CAMPING (2024)

Les and Fleur are a middle-aged couple at the end of their tether. Francis and Connie are newlyweds terrified of getting it on. They’ve double booked a romantic getaway at a kiwi bach in the middle of nowhere, but we’re not sure which is raging harder - the storm outside, or the hormones inside

Camping is a zany theatrical comedy set in the deceptively calm confines of a New Zealand holiday home, two couples find themselves on a collision course of hilarity and hijinks after accidentally double-booking the same bach. One couple is there for a romantic honeymoon; the other, for a long-awaited anniversary. What follows is a two-hour spectacle of irreverent humour, brilliantly absurd characters, and an unmistakably Kiwi tone that fans of dry, campy, laugh-out-loud comedy will appreciate. This is a show that revels in its camp, its quirks, and its unabashedly local references, creating a must-watch experience for audiences looking for bold, fast-paced, balls -to-the-wall humour drenched in New Zealand specificity.

Photo credit: Andi Crown Photography

The core of Camping lies in the performances delivered by its exceptional cast, each member bringing their unique flair to this comedic quartet. Chris Parker, Tom Sainsbury, Kura Forrester, and Brynley Stent embody characters who are not just larger than life but who also reflect distinct facets of the Kiwi character. This is a cast that has not just been cast well; they deliver with dedication to a level of exaggerated humour that feels precisely right for the material.

Chris Parker plays Francis, a tightly wound “mummy’s boy” with many hidden layers. Parker’s portrayal captures the peculiar charm of a character caught between nervous insecurity and repressed desire, a man so caught up in his upbringing that he borders on parody. Francis’s backstory – of having been homeschooled by his mother, only to end up in youth cadets when she couldn’t take it anymore – adds to the hilarity, making him both a sympathetic and ridiculous figure. His dry humour and suppressed quirks quickly establish him as a character audiences can’t help but root for, even as they laugh at his foibles.

Photo credit: Andi Crown Photography

Tom Sainsbury’s character, Les, on the other hand, is a simpler but equally hilarious figure. Les is head-over-heels in love with his wife, and though well-meaning, he is hilariously clueless about what she really needs. His devotion to his wife, Fleur, and his lack of emotional insight create a comedic tension that runs throughout the play, as Les’ earnestness constantly clashes with his utter obliviousness to Fleur’s true desires. Together, Parker and Sainsbury create a delightfully awkward, at times absurdly intimate portrayal of two men tiptoeing around their own latent desires and insecurities, bringing some wonderfully awkward energy to their scenes.

Kura Forrester steals the stage as Fleur, a once-glamorous pageant queen from Gisborne now caught in the throes of perimenopause. Forrester’s characterisation is a masterclass in comedic timing and audacious delivery. Fleur is a loud, unfiltered diva with an arsenal of inappropriate humour that hits with razor-sharp precision, contrasting sharply with her husband Les’ simplicity. Forrester’s skill in oscillating between vulgarity and vulnerability gives Fleur a dimension that makes her both captivating and downright hilarious. She dominates the stage with a charisma that feels almost larger than the theatre itself, transforming her into a character who is both outrageous and wonderfully relatable.

Photo credit: Andi Crown Photography

Finally, Brynley Stent as Connie Cummings plays the outsider in this high-energy group. Her character, though more subdued in her early scenes, is no less impactful. Connie’s naivety and slight social awkwardness bring a quieter, more subtle form of humour to the play. Stent’s talent shines as she skillfully allows Connie’s initially reserved nature to slowly unravel, revealing a character every bit as complex as her louder counterparts. By the end of the performance, Connie has evolved into a fan favourite, serving as a beautiful contrast to the chaotic energy surrounding her.

Camping doesn’t hold back when it comes to humour. The jokes are relentless and unapologetically Kiwi, laden with local references and character quirks that feel distinctly New Zealand. The show takes on an anything-goes approach, embracing low-brow humour, risqué innuendos, and campy tropes to their fullest extent. For fans of traditional Kiwi humour—think awkward pauses, deadpan expressions, and biting one-liners—the comedy is pitch-perfect. The dialogue is packed with fast-paced banter, each line sharper and wittier than the last. Even when a joke doesn’t quite hit its mark, the audience is barely given time to process before the next laugh-out-loud moment arrives.

Photo credit: Andi Crown Photography

Adding to the mix are two spectacular physical-comedy set-pieces in the second half that elevate Camping beyond mere dialogue-driven comedy. Without giving away the plot, there’s an absurdly executed talent show scene that veers into the realm of slapstick, and a bedroom encounter with cartoonish over-the-top choreography that brings to mind the wild antics of Team America. These scenes are nothing short of hysterical, embodying the physicality of the cast and the fearless, playful spirit of the production.

While Camping revels in its unrestrained humour, the show also subtly explores themes of self-acceptance, sexuality, and the pressures of societal expectations. What starts as a simple comedy about two couples stuck together grows into a story about the release of tension through embracing one’s true self, and the joy that comes with allowing others to do the same. The play taps into moments of suppressed expression and bottled-up desires, which gradually come to the surface in hilarious and, at times, surprisingly heartfelt ways.

