A Māori builder named Reg, played by Regan Taylor, arrives to a house in Wadestown after being contracted to build a gate to keep the owners’ dog from getting onto the road. After some difficulty in communicating with Karen, one of the homeowners, Reg builds the fence while exploring his past, alcoholism, and identity.

Set design, also by Regan Taylor, is used creatively throughout the performance. Against a charming backdrop of panels engraved with pōhutukawa shapes are piles of loose wood and a mound of sand in a corner. We watch as the set is changed and constructed over the course of the play. As the gate is built, Taylor uses the pieces of the set inventively to depict a variety of objects and scenes, such as a moving car or a prison-like fence he becomes stuck behind. A particularly delightful moment occurs when Taylor transforms into a convincing moa with nothing but a sheet wrapped around him, arm extended for the neck and beak.

Reg’s narration takes the audience on a wide-ranging journey through space and time. An imagined conversation with a therapist, played in voiceover by Mycah Keall, confronts Reg’s alcoholism and flashes back to a time in his childhood when he felt unloved and unwanted. Together with Kane Parsons’ sound design, Janis Cheng’s lighting design is used effectively to make these scenes pop, often segmenting the stage with colours and focused lights, making the background fall away as we are taken with Reg on his internal journey.

Throughout Re-Engineered, Reg’s exploration of heavy topics becomes personal and vulnerable as he directly challenges the audience to confront their biases. With the short runtime of the performance, the big ideas that are offered can feel abandoned too quickly as Reg moves on to the next topic. The effect is that the plot of the show becomes choppy, and it is difficult for us to find a thread tying the story together. Reg has a lot to share with us, and I hope that he continues to win audiences over while challenging them to think.

Internationally lauded silent comedy virtuoso Tape Face, a.k.a. Christchurch’s Sam Wills, returns to Aotearoa for the NZ International Comedy Festival from a 10-year residency in Las Vegas with his iconic stage show. Launched at the NZ Comedy Fest in 2005, he has since toured the world and stormed Britain’s and America's Got Talent. This 20^th-anniversary extravaganza brings his most-loved sketches and some new inventions from his Vegas set to Wellington.

All top-rated comedians need a warm-up act and that comes in the form of quirky Phyllis, who gets the all-ages audience revved up for the highly participative show that’s to come. No one in the stalls is immune from being beckoned onto the stage to take part in Tape Face’s vaudevillian sketches. They do so with varying degrees of success, but most are rewarded with our host’s two-handed ‘didn’t they do well?’ gesture at the end of their participation. Wills’ ability to go with the flow and gently admonish participants who get too smart allows these segments to succeed and, even if they fail, they’re still funny. He even picks up on the sass of one young participant and replicates it at the end of the show to great comic effect.

In between the audience-driven sketches, Tape Face showcases his own classic comedy that leans heavily into the silent stars of yesteryear and his background in clowning and mime. This includes the two sketches he performed in auditions for America’s Got Talent that the judges described as “genius”.

Throughout the show, an ominous countdown towards an unknown, red-drenched disaster keeps us in thrall. In case the folk in the circle and gallery feel left out, we all take part in the final sketch that fortunately involves nothing more devastating than hundreds of red ballons.

In an era of angst and politics-driven comedy and too much punching down in the name of laughter, it’s refreshing to see a return to a simpler age of performance-based humour that charms and delights while it amuses.

Masaaki Suzuki is a renowned authority on Bach’s works and on Friday he demonstrated how to apply his expertise to other classical titans. Suzuki achieved this in such a way that his Bach was as beautiful as we would expect and the Mozart and Beethoven were comfortingly familiar and refreshingly new all at once.

The stage was set, literally, for a Baroque performance. Throughout the evening, Suzuki used his impressive command of dynamics, tempo, and tone to bring forward individual parts so clearly it was almost as if they were under an actual spotlight for a few moments before melting back into the lustrous sound of the whole. Each movement of Bach’s Orchestral Suite No. 3 was made distinctively different by interpretation and performance, but a lightness and fluidity flowed throughout.

