with his family and his oxen but has now been dragooned to help the Sultan, as this young boy is a master at controlling Moonlight and Tree, his adorable oxen. Zeno is introduced first in his eighties at the local library in modern day Lakeport Ohio, where he is rehearsing with a group of young children a play called Cloud Cuckoo Land. Seymour, a young ecoterrorist, has a bomb on the premises and is preparing to target local estate developments.

Each of these characters may survive and relate, but what is certain is their common belief in humanity. All the stories are brought together in a triumph of textual brilliance by an author at the top of his achievements. Doerr uses the Greek and English languages with challenges to the reader that will, by turns, exhilarate and demand absolute attention. But books and their survival are central to this extraordinary accomplishment.

“For the librarians then, now, and in the years to come”, is Doerr’s dedication.

And, of course, the last acknowledgment is to his dear readers.

“Without you I’d be all alone, adrift atop a dark sea, with no home to return to.”

Get aboard.

HOLE | Regional News

HOLE

Written by: Lynda Chanwai-Earle

Directed by: Kerryn Palmer and Sally Richards

Running at Circa Theatre until 18th Dec 2021

Reviewed by: Alessia Belsito-Riera

Antarctica is a heartbeat. Once a year it doubles its size, and then retracts. For millennia. One heartbeat.

Set in the 1980s, HOLE follows Greenpeace activist Bonny (Stevie Hancox-Monk), US Navy SEAL Ioane (Sepelini Mua’au), and Kiwi ozone scientist Stella (Elle Wootton) as they navigate not only a complex love triangle but also a clash of perspectives. Though vastly different in their ideologies, motivations, sexual orientations, and cultures, they learn that they all have one thing in common: their reverence and yearning to protect that which cannot protect itself; Antarctica.

A powerful call to action, HOLE is very clear in its intentions. Lynda Chanwai-Earle calls upon each and every one of us to recognise our impact and responsibility towards our climate crisis. By likening the continent to a heartbeat, Antarctica is rendered human, and suddenly we become intrinsically connected to what seemed like an abstract social phenomenon. By placing the climate crisis alongside other social issues such as racism, sexism, LQBTQIA+ rights, reparative justice, and global politics, climate change suddenly becomes a more pressing, urgent, even vital issue.

It is not only what HOLE says however but what HOLE does that is most commendable and inspiring. HOLE is eco-powered off-grid. Powered by Ice Floe Productions Tapui Ltd through solar and wind, the specially designed LED lights (lighting design by Isadora Lao) and sound production (sound design by Phil Brownlee, compositions by Gareth Farr ONZM, and AV design by Rachel Neser) aim to draw off only one-tenth of the power of normal theatre productions. On top of that the beautiful set, collaboratively designed by Jason O’Hara alongside directors Kerryn Palmer and Sally Richards, is made from recycled and repurposed materials, along with the props and costumes. Even the wind turbine and solar panels that were originally donated have been repurposed from Chanwai-Earle’s past show HEAT.

HOLE is not only a story underscoring the climate crisis and urging us to make change; HOLE goes one step further and enacts that change. This production goes sustainably on tour across Aotearoa New Zealand in 2022 and everyone should see it.

Sometimes I Might Be Introvert | Regional News

Sometimes I Might Be Introvert

Little Simz

AGE 101/AWAL Recordings

Reviewed by: Sam Hollis

Off the back of her short but loud third studio album Grey Area, Sometimes I Might Be Introvert sees Little Simz return to her roots with her most finely tuned effort to date. Balancing cinematic instrumentation, precisely placed samples, and a raw talent for storytelling, the rapper has come to claim her crown.

Simz is a British-Nigerian rapper hailing from London. She released a string of mixtapes and EPs in the early 2010s in the lead-up to her debut LP, A Curious Tale of Trials + Persons, which arrived in 2015. The success of 2019’s Mercury Prize-nominated Grey Area brought her mainstream recognition, with critics calling the release “a new peak” for the artist.