Photo credit: Andi Crown Photography

Amidst the outrageous humour, Camping gives each of its four characters a moment of vulnerability, where their flaws and insecurities emerge. Francis and Les, particularly, embody the struggle of dealing with repressed feelings and rigid norms, while Fleur’s transformation from her pageant past to her present struggle with aging creates a character arc that is both touching and comically exaggerated. These quieter moments make the play more than just a comedy; they give it a human side that grounds the laughter in real, relatable emotion. 

The set of Camping is cleverly minimal, evoking the simplicity of a classic Kiwi bach, while an array of props keep the scenes dynamic and engaging. The set becomes a lively stage where the cast's physicality and exaggerated expressions fill the space, creating a visual feast that enhances the humour. Watching the four characters navigate their antics amid this deceptively simple backdrop is like watching four versions of Mr Bean, each with their own quirks and comic timing. The result is an immersive, well-paced experience that invites the audience into the action, making it impossible to resist the humour on display.

Photo credit: Andi Crown Photography

The audience's reaction to Camping is a testament to the show’s success. The laughter is nearly non-stop, with the cast often pausing to allow the waves of audience reaction to settle before delivering their next line. It’s clear that Camping is a hit, resonating with audiences who find joy in its relentless irreverence and down-to-earth Kiwi references. Forrester, Sainsbury, Parker, and Stent navigate their timing brilliantly, expertly pausing or ad-libbing to keep the energy high and the laughs rolling.

Chris Parker, Tom Sainsbury, Kura Forrester, and Brynley Stent have created a masterful comedic experience that celebrates New Zealand humour at its finest. For fans of camp, exaggerated characterisation, and unabashedly dry wit, this is a show not to be missed. With its richly developed characters, rapid-fire humour, and surprisingly tender themes, Camping is more than just a comedy; it’s a love letter to Kiwi culture, delivered with all the absurdity and flair that New Zealand audiences adore. Whether you’re drawn to the bold themes, the physical comedy, or the sheer joy of seeing New Zealand’s quirkiest characters brought to life, Camping is a memorable theatrical experience that will leave you laughing long after the curtain falls.

Camping is recommended 16+

Duration: 115 minutes, including intermission

Dates: 14 November – 7 December 2024

Venue: Q Theatre, Rangatira, Auckland (Tāmaki Makaurau)

Tickets can be purchased here

THE LORD OF THE RINGS - A MUSICAL TALE (2024)

Embark on a new journey, as this timeless tale unfolds in an intimate, yet breathtaking theatrical production. The Lord of The Rings returns home to Middle-earth to capture our imaginations and hearts, like never before.

The Lord of the Rings - A Musical Tale brings Tolkien’s vast fantasy world to life in a novel way that will delight many fans of both musical theatre and the iconic series. With a runtime of nearly three hours, including a 20-minute intermission, this production weaves song, dance, and a condensed retelling of Middle-earth's most celebrated stories. While there’s much to applaud in the execution, the intensity and quick pace of the narrative can make it challenging to follow for audience members unfamiliar with the books or films.

Photo credit: Liz Lauren

The evening opens with an immersive prelude, instantly blurring the line between stage and audience as hobbits wander through the aisles, interacting with theatre-goers. A playful round of ring toss and the sharing of food sets a warm and lighthearted tone that draws everyone into the Shire, offering a taste of the close-knit, whimsical world of hobbits. This delightful opening is cleverly done, priming the audience for a performance that aims to transport them directly into Tolkien’s universe.

Visually, the show is compelling. Although the set remains minimal, relying on a central turntable and clever use of projections, it efficiently evokes iconic locations across Middle-earth. The rotating stage adds dynamism, especially during action sequences, while certain scenes—such as those set in Elven cities like Rivendell and Lothlórien—are beautifully brought to life with ethereal lighting and soundscapes. These sequences stand out as some of the show’s most immersive, with ambient sound design heightening the atmosphere and fully engaging the senses.

Photo credit: Liz Lauren

One of the production’s greatest strengths is its musical score, which avoids the trap of modern influences and instead reflects an older, traditional English style, perfectly suiting Tolkien’s setting. Hobbits sing jaunty shanties, while other pieces draw on Disney-like themes that are heartwarming and familiar, though slightly toned down from the darker atmosphere of the original films. While the music serves to maintain a family-friendly vibe, the combination of lively songs and dance routines can, at times, overwhelm the storyline, especially as some of the lyrics are difficult to catch in the bustling energy. This high-energy approach may appeal to younger audiences but can complicate narrative clarity for others.

The show balances between musical and dramatic moments, with characters often speaking in traditional dialogue punctuated by song, allowing for a less constant musical flow than many theatre-goers might expect. The narrative occasionally feels rushed, particularly in the second act, which covers the bulk of The Two Towers and The Return of the King. Given the challenge of condensing three complex books into a single performance, the show inevitably jumps between key scenes, sometimes feeling like a highlight reel. This pace means that only dedicated fans can keep up with the transitions, and even they might miss certain beloved elements. For example, Sam, Frodo, and Gollum’s story is preserved with relative fidelity, yet other aspects—such as Aragorn and Arwen’s relationship—are notably compressed or altered, leaving some Tolkien purists wanting more.