The same lightness continued into Mozart’s Symphony No. 25. The delicacy of the first and second movements, almost exposing every instrumentalist, felt as intimate as a Viennese salon in Mozart’s day although it was a full house of several thousand. The final movement had a bolder sound. Even as the speed and intensity increased, Suzuki’s amazing control over the dynamics compelled us forward without ever being heavy footed.

The hero of the hour was Beethoven’s Symphony No. 3 in E-flat Major, Eroica. Suzuki introduced us to a new interpretation of Beethoven that sounded as dramatic and original as it might have seemed to its first audiences while retaining the lightness and fluidity we were introduced to in the Bach. The second movement in particular had an intensity unique to the character of the movement, with harmonic drama and serious emphasis on tone. The third and fourth movements emphasised the unusual. The complex rhythm and unexpected dynamics combined the modernity of Beethoven with the Baroque mode and left us knowing we had heard something old and well celebrated now also new and remarkable.

Established local and international comedy star Johanna Cosgrove brings her new show Sweetie home to Wellington for the NZ International Comedy Festival. While the material is fresh, the premise of intensely personal, no-holds-barred storytelling about life and love will be familiar to her fans, many of whom were in the audience.

Resplendent in a shocking red crop top, short skirt, and her trademark knee-high vinyl boots, Cosgrove takes us on a journey through her early straight relationships before revealing that on a recent trip to Melbourne she fell hard for a woman.

Along the way, we’re introduced to her tattoos, including a badly drawn candle inked by a very high Mexican witch and the one arced over her solar plexus for which this show is named. We also hear about her obsessions with Denmark’s ancient Bog Woman and her post-graduation stint teaching English to 13-year-olds in Poland who she helped to perform Macbeth with witches dressed like the Ku Klux Klan. She even slides in a highly topical political swipe at ACT Party MP Brooke van Velden and an anti-colonialism sex joke.

Her family come under the microscope in a creepy-funny story about a themed Christmas dinner where every course is dedicated to a dead member of the family. Her dad’s PTSD on accidentally discovering her giant strap-on dildo also basks under the spotlight, as does her discovery via Ancestry.com that her great-great-grandmother was Indigenous Australian.

Like all good comedy storytelling, the narrative turns full circle at the end when we’re treated to a replay of the seduction of her first high-school crush. I won’t spoil the surprise but be assured it got the biggest whoops and hollers of the night as Cosgrove displayed two of her other enviable talents.

I’ve said it before and I’ll say it again: Johanna Cosgrove is a comedic force of nature. With Sweetie, she cements herself as someone capable of seeing her own life’s weirdness and using it to delight.

Stagecraft’s rendition of The Curious Incident of the Dog in the Night-Time has taken an inclusive approach to this modern classic, boasting contributions from neurodivergent cast and crew members that clearly enhance the production. Adapted from the novel by Mark Haddon, the story follows Christopher, an autistic 15-year-old who sets out to solve the murder of his neighbour’s dog. While the London production was notorious for its overwhelming lighting and sound effects that alienated audiences with sensory sensitivities, directors Joy Hellyer and Paul Kay have crafted a version that is equally captivating without compromising accessibility.

Simi Ready’s portrayal of Christopher is exceptional: authentic, hilarious, and deeply engaging. They win us over from the outset and keep us invested in the intrigues and emotional upheavals of the narrative. Mary Coffey is brilliant as Christopher’s teacher Siobhan, delivering her lines with impeccable timing, underpinned by a perfect blend of humour and emotional depth. Praise is also due to Mike McJorrow and Amy Whiterod, who give nuanced performances as Christopher’s flawed yet loving parents.

These characters are surrounded by a wonderful ensemble cast, who bring us bit parts, cleverly illustrate Christopher’s relationships with the objects around him, and add emphasis during intense sensory and emotional scenes by emoting as extensions of Christopher.