Sonically, Sometimes I Might Be Introvert harkens back to the exuberant, horn-driven Stillness in Wonderland (2016), though Simz brings an undoubtedly fresh and mature approach to her songwriting. As the title suggests, Simz is looking inward, vividly portraying feelings of self-doubt, mental and emotional stability, love, and frustration in her verses. However, the album is also an unabashed celebration of Blackness, specifically Black women and Black art on tracks like Woman. Standing Ovation is a selfless round of applause to the culture that has so influenced her: “We built the pyramids, can’t you see what we are blessed with? From the hieroglyphics to the hood lyricist… Spiritual teachers, doers, and the doulas. The protectors and the rulers. The kids of the future.”

The mellow instrumentation is a welcome change for the rapper. After proving her worth as a spitter on Grey Area, here Simz sounds unpressured, leading to meticulous, well-structured songs that groove hard and speak honestly. Highlights include the epic opener Introvert, the percussion-led Fear No Man, the climactic How Did You Get Here, the soft and sweet Little Q Pt. 2, and the album’s prime head-bopper, Point and Kill, which contains an excellent chorus by Nigerian artist Obongjayar. However, the ever-smooth flow of the album is interrupted by several interludes, and although they don’t mar the experience overall, they feel less meaty than the primary tracklist and could have been left off.

Sometimes I Might Be Introvert sounds like a spiritual successor to Kendrick Lamar’s To Pimp A Butterfly, told from an internal perspective. While it doesn’t quite soar to that level, its messages and musicality ring true and certainly set a high bar for Simz’s future releases. For those who haven’t yet discovered her, this is the perfect place to start.

LP!  | Regional News

LP!

JPEGMAFIA

Republic Records/EQT Recordings

Reviewed by: Sam Hollis

JPEGMAFIA brings a wonderfully weird flavour to hip-hop, and on LP!, his willingness to stir the pot, experiment, and take risks has never been more appreciated. The album contains grime and chaos, grandeur and tranquillity, and no matter how many times I listen, I never stop making discoveries.

JPEGMAFIA (born Barrington Hendricks) broke onto the scene in 2016 with his self-released debut LP Black Ben Carson. He followed it up two years later with Veteran, which wound up on many a best-of-the-year list. While collaborators do rear their heads occasionally, he is known to write, perform, produce, mix, and master his music solo. LP! is his fourth full-length album.

Hendricks’ tendency to go it alone lends his music an atmosphere of introversion unrivalled by most hip-hop releases. While many artists speak from a personal perspective, hitting play on a JPEGMAFIA album is like following the white rabbit into Wonderland; what sounds, textures, and moods we may encounter is anybody’s guess. In this sense, LP! ranks as his most exciting work to date.

Now, that isn’t to say this album is merely a set of wacky ideas put through a meat grinder and slapped together. On the contrary, perhaps Hendricks’ greatest gift is his ability to incorporate structure and groove into his songs – while LP! finds him at his freest musically, it also happens to contain some of his catchiest work to date. ARE U HAPPY? has a dragged bassline that sounds like the cousin of an early Outkast jam, obscured by distorted, driving verses, luscious vocal samples, and strange glitches and beeps. The horns on REBOUND! sound as though they were recorded in a grand concert hall, over which JPEGMAFIA lays down his most cold and striking delivery ever, passionately screaming, “Why would I pray for your health? Baby, I pray for myself!”. DAM! DAM! DAM! opens with a heavenly synth solo, and THOT’S PRAYER! is built on an incredibly creative interpolation of Britney Spears’ …Baby One More Time, which in this context plays like a melancholic expression of insecurity. Sick, Nervous & Broke! Is perhaps the most aggressive cut of the bunch, with Hendricks demanding an enemy buy “a ticket to get beat up at my show”.

JPEGMAFIA is an artist that commands your attention, but not all will connect with his music from day dot. On first listen, LP! may strike newcomers as too left-field, and some will be quick to pass it off as inaccessible to the average listener. However, once you roam around in JPEGMAFIA’s world, whatever you hear next will sound a little less colourful by comparison.