Photo credit: Liz Lauren

On the technical side, the staging of specific moments varies in effectiveness. Some scenes, such as Frodo and Sam’s encounter with Shelob, are brilliantly executed, with puppetry that brings the giant spider to life in an impressive and chilling manner. By contrast, Gandalf’s showdown with the Balrog is somewhat abstract, lacking the visceral impact one might expect from such a pivotal scene. Similarly, Merry and Pippin’s meeting with Treebeard involves the characters gazing up at an unseen figure while a booming voice fills the theatre. These choices are perhaps a reflection of budget constraints, but they also risk losing the emotional weight associated with such iconic moments.

The costumes also offer mixed results. While characters like Bilbo and Gollum appear close to their literary counterparts, others, such as Legolas and Aragorn, have costume choices that may confuse the audience. Aragorn’s Peter Pan-like attire, in particular, stands out as somewhat of a departure from expectations, giving him a look that feels out of place in the setting. However, the simpler costume designs serve a purpose, allowing the cast to move freely across the revolving stage and enhancing their energetic performances without distraction.

Photo credit: Liz Lauren

The standout among the cast is Tony Bozzuto’s portrayal of Gollum. His interpretation is both comical and unsettling, capturing Gollum’s fractured personality in a way that brings new life to the character. Watching Gollum sing and dance might initially feel jarring for those familiar with the darker portrayal in the films, yet Bozzuto’s performance is engaging and adds a unique twist. Other performances are also strong, with the cast showing impressive versatility as they sing, dance, and even play instruments with flawless coordination.

The production shines in its action scenes, which are choreographed with intensity and precision. These sequences often include slow-motion effects that freeze the actors mid-movement, amplifying the drama and engaging the audience in a palpable sense of battle. The choice to limit the larger skirmishes to only three notable confrontations keeps the runtime manageable, though it does reduce the scale of conflict that fans may expect from a Lord of the Rings adaptation. Orcs and Uruk-hai are reimagined with a contemporary twist, bringing a fresh perspective to the creatures while staying true to their menacing essence.

Photo credit: Liz Lauren

A notable decision in this adaptation is to keep the tone light and accessible, prioritising family-friendly elements over the deeper, more mature themes of Tolkien’s work. While this makes it more suitable for younger viewers, it sacrifices some of the gravity and emotional depth that long-time fans might associate with the saga. The musical’s upbeat spirit, reminiscent of classic Disney productions, provides a fresh and accessible entry point for children and families, yet can leave fans looking for more dramatic tension.

For those familiar with the source material, this performance may be a mixed experience. The musical captures the essence of Middle-earth through vibrant staging and dedicated performances, yet the rush to fit such a vast story into a limited timeframe inevitably leads to some shortcuts. Certain characters and story arcs are condensed or reshaped to fit the theatrical format, which may disappoint Tolkien purists, especially as significant events are reduced to fleeting moments.

Photo credit: Liz Lauren

Nevertheless, The Lord of the Rings - A Musical Tale is an ambitious and inventive take on a beloved classic. The cast’s passion and talent are evident throughout, with each member contributing to a lively and colourful rendition of Tolkien’s world. The production’s high energy and impressive visual elements make it an enjoyable experience, even if it occasionally sacrifices narrative depth for accessibility and entertainment value. While not without its flaws, the musical achieves a balance between novelty and nostalgia, offering a charming journey through Middle-earth that is sure to leave audiences of all ages with a smile.

The Lord of the Rings – A Musical Tale will premiere at The Civic from 5th November for a strictly limited season. Tickets can be purchased from here

DIVAS! (2024)

With leading New Zealand performers The Lady Killers, featuring national treasure Jackie Clarke, Tina Cross, and Suzanne Lynch and their phenomenal band, join us for the ultimate party showcase, filled to the brim with hit after hit.

Last night, the Bruce Mason Centre played host to DIVAS! – a dazzling concert by New Zealand's beloved trio, The Lady Killers. Consisting of vocal legends Tina Cross, Suzanne Lynch, and Jackie Clarke, the group delivered a powerhouse performance celebrating women in music. Clad in sparkling sequined dresses and backed by an adept four-piece band, the trio enchanted the audience from the moment they stepped on stage, welcomed by enthusiastic applause and cheering.

As the show began with Eurythmics’ Sweet Dreams, the initial performance seemed a bit restrained as the trio eased into the night. But any hesitation quickly melted away with their rendition of Aretha Franklin's (You Make Me Feel Like) A Natural Woman. The harmonies snapped into place, with Cross, Lynch, and Clarke’s voices blending seamlessly, resonating throughout the hall and sparking energy in the crowd. The trio’s powerful vocals ignited the evening, and their command of the stage only grew as they moved from one classic to the next.