The production elements support the performances perfectly; ingenious geometric set pieces are repeatedly reconfigured to create diverse environments, complemented by Kimberli Jones’ projected illustrations that visualise Christopher’s thought processes. The minimalist set design and projections allow details in costume (Helen McKenzie) and props (Jo Douglas) to have intense impact – for example, the extraordinary body of Wellington the dog by master model maker Allan Burne. Janet Noble’s fight choreography is grounded and effective, contributing to the authenticity of the scenes.

This production of The Curious Incident of the Dog in the Night-Time is clever, intense, hilarious, and heartfelt. Many thanks to the Stagecraft team for sharing your version of this story with us.

On the night of May the 19^th, 2010, five paintings were stolen from the Musée d’Art Moderne de Paris. The loot included a Braque, a Picasso, a Léger, a Modigliani, and a Matisse valued at more than 100 million euros. While the paintings, to this day, have never been recovered, The French Job tells a frenetic and fictional tale of what may have happened to these famous works.

Opening to grimy streets on a dank, dark evening, it’s certainly not the Paris of our dreams that Jo (Steve Tientcheu) cooly makes his way through after looting an apartment block of valuables. Meanwhile, Eric (Sofiane Zermani), a smooth-talking con artist, promises a Léger he doesn’t own to a rich fellow that he then tasks Jo with finding. The following day, Eric’s chance meeting with the perpetually anxious watch expert Yonathan Cobb (Melvil Poupaud) seems like providence as he convinces the hapless tinkerer to sell his client’s timepieces for profit rather than repairing them. The trio’s lives however are flipped upside down when Jo robs the Paris Museum of Modern Art. With the heist highly publicised, the madness begins as Jo, Eric, and Cobb must decide what to do with the paintings.

Directed by Dominique Baumard, The French Job took home the L’Alpe d’Huez International Comedy Film Festival 2025 Special Jury Prize for good reason. Not only is the script, adapted by Baumard and Benjamin Charbit from Olivier Bouchara’s original idea, clever and captivating with plenty of room for physical comedy, but the entire production is as slick and tight as a high-profile heist. Sitting on the edge of my seat, I revelled in the Ocean’s 11-esque character introductions, squealing with delight as the story took a sharp turn towards Italian Job antics. Perfectly punctuated by Lionel Limiñana and David Menke’s playful score, Julien Poupard’s cinematography is equal parts thoughtful and intrusive, artistic and functional, exploring character, place, and atmosphere with deft sleight of hand.

Steal into your local cinema for The French Job and let it whisk you away.

The New Zealand Government’s change to the give way rule in 2012 is not the most obvious premise for a musical, but it works. Through witty lyrics, gentle mockery of bureaucracy, and less-gentle criticism of people who are enraged against change, Give Way – The Musical is a highly entertaining couple of hours.

As a new work, it feels somewhat unfinished. The score is purely piano, albeit expertly executed by Hayden Taylor. More orchestration would elevate the mood of each song and clearly differentiate them. More ensemble numbers with harmonies would be good too. When the cast do get to harmonise, it sounds amazing. What lifts the production to being worthy of the Circa One stage is the quality of the casting and the technical aspects.

As protagonist Sophie, Lily Tyler Moore is a strong performer, anchoring the story with her excellent vocals. Jackson Burling as her love interest is delightful. He, like the rest of the cast, deftly plays multiple roles. Carrie Green is engaging as policy wonk Tanya and the moments where she shines vocally are highlights. Bronwyn Turei is equally engaging and her activist Nic and Sophie’s dad are standouts. Alex Greig excels in creating a sympathetic but entertaining portrait of Randall, the unhinged policy advisor who originally changed the give way rule.