The Little Mermaid – The Pantomime | Regional News

The Little Mermaid – The Pantomime

Written by: Simon Leary and Gavin Rutherford

Directed by: Susan Wilson

Running at Circa Theatre until 15th Jan

Reviewed by: Madelaine Empson

The Little Mermaid – The Pantomime is loosely based on Hans Christian Andersen’s classic tale and by loosely I mean hardly at all. We have our Little Mermaid (here named Coral, played by Natasha McAllister), her handsome love interest Lyall (Jake McKay), and her crustacean friend Crabby (Trae Te Wiki), plus her voice-stealing, leg-bestowing aunty Bermuda (Kathleen Burns) and overbearing parent, the all-powerful Neptuna (Jthan Morgan). On the other hand, Morgan also plays a shag, assistant to the Land King Lando (Simon Leary), and Leary also plays a stingray. Then of course we have Gavin Rutherford, 12 years a Dame, as one Ms Shelly Bay. And did I mention the year is 3021?

If you can’t tell from my intro, The Little Mermaid – The Pantomime is an absolute hoot.

The cast gives 110 percent, with Morgan’s overenunciation as Neptuna a show highlight. McAllister is every bit the Disney princess while fizzing with feminist energy, and as her ‘prince’ Lyall, McKay is suitably clueless and wholesome… but never mean, which Disney sometimes forgets matters! Burns’ villainous turn as Bermuda prompts many a hearty boo, which she hilariously relishes. Leary plays a king under her spell and it’s so believable I’m quickly under his. As the energetic Crabby, Te Wiki’s quest for a home is both adorable and exploited – by our Dame, whose attempt to cook the hermit crab is one of my favourite scenes. Actually, every scene Rutherford’s in is my favourite!

The absolute fabulousness of Sheila Horton’s costume design is accentuated by Marcus McShane’s radiant lighting, which establishes whether the action is underwater or on land. Music director Michael Nicholas Williams’ brilliant arrangements are show stealing, especially thanks to McAllister and Morgan’s flashy choreography. With production design by Anna Lineham Robinson, it’s all tied together in the biggest, brightest bow by the all-knowing hand of director Susan Wilson.

Overflowing with puns and incorporating an inspired use of Sign Language, The Little Mermaid – The Pantomime is a whirlwind of colour and joy, sparkles and pure, blissful escape. Boy did I need that!

Tandy Dandy | Regional News

Tandy Dandy

Written by: Laura Gaudin

Directed by: Hamish Gaudin

BATS Theatre, 17th Nov 2021

Reviewed by: Tanya Piejus

Even if you’re not old enough to remember the TANDY-12 handheld arcade game from the early 1980s featuring “12 challenging games of skill” from electronic baseball to mole-catching and roulette, there is still much to love about this quirky physical theatre production in the intimate Studio space at BATS Theatre.

Tandy Dandy concerns a painfully agoraphobic young woman (Laura Gaudin) for whom the very thought of opening the front door of her house causes uncontrollable anxiety. Then, one day in the shower, she finds a comically long piece of string in the drain, on the end of which is a chirpy TANDY-12. Through its friendship and gentle encouragement, the young woman eventually finds the courage to face her fears and venture into the outside world.

With its flat cardboard set, paper cut-out props, and sliding shower curtain rails for scene changes (also Gaudin), Tandy Dandy has a charmingly homespun and wonderfully creative quality. Gaudin is also responsible for the music, much of which sounds like it has been generated from the electric beeps and trills of the TANDY-12’s Song Writer game (“Record a song of up to 44 notes!”).

As well as her creative talents, Gaudin is a gifted physical theatre performer whose delicate hands and feet, glimpsed through windows in her cardboard world, provide much of the wordless narrative. She anthropomorphises the visiting TANDY-12 into its own living, loving character that peeps round corners, performs a sexy dance with a towel, and creeps outside to pick a flower for its new human friend. Why it has mysteriously appeared from her shower drain is entirely unimportant.

Gaudin is ably supported on the lighting and sound desk by director Hamish Gaudin. He has done a fine job of presenting a well-developed story in a very limited space that is super cute and leaves a smile on the face. At just 25 minutes long, this is a tiny bundle of theatrical joy.

Hangmen | Regional News

Hangmen

Written by: Martin McDonagh

Directed by: Andrew Cross

Running at Gryphon Theatre until 27th Nov 2021

Reviewed by: Madelaine Empson

Written by the man responsible for Seven Psychopaths and Three Billboards Outside Ebbing, Missouri, I knew Hangmen would be dark. But I certainly wasn’t expecting the side-splitting humour, nor the pathos lurking beneath shades of grey in this disturbingly entertaining rollercoaster ride executed to perfection by Stagecraft Theatre. ‘Scuse the pun.