The early highlights included Amy Winehouse’s Valerie and Dusty Springfield’s Son of a Preacher Man, where the audience began to tap into the vibe of the night, some even dancing in the aisles. As the hits continued, the trio’s infectious energy was mirrored by the audience, whose excitement intensified with each song. Tina, Suzanne, and Jackie gave standout solo performances on select tracks, each bringing her own unique style to the stage. Jackie Clarke’s rendition of Nina Simone’s Feeling Good was a particular crowd favourite, her warm, soulful voice captivating the room. Though some of the higher notes seemed restrained, her delivery was powerful and heartfelt, drawing enthusiastic applause.

Tina Cross delivered an emotionally charged performance of Lady Gaga’s Always Remember Us This Way, demonstrating her impressive vocal range as she navigated between high and low notes effortlessly. The number felt especially personal and showcased Cross's depth as a performer, her connection with the audience clearly visible. This new approach to solo songs added a personal touch, making the night feel like a celebration of the women behind the voices, as well as the music they were performing.

As the concert rolled into modern territory, the trio surprised the audience with a medley blending Pink’s What About Us, Sia’s Titanium, Taylor Swift’s Shake It Off, and Beyoncé's Single Ladies (Put a Ring on It). The upbeat, dance-driven arrangement had the audience completely engaged. People were on their feet, dancing and singing along, and the atmosphere inside the Bruce Mason Centre became as vibrant as a pop concert. The Lady Killers’ expert harmonising and the band’s spot-on instrumentation brought new energy to these well-known hits, giving them a unique twist that kept the audience enthralled.

In a show filled with memorable moments, the medley of Bananarama’s Venus, The Yandall Sisters' Sweet Inspiration, and The Pointer Sisters' Jump stood out. This medley was where the audience fully abandoned their seats, with people clapping, swaying, and dancing to the infectious beats. With Van Halen's Jump closing this sequence, the whole venue felt like it was at a peak, the energy at an all-time high as everyone joined in the celebration.

When the time came to slow things down with Adele's Someone Like You, the trio showcased their versatility, handling the song’s emotional range beautifully. Their harmonies were rich and soothing, proving they could manage not just upbeat numbers but also tender ballads that tugged at the heartstrings. A medley of Fleetwood Mac favourites, including Dreams and Don’t Stop, took the audience into the interval on a high note. Tina Cross's commanding stage presence ensured a seamless flow in the concert’s energy, guiding the audience between exhilarating numbers and reflective, calmer moments.

During the interval, the positive energy was palpable. The trio had been hitting the right spots throughout the night; Jackie’s engaging humour and Kiwi charm, Tina’s dynamic energy, and Suzanne’s comforting presence complemented each other perfectly, creating a refreshing mix of personalities on stage. Their interactions with the crowd made everyone feel part of the experience, breaking down the usual performer-audience divide.

The second half of the show kicked off with an array of nostalgic classics. Starting with Dolly Parton favourites like Jolene and Islands in the Stream, the trio reminded the audience why these timeless songs are so beloved. The trio’s cover of Kate Bush’s Wuthering Heights and Bette Midler’s Wind Beneath My Wings brought a moment of hushed reverence, particularly during Suzanne Lynch’s solo on Wind Beneath My Wings. Her performance was deeply moving, and her voice conveyed a palpable sense of passion that had the audience mesmerised.

Then came a dynamic 90’s medley featuring Madonna’s Like A Prayer, Kylie Minogue’s Can’t Get You Out of My Head, Gloria Estefan’s Conga, and Jennifer Lopez’s Let’s Get Loud. The pace picked up once again, and this combination of lively hits made it clear that the audience wanted to dance the night away. The crowd was fully invested, singing along and even joining the trio for a bit of impromptu karaoke. By now, the Bruce Mason Centre had transformed from a concert hall into a lively dance floor, a rare feat in a seated venue.

The trio’s fusion of Gloria Gaynor’s I Will Survive with Destiny’s Child’s Survivor struck a chord with the audience, symbolising resilience and strength – themes that resonated throughout the show. Jackie, Tina, and Suzanne led the audience in a full-throated singalong, with the crowd’s excitement now boiling over into joyful abandon. Their cover of Shania Twain’s Man! I Feel Like A Woman! only fuelled the enthusiasm, with audience members nearly out-singing the trio in terms of volume, adding a unique sense of camaraderie to the night.

The final tracks included Janis Joplin’s Piece of My Heart and Tina Turner’s The Best, which brought the evening to a near crescendo, with the crowd belting out the lyrics as if they were all part of the band. Ending on Queen’s Bohemian Rhapsody seemed a daring choice, but the trio and their band nailed the song’s operatic highs and rock-driven lows, creating a spectacular finale. Yet, the audience wasn’t ready to leave, demanding an encore with cheers and foot-stomping.

The Lady Killers graciously obliged, treating the crowd to Celine Dion’s My Heart Will Go On and a vibrant ABBA medley featuring Gimme! Gimme! Gimme! (A Man After Midnight), Mamma Mia, Dancing Queen, and Waterloo. The ABBA songs were the perfect way to close the show, with everyone on their feet, singing and dancing until the last note. As the final chords echoed through the venue, the trio took their bows to a standing ovation, leaving the audience elated and satisfied.