Tony de Goldi’s excellent set design is reminiscent of a roundabout on which the actors move a wheeled table and a few office chairs to create the scenes. Vertical panels around the outside remind me of the mats I used to play on with toy cars as a child. Goldi’s accompanying wardrobe design is also spot on, with the walk shorts and socks combo instantly recognisable as the public service uniform of the 1970s. Excellent lighting design by Will Smith adds visual interest and the falling rain effect early in the first half is a wonderful surprise.

Only Wellington creatives could successfully make a musical about policy change!

Guest artist Christopher Cross opened the evening and it was immediately clear that he had a strong fan base in attendance. He was well supported by a talented backing band, featuring Andy Suzuki on wind instruments and three backup female singers. He performed his best-known hits, including Sailing, Arthur’s Theme (Best That You Can Do), Think of Laura, and All Right, culminating in his stunning guitar solo on the smash hit Ride Like the Wind.  

Formed in California in the late 1970s, Toto’s music combines elements of pop, rock, soul, funk, hard rock, rhythm and blues, jazz, and blues. Leader and guitarist Steve Lukather may be the only original member, but this current touring lineup consists of top musicians whose individual musical CVs are too vast to mention. Five of the seven band members shared lead and backing vocals throughout the performance.

The intro music set anticipation levels high for the first song Child’s Anthem. The band was already at full throttle, but it was hits Rosanna and 99 that had the fully engaged crowd singing along. The latter featured the slick bass guitar of John Pierce. Warren Ham on saxophone added a beautiful jazz dimension throughout. For I Will Remember, lead vocalist Joseph Williams got the crowd to sing along with him a cappella to check the venue acoustics! Pamela featured the silky keyboard skills of Greg Phillinganes, whose beautiful solo then led into I Won’t Hold You Back. The funky Georgy Porgy was followed by a solo spot by keyboardist Dennis Atlas – who was brought into the band mid-tour and “had to learn the whole show in two days without any rehearsing”. Lukather’s gorgeous ballad I’ll Be Over You highlighted the striking lighting show and Don’t Chain My Heart showcased his guitar virtuosity. Drummer Shannon Forrest’s blistering solo spot was a highlight. I’ll Supply the Love got the whole crowd up.

Toto’s biggest hits Hold the Line and Africa ended the two-hour-long show on a euphoric high. Rock royalty at its best!

Your favourite Mancunian soap opera gets the comedic parody treatment over five cliff-hanging episodes in Coro, thanks to local improv maestros Nina Hogg and Austin Harrison. Whether you’re a three-times-a-week Coronation Street devotee or an inexperienced newbie to Manchester’s best-known cobbled street, you’re bound to laugh your knitted socks off in this 50-minute show.

Be prepared to be part of the action too. The whole audience is encouraged to join in with the theme tune at the start of each episode, accompanied by Hogg and Harrison on kazoo, squeaky recorder, or barely grade one clarinet. The front couple of rows of audience are also co-opted to be wardrobe minders, tossing ties, woolly jumpers, cardis, leopard-print jackets, flat caps, and bald heads to the two actors as needed.

Playing several characters each, often two at the same time (or even three in one hilarious scene from Hogg), both actors are a non-stop whirl of energy, embodying each famous identity beautifully. Despite concerns expressed pre-show, their Manchester accents are on point and their vocal delivery varied and expressive.

Several plots roll through the five episodes and are neatly tied together by the end, starting with a fatal train crash and ending with the birth of a baby – also tossed from the audience in a moment of comic genius – to teen parents. All your favourite soap tropes are here, including confusion over a non-existent extra-marital affair, mixed-up medical prescriptions, inter-generational strife, and superannuitant dating apps.

The sort of show that could be performed anywhere, Coro needs only simple lighting changes between scenes and a few props to facilitate its superlative performers and clever writing. Hogg and Harrison are taking the show to the Edinburgh Fringe Festival later this year and I’m sure it’ll go down like a two-storey terraced house on fire.

Britain’s longest-running TV soap is ripe for parody and Coro manages to strike the balance between entertainment and upholding the relatable, working-class core that has made the show so successful. Best of luck in Edinburgh, team!