Harry (Chris O’Grady) is a hangman in the UK, second only to his arch nemesis Pierrepoint (Marty Pilott). When hanging is abolished in 1965, barflies hover at Harry’s pub. We have journalist Clegg (Rob Scott) seeking comment, Arthur (Barry Mawer) wanting clarification and Charlie (Steve Bell) providing it, Harry’s wife Alice (Simone Kennedy) watering Bill (Felicity Cozens) with pints, Inspector Fry (Lee Dowsett) on a very long lunch break, and Harry’s daughter Shirley (Maddy Johnston) just looking for a place to mope. At least according to her parents, anyway.

When mysterious stranger Mooney (Bruno Hart) arrives, immediately unsettling both characters and audiences alike, the plot thickens like rancid Guinness. More complications come with Syd (George Kenward Parker), Harry’s former assistant who helped hang the (maybe) innocent Hennessy (Robbie O’Hara).

I can’t begin to express how talented this cast is, with Hart in particular hitting every single beat while crafting his own with the help of formidable director Andrew Cross. Hart has the best sense of timing for black comedy that I’ve ever seen. O’Grady leans into the narcissistic elements of Harry beautifully, creating a protagonist I sometimes dislike more than Mooney. The snivelling Kenward Parker is another standout, eliciting sympathy for Syd that turns out to be quite unwarranted. I’ll have that sympathy back, thanks. And as our punters, Cozens, Bell, and Mawer bring out the heartiest laughs of them all.

Special mention to the elaborate set (Amy Whiterod) and Tanya Piejus’ sound design, which amplifies the tension with transitional music we all hum along to before being smacked in the face by the next scene.

Wow. Just wow. I’ve got no other words except… Go. See. This. Production.

Last Night in Soho | Regional News

Last Night in Soho

(R16)

117 Mins

(4 ½ out of 5)

Reviewed by: Sam Hollis

Much like Eloise (Thomasin McKenzie), we too enter a neon-lit fever dream watching Last Night in Soho, a film that turns our nostalgia for the past into an inescapable nightmare. Edgar Wright’s directorial touch shines more than ever as he modernises and romanticises the classic thriller with assured awareness, propelling an intriguing mystery that has us waiting with bated breath for answers.

Eloise Turner is a young fashion student who lives for the Swinging Sixties. Though she’s excited to trade her rural surrounds for London, she quickly feels alienated by the big city and seeks refuge in a shabby Soho apartment, which she rents from one Mrs Collins (Dame Diana Rigg). Her new home comes with history, and when she falls asleep, Eloise is whisked away to the 60s she’s always dreamed of, where she is tethered to aspiring club singer Sandie (Anya Taylor-Joy).

With films like Hot Fuzz (2007) and Baby Driver (2017) under his belt, Wright’s meticulous direction is well established, but never has he been more inventive than in Last Night in Soho. Like a kid in a candy store, he constantly finds fun ways to meld Eloise’s present with Sandy’s past; an early dance sequence that combines clever camera movement and precise choreography stands out as a moment of pure cinematic delight. From the costumes and the production design to the noirish lighting, soundtrack, and underbelly atmosphere, the 60s burst to life under Wright’s tutelage.

Wellington actress McKenzie fits beautifully into the world Wright creates and delivers a star-making performance. Tortured, mystified, and alone, she is the square peg trying to fit into the round hole, beautifully offset by the film’s well-cast ensemble. Taylor-Joy is a perfect counterpoint, but this is, without a doubt, McKenzie’s movie. In her final performance before her death last year, Rigg is as poised as ever, and Last Night in Soho serves as a worthy swan song for this screen legend.

Last Night in Soho harkens back to the type of dread felt in psychological thrillers like Alfred Hitchcock’s Rebecca (1940) and Michael Powell’s Peeping Tom (1960). I implore you to go in cold and experience Last Night in Soho spoiler-free; discovering its secrets is just too damn fun.