DIVAS! featuring The Lady Killers was a resounding success, celebrating the strength, versatility, and passion of women in music. From the expertly crafted setlist to the trio’s onstage chemistry, the concert was a joyous tribute to musical divas across genres and eras. It was an unforgettable night that left the audience inspired and eager for more, a true testament to the lasting power of music.

Setlist

1. "Sweet Dreams" by Annie Lennox (Eurythmics)

2. "(You Make Me Feel Like) A Natural Woman" by Aretha Franklin

3. "Valerie" by Amy Winehouse

4. "Son of a Preacher Man" by Dusty Springfield

5. "Stop! In the Name of Love" by Diana Ross

6. "Feeling Good" by Nina Simone

7. "Always Remember Us This Way" by Lady Gaga

8. Modern Medley of "What About Us" by Pink, "Titanium" by Sia, "Shake it Off" by Taylor Swift, and "Single Ladies (Put a Ring on It)" by Beyoncé

9. Medley of "Venus" by Bananarama, "Sweet Inspiration" by The Yandall Sisters, and "Jump" by The Pointer Sisters, ending with "Jump" by Van Halen

10. "Someone Like You" by Adele

11. Stevie Nicks (Fleetwood Mac) medley including "Dreams" and "Don’t Stop"

12. "How Will I Know" by Whitney Houston

[Interval]

13. "Jolene" and "Islands in the Stream" by Dolly Parton

14. "Wuthering Heights" by Kate Bush 

15. "Wind Beneath My Wings" by Bette Midler

16. 90's Medley of "Like A Prayer" by Madonna and "Can't Get You Out of My Head" by Kylie Minogue, Gloria Estefan's "Conga", and "Let's Get Loud" by Jennifer Lopez

17. Merging two "survival" tracks into one, "I Will Survive" by Gloria Gaynor and "Survivor" by Destiny's Child

18. "Man! I Feel Like A Woman!" by Shania Twain 

19. "Piece Of My Heart" by Janis Joplin

20. "The Best" by Tina Turner

21. "Bohemian Rhapsody" by Queen

[Encore]

22. "My Heart Will Go On" by Celine Dion

23. ABBA Medley with "Gimme! Gimme! Gimme! (A Man After Midnight)", "Mamma Mia", "Dancing Queen" and "Waterloo"

VENOM: THE LAST DANCE (2024)

Eddie and Venom are on the run. Hunted by both of their worlds and with the net closing in, the duo are forced into a devastating decision that will bring the curtains down on Venom and Eddie's last dance.

Venom: The Last Dance is a superhero film that continues the chaotic, yet charming, journey of Eddie Brock and his symbiotic partner, Venom. Directed by Kelly Marcel and written by both Marcel and Tom Hardy, the film stars Hardy as the lead, alongside Juno Temple and Alanna Ubach. The movie picks up right where Let There Be Carnage left off, with Eddie and Venom now fugitives. Following the events of the previous films, they find themselves entangled in a cross-country chase to clear their name for the murder of Detective Mulligan, while also being hunted by an alien force sent by Venom's creator, Knull.

At the heart of Venom: The Last Dance is the relationship between Eddie and Venom, which has always been one of the film series' most entertaining aspects. This time, their journey takes them from Mexico to New York, where they hope to clear their names. However, the road to redemption is far from straightforward, and the plot mostly centres around their misadventures while on the run.

The movie is structured like a buddy-road trip comedy, giving Eddie and Venom plenty of room to play off each other’s personalities. Eddie is his usual self; frustrated, tired, and just trying to survive, while Venom is his usual chaotic personality, filled with energy and bizarre enthusiasm. Whether they’re getting into arguments or working together to outsmart their pursuers, the dynamic between the two characters never feels forced. In fact, this is where the film really shines—Hardy’s ability to balance Eddie’s weariness with Venom’s absurdity keeps the movie engaging.

Venom’s lines are consistently comedic, filled with ridiculous banter, and his joy for life—whether it’s gambling, singing, or causing a bit of harmless trouble—brings a certain charm to the film. It’s clear that this movie isn’t trying to break any new ground or introduce anything revolutionary but instead focuses on closing the chapter for these characters. It doesn’t lose sight of what made audiences fall in love with Eddie and Venom in the first place—their quirky, oddball relationship.

Despite the humorous and light-hearted tone, the film does deliver plenty of symbiote-fueled action. There are some intense sequences where new symbiotes are introduced, and the film plays with their abilities to add variety to the battles. However, this isn’t where Venom: The Last Dance stands out. The action feels fairly familiar, and while it’s entertaining, it doesn’t aim to surprise or innovate. The film is more about giving fans what they’ve come to expect—loud, fast-paced fights with just enough destruction to keep things interesting.

What makes the action sequences more enjoyable, though, is the unique take on the traditional superhero format. The movie doesn’t attempt to be a massive universe-spanning epic. Instead, it keeps things grounded, focusing on Eddie and Venom’s journey, with the larger threat of Knull simmering in the background. While Knull’s presence is more of an ominous warning rather than a full-on confrontation, the looming danger keeps the stakes high enough to drive the plot forward.

One interesting subplot involves a UFO enthusiast named Martin, played by Rhys Ifans, who adds a whimsical layer to the story. His family of alien conspiracy theorists provides some of the film’s more wholesome and offbeat moments. This subplot is just one of the many entertaining detours that Eddie and Venom encounter on their way to New York, adding a bit of variety to the otherwise straightforward road trip premise.

What sets Venom: The Last Dance apart from its predecessors is its emotional depth. As this is the final chapter in Eddie and Venom’s arc, there are several moments where the film allows the audience to reflect on how far these characters have come. Eddie, who once viewed Venom as nothing more than an unwanted parasite, now sees him as a partner—if not a friend. Their bond is at the forefront of the movie, and while the film is filled with slapstick humour and over-the-top action, it still manages to hit some heartfelt notes.

The emotional core of the film doesn’t necessarily come from grand gestures or tearful goodbyes but from the smaller moments—the times when Eddie and Venom are simply talking, arguing, or working together to survive. Tom Hardy’s performance in these quieter scenes is exceptional, and the way he brings out the softer, more vulnerable sides of both Eddie and Venom makes for a surprisingly touching experience.

As for the finale, while it follows the typical superhero format of an epic showdown, it doesn’t feel as bloated as many other films in the genre. Instead, the final moments are more focused on giving Eddie and Venom a proper send-off, rather than setting up the next big villain or teasing future sequels. It’s a fitting end to their journey, and fans of the franchise will likely walk away feeling satisfied, if a bit melancholic about saying goodbye to the beloved duo.

It’s worth noting that Venom: The Last Dance doesn’t try to reinvent the wheel. The plot is fairly predictable, and it doesn’t explore new territory within the superhero genre. However, this simplicity is one of the film’s strengths. It knows what it is—a fun, offbeat superhero movie that prioritises character relationships over spectacle.

Director Kelly Marcel and writer Tom Hardy clearly have a deep affection for these characters, and it shows in every scene. While there are some moments where the exposition feels heavy-handed, especially when dealing with Knull and the symbiote lore, the film wisely doesn’t dwell on these aspects for too long. Instead, it keeps the focus on Eddie and Venom, making sure that their quirky dynamic is at the forefront of the story.

Even the supporting characters, such as Juno Temple’s scientist and Chiwetel Ejiofor’s soldier, are there primarily to serve the story of Eddie and Venom. Their roles may feel somewhat one-dimensional, but they don’t detract from the film’s main focus. This isn’t really a movie about world-ending threats or complex moral dilemmas—it’s about the bond between a man and his alien companion, and it’s all the better for it.

Venom: The Last Dance is far from a perfect movie, but it’s exactly what fans of the franchise want. It’s fun, chaotic, and filled with heart. While the plot may be simple and some of the characters underdeveloped, the film never loses sight of what makes this series enjoyable: the relationship between Eddie and Venom. For those who have been following the duo’s journey from the beginning, this final chapter offers a satisfying, if slightly silly, conclusion. It's a lighthearted, action-packed romp that proves that sometimes, the best stories are the ones that don’t take themselves too seriously.

Venom is in NZ cinemas from October 24, 2024

A SLOW BURLESQUE (2024)

SLOW; moving or operating, or designed to do so, only at a low speed

BURLESQUE; an absurd or comically exaggerated imitation of something

Peer into the dressing room and who knows what characters you’ll find — a washed-up diva refusing the spotlight; a Hollywood leading man strutting his stuff; a punk poet waxing lyrical; other-worldly creatures tying themselves in knots; or maybe, if you’re lucky, a real, ordinary human.

Freya Silas Finch’s A Slow Burlesque is a deeply personal journey through identity, belonging, and transformation. At just 60 minutes, the show is compact but impactful, packing a whirlwind of offbeat humour, physicality, and introspection into a performance that is at once perplexing and thought-provoking. The production, with its quirky narrative and absurdist costumes, leans heavily into themes of queerness and gender nonconformity. It’s a show that clearly resonates with its intended audience—one that finds joy in the rebellion against societal expectations.

Photo credit: Andi Crown

Freya masterfully plays with gender in their performance. Over the course of the show, Freya embodies several distinct characters: a cabaret host and MC, a washed-up diva clinging to the spotlight, a swaggering Hollywood leading man, and a punk poet, a creature experiencing evolution, among others. Each of these personas represents a facet of their exploration of identity, one that is both humorous and deeply vulnerable. The transitions between characters are calculated, with Freya displaying confidence in every movement, making even the most exaggerated personas feel authentic. These characters are not just personas—they are metaphors for the struggles in the journey of self-understanding.

One of the central themes of A Slow Burlesque is the exploration of gender identity, particularly the feeling of not fitting into traditional gender categories. Freya’s performance portrays this liminality through exaggerated physicality, playful costumes, and moments of introspection. The show is divided into distinct acts, with the first exploring body dysphoria of early years. Freya’s portrayal is both comical and tragic as they present the dissonance between how society views their body and how they feel within it. There’s a visible discomfort in their portrayal of themselves as being “in limbo,” caught between a desire to be part of a community and a deep-rooted fear and shame in the toxicity and misogyny of that same community.

Photo credit: Andi Crown

The second act dives deeper into these feelings of discomfort, as Freya continues to push the boundaries of gender performance. Here, their storytelling becomes more meta, with Freya directly engaging with the audience, critiquing the very show they are performing. They question the lack of a clear narrative and dissect the costumes. It’s a bold choice that blurs the line between performer and spectator, creating a sense of uncertainty that mirrors the themes of the show.

There’s a palpable sense of uncomfortableness throughout the performance being turned into something playful and rebellious. The lack of a traditional narrative story and the absurdity of the costume design, with its oversized elements and constant state of dressing and undressing, reflects a complete rejection of societal norms. It’s a deliberate non-conformance, an assertion of Freya’s refusal to fit into any one box, and a refusal to feel bad about it. This playful rebellion, where nothing is symmetrical or straightforward, invites the audience to share in the feeling of displacement, of constantly shifting identities and the discomfort and opportunities that come with that. The opportunity to be reborn.

Photo credit: Andi Crown

While the show is undeniably engaging in its offbeat style, it’s clear that A Slow Burlesque is not designed for a mainstream audience. The performance is tailored for the queer community, and it resonates deeply with those who share Freya’s experiences of marginalisation and self-discovery. The rapturous applause, laughter, and standing ovation at the end of the show confirm that this is a story and an experience that is both familiar and empowering for many in the audience. However, those outside of this lived experience may find it more difficult to fully connect with the deeper emotional layers of the show.

The production is undeniably well-crafted. Despite its seemingly chaotic appearance, where costumes and set pieces look haphazardly thrown together, it becomes clear that every element has been meticulously thought out. Each object on stage serves a purpose, contributing to the overall message of the performance. The lighting, audio, and props are all used effectively to guide the audience’s attention and keep the energy high. Freya’s physicality is a key element in this; their movements are precise, using every inch of the stage and even moving through the audience, making the performance feel immersive.

Photo credit: Andi Crown

One of the most striking aspects of A Slow Burlesque is its absurdist costume design. The show features a parade of oversized, abnormal, and asymmetrical costumes that reinforce the idea of gender nonconformity. Freya is constantly in a state of undress and redress, a symbolic gesture reflecting the fluidity of identity and the rejection of rigid gender binaries. The costumes are playful and out-of-proportion, adding to the overall sense of disorientation that permeates the show. This aesthetic decision, like so much of the performance, underscores the theme of exploration—Freya is not conforming to any one version of themselves but is constantly shifting, transforming, and evolving.

The audience interaction in A Slow Burlesque is another highlight. Freya is quick-witted and confident, reacting with ease to unexpected interruptions and engaging directly with the audience at several points throughout the show. This not only adds an extra layer of humour but also makes the performance feel more intimate, as if we are all part of Freya’s exploration of self (even if we may not fully understand it for 2-3 years). The fourth-wall-breaking moments, where Freya becomes a critic of their own performance, are particularly effective in drawing the audience into the meta-narrative. It’s as if Freya is inviting us to question the very nature of performance, identity, and belonging alongside them.

Photo credit: Andi Crown

Ultimately, A Slow Burlesque is a bold and deeply personal work that will resonate most strongly with those who share Freya’s experiences of queerness and gender nonconformity. It’s a show that celebrates the absurd, the non-conforming, and the in-between, offering a space for those who don’t fit into traditional categories to see themselves reflected on stage. For me, however, as a cisgender man who enjoys the more formulaic structure of mainstream entertainment, the show felt alienating at times. The humour, the costumes, and the narrative all spoke to experiences that I haven’t lived, and while I can appreciate the craft and passion behind the performance, I can’t say it fully connected with me on a personal level.

But perhaps that’s the point. A Slow Burlesque is not a show designed for everyone—it’s a show that revels in its specificity, offering a voice to those who have often felt voiceless. It’s messy, it’s playful, it’s uncomfortable, and for many in the audience, it’s a powerful affirmation of their identity.

A Show Burlesque is being performed at Basement Theatre from 03-19 October, 2024

Content Warnings: Partial Nudity

Trigger Warnings: References to gender dysphoria, recounts an instance of physical assault/violence.

KNEECAP (2024)

Based on the origin story of the riotous and ground-breaking Irish-language rap trio Kneecap, the film stars the band’s Mo Chara, Móglaí Bap and DJ Próvaí in their acting debuts alongside Academy Award® nominated Michael Fassbender with Simone Kirby, Jessica Reynolds, Fionnuala Flaherty and Josie Walker.

Kneecap bursts onto the screen as a chaotic, hilarious, and utterly gripping film that grabs you from the very first moment and refuses to let go. Directed by first-time feature filmmaker Rich Peppiatt, this semi-autobiographical story about three rebellious young men from West Belfast blends the raucous energy of Trainspotting with a politically charged narrative, delivering a powerful film that is as socially conscious as it is entertaining. With its frenetic pace, sharp humour, and profound message about cultural identity, Kneecap is an absolute must-see – a 5 out of 5 film that redefines what a band biopic can be.

At its core, Kneecap is a wild ride that tells the origin story of the real-life Gaelic rap group Kneecap, whose journey from small-time drug dealers to cultural icons is both fascinating and deeply rooted in the political landscape of Northern Ireland. 

Played by the band members themselves – Móglaí Bap, Mo Chara, and DJ Próvaí – the film follows Liam Ó Hannaidh and Naoise Ó Cairealláin, childhood friends who stumble into music after a chance encounter with their Irish-language teacher JJ Ó Dochartaigh. The unlikely trio, bound together by crime and circumstance, quickly find themselves at the centre of a political storm as they use their music to champion civil rights and preserve the Irish language.

Peppiatt's direction is nothing short of electric, capturing the frenetic energy of these three young men with an innovative and visceral filmmaking style. Much like Danny Boyle’s Trainspotting, Kneecap thrives on chaos, throwing the audience headfirst into the band’s whirlwind of rebellious antics, drug-fuelled escapades, and police confrontations. 

Peppiatt heightens the sense of bedlam with dynamic editing, animated sequences, and even claymation, which is cleverly used to illustrate the effects of drugs like ketamine. These creative choices not only immerse the audience in the madness of the band’s world but also provide moments of surreal, visual brilliance that keep the film constantly engaging.

The film's narrative feels almost too wild to be true – yet it is firmly rooted in reality. Kneecap got its start when Liam Ó Hannaidh was arrested in 2017 for spray-painting “Cearta” (“Rights”) on a wall, a day before a significant Irish Language Act march in Belfast. Refusing to speak English during his police interrogation, Liam Ó Hannaidh’s rebellious stand became a symbol for the movement to save the Irish language from extinction. 

In the film, this moment is portrayed with a mix of humour and defiance, perfectly encapsulating the spirit of the band and the film itself. It's moments like these that make Kneecap feel not just like a story of youthful rebellion, but a powerful commentary on cultural repression and resistance.

The film brilliantly straddles the line between comedy and drama, never shying away from the harsh realities of life in Northern Ireland, while delivering laugh-out-loud moments at every turn. The banter between Liam, Naoise, and JJ is razor-sharp, with a natural chemistry that makes their journey from graffiti-spraying hooligans to underground rap stars feel authentic and compelling. 

Their encounters with the law, their families, and various unimpressed political factions are peppered with riotous humour, yet there is always an underlying tension that reminds the audience of the high stakes at play. After all, this is more than just a story about a band – it’s a story about cultural survival, about fighting for the right to exist in a world that seeks to erase your identity.

Much of the film’s strength comes from the incredible performances of the band members themselves, who bring a raw and undeniable charisma to their roles. Despite their lack of professional acting experience, Móglaí Bap, Mo Chara, and DJ Próvaí deliver performances that are both authentic and magnetic, making it easy to root for them as they navigate the ups and downs of fame and political controversy. 

Their journey is made all the more compelling by standout supporting performances from Michael Fassbender and Simone Kirby, who add depth to the film’s exploration of family, heritage, and rebellion. Fassbender, in particular, shines as Naoise’s father, Arlo, a former republican paramilitary who faked his death to avoid British authorities and taught the boys to speak Irish. His presence in the film adds a layer of generational struggle, highlighting the ongoing battle to preserve the Irish language.

What truly sets Kneecap apart from other biopics is its unabashed embrace of political commentary. The film doesn’t just focus on the band’s rise to fame – it’s also a searing critique of the cultural and political dynamics in Northern Ireland. Language, as the film makes clear, is power. What we speak, and who decides what we can speak, is a fundamental form of control, and Kneecap uses its platform to challenge this notion with humour, defiance, and heart. “Every word of Irish spoken is a bullet for Irish freedom,” says one of the band members, encapsulating the film’s core message. This is a film about more than music; it’s about the preservation of a nation’s heritage, and the fight to resist oppression in all its forms.

Despite its heavy themes, Kneecap never feels preachy or weighed down by its political message. Peppiatt deftly balances the film’s deeper meanings with a fast-paced, frenetic energy that keeps the audience on their toes. The film is loud, bold, and unrelenting – much like the band itself – and it refuses to take itself too seriously, even as it tackles serious subject matter. The combination of riotous humour and political relevance makes Kneecap one of the most energising viewing experiences of the year, and its appeal goes far beyond fans of the band or the political issues it addresses.

In its 105 minutes, Kneecap manages to be both wildly entertaining and thought-provoking, a rare feat that solidifies it as one of the must-see films of the year. The script, co-written by Peppiatt and the band members, takes creative liberties with the truth but remains grounded in the realities of life in Northern Ireland. The film’s blend of manic energy, political insight, and laugh-out-loud moments make it a perfect successor to films like Trainspotting, capturing the chaotic spirit of a new generation’s rebellion.

With its infectious energy, standout performances, and profound message about the power of language and identity, Kneecap is a five-star triumph. It’s not just a film – it’s an experience, one that leaves you breathless, laughing, and thinking long after the credits roll. 

Kneecap is in NZ cinemas on October 24, 2024

Classification: R16

Runtime: 105 minutes