MEMOIR OF A SNAIL (2024)

A bittersweet memoir of a melancholic woman called Grace Pudel - a hoarder of snails, romance novels, and guinea pigs.

Memoir of a Snail is not your typical animated feature. This dark, deeply melancholic claymation film by Adam Elliot defies the genre's conventions, offering an emotional experience that is raw, unsettling, and profoundly human. It is a story that delves into the depths of despair yet manages to glimmer with the faint light of hope, revealing that even in the bleakest of circumstances, kindness and resilience can endure.

Crafted over eight painstaking years in Melbourne, the film is a testament to Elliot’s dedication and vision. Every prop, character, and set was meticulously hand-sculpted, creating a tangible, textured world that eschews the digital perfection of CGI. The result is a film that feels visceral and alive, with its earthy colour palette of browns and deep reds drawing viewers into Grace’s world of perpetual gloom.

At its heart, Memoir of a Snail is a narrative of immense suffering. Grace, the protagonist, recounts her life’s story to Sylvia, a snail who has been her silent companion for much of her journey. From birth defects and bullying to addiction and abandonment, Grace’s tale is a relentless cascade of tragedy. Yet, Elliot avoids turning her into a caricature of misery. Instead, Grace’s struggles feel painfully authentic, her small joys and moments of connection rendered all the more poignant against the backdrop of her sorrow.

The film’s symbolism is both rich and resonant. Grace’s love for snails, reflected in the antenna-adorned hat she wears throughout the film, serves as a metaphor for her burdens. Like a snail carrying its shell, Grace bears the weight of her emotional and physical traumas, unable to shed them but always inching forward. This idea of forward movement, despite the crushing load of the past, forms the emotional core of the film.

Elliot’s writing balances this heaviness with unexpected moments of humour and humanity. Grace’s eccentricities—her hoarding of snail-themed trinkets, her oddball interactions with others—lend a touch of whimsy to an otherwise grim story. The characters around her, no matter how briefly they appear, are vividly drawn, brimming with quirks that make them memorable.

Yet, this is not a film that shies away from its mature themes. Memoir of a Snail delves into alcoholism, grief, homophobia, and even suicide with unflinching honesty. Its R rating is well-deserved, not only for its thematic content but also for its surprising depictions of nudity and sexuality. These elements, while jarring, feel essential to the film’s authenticity, painting a raw and unvarnished portrait of human frailty.

The animation itself is a triumph. The handcrafted stop-motion, with its meticulous attention to detail, brings a tactile quality to the film that is rarely seen in modern animation. Every frame is infused with care, and the characters’ expressive faces convey a depth of emotion that words often cannot. It is this artistry that elevates the film, allowing it to navigate its heavy subject matter without feeling overly oppressive.

What sets Memoir of a Snail apart is its ability to find beauty in despair. While Grace’s life is a litany of losses and betrayals, the film never succumbs entirely to hopelessness. Acts of kindness, such as the letters from her brother or the support of an elderly neighbour, Pinky, serve as lifelines, reminding viewers of the power of connection.

The film’s resolution, while somewhat sentimental, offers a sense of closure that feels earned. Grace’s journey is not one of dramatic transformation but of quiet endurance. Her ability to keep moving forward, like the snails she admires, becomes a testament to resilience.

Despite its many strengths, Memoir of a Snail is not without flaws. The sheer weight of its tragedies can feel overwhelming, and some viewers may find the onslaught of misfortune excessive. There is also a sense that certain themes, such as the metaphor of the snail’s shell, could have been explored more deeply. Yet, these shortcomings are overshadowed by the film’s emotional resonance and visual brilliance.

For viewers seeking a conventional animated film, this is not the one to watch. But for those willing to embrace its sombre tone and intricate craftsmanship, Memoir of a Snail offers a profoundly moving experience. It is a reminder that even in the darkest corners of life, there is beauty to be found and that hope, however fragile, can persist.

Adam Elliot’s “clayographical” approach—blending autobiographical elements with handcrafted artistry—results in a film that is both intimate and universal. Memoir of a Snail is not merely a story of suffering but of the enduring strength of the human spirit. It is a film that lingers in the mind, its somber beauty and flickers of light refusing to fade.

Memoir of a Snail was released in NZ cinemas on November 7, 2024

GLADIATOR II (2024)

After his home is conquered by the tyrannical emperors who now lead Rome, Lucius is forced to enter the Colosseum and must look to his past to find strength to return the glory of Rome to its people.

Ridley Scott’s much-anticipated return to the Roman Empire with Gladiator II arrives with an all-star cast, stunning visuals, and epic battles. However, it struggles to step out of the shadow of its iconic predecessor, delivering a visually spectacular but emotionally shallow experience. While it boasts moments of intense excitement, particularly in its immersive battle scenes, the film leans too heavily on echoes of the original, falling short of the narrative depth and character complexity that made Gladiator a classic.

Set 16 years after the death of Marcus Aurelius, Gladiator II follows Hanno (Paul Mescal), a former soldier-turned-slave seeking vengeance for the murder of his wife, Arishat. The story unfolds under the rule of the corrupt twin emperors Geta (Joseph Quinn) and Caracalla (Fred Hechinger), whose grotesque presence and eerie fascination with monkeys teeter on the edge of absurdity. Their venereal disease-ravaged appearance might have been intended as a metaphor for the decay of Rome, but it comes across as more comical than menacing.

Pedro Pascal’s Acacius, a conflicted general returning home with new gladiator slaves, and Denzel Washington’s Macrinus, a former slave turned power-hungry gladiator mentor, add layers of intrigue. Yet despite the potential for compelling subplots, the script struggles to weave them into a cohesive and impactful narrative. Instead, Gladiator II feels like a loose remake, recycling key beats from the original: a betrayal, the fall of a noble hero into slavery, and a climactic showdown in the arena. These parallels invite comparisons that highlight the sequel’s lack of originality.

Paul Mescal as Hanno is an adequate but underwhelming lead. Physically, he fits the role, but his performance lacks the emotional intensity and gravitas needed to carry the film. His anger feels one-dimensional, and his delivery of pivotal lines falls flat. Unlike Russell Crowe’s Maximus, who captivated audiences with quiet conviction and explosive fury, Mescal struggles to make Hanno’s journey resonate.

Denzel Washington, on the other hand, delivers a masterful performance as Macrinus, effortlessly stealing every scene he’s in. His character, a charming yet treacherous mentor, provides much-needed dynamism, adding depth and charisma to an otherwise straightforward revenge plot. Pedro Pascal’s Acacius brings conflicted gravitas, but his role is underdeveloped, leaving a sense of missed potential. Both actors shine in their limited screen time, but their characters deserve more exploration to elevate the story.

Where Gladiator II excels is in its battle sequences. Ridley Scott’s expertise in staging grandiose, visceral action is on full display. The gladiatorial fights are bloody, thrilling, and masterfully choreographed, immersing viewers in the brutal spectacle of ancient Rome. From the clang of swords to the roar of the crowd, these scenes capture the raw intensity that fans of the original will appreciate.

However, the film stumbles with its overreliance on CGI. While improved cinematography sharpens the visuals, the computer-generated effects detract from the authenticity that defined Gladiator. The introduction of monkeys in the arena and a rhino ridden like a rodeo bull stretches believability. The climax, featuring sharks in a flooded Colosseum, borders on the absurd, drawing giggles instead of gasps. These exaggerated sequences may aim for heightened spectacle but ultimately undermine the film’s credibility.

Despite its rousing spectacle, Gladiator II lacks the emotional weight of its predecessor. The first film grounded its epic battles with moments of quiet reflection and personal loss, creating a poignant connection between the audience and Maximus. In contrast, Hanno’s journey feels hollow, with little depth given to his motivations or relationships.

The screenplay struggles to balance its sprawling narrative, leaving promising storylines underdeveloped. Macrinus’ ambition, Acacius’ internal conflict, and the twin emperors’ political machinations are all intriguing threads that fail to fully materialize. The result is a film that entertains in the moment but lacks lasting impact.

Ridley Scott remains a master of visual storytelling, and Gladiator II showcases his ability to create immersive worlds. The production design is meticulous, bringing ancient Rome to life with grandeur and detail. From the dusty arenas to the opulent palaces, every frame is a visual feast. The score, while evocative, occasionally leans too heavily on motifs from the original, further reinforcing the sequel’s derivative nature.

Scott’s thematic exploration of power, greed, and human cruelty remains compelling. Yet, the emotional shallowness of the film undercuts its potential to deliver the same philosophical resonance as its predecessor. The heightened spectacle draws attention to the film’s inability to capture the visceral fear and humanity that made Gladiator unforgettable.

Gladiator II is a film of contrasts—spectacular yet shallow, thrilling yet forgettable. It offers enough craftsmanship and action to satisfy fans of epic cinema, but it never escapes the long shadow of its predecessor. The recycled narrative beats, underdeveloped characters, and reliance on exaggerated CGI prevent it from reaching the heights of Gladiator. While Denzel Washington and Pedro Pascal bring charisma and complexity, their roles needed more depth to elevate the story. Paul Mescal, burdened by a lacklustre script, delivers a performance that pales in comparison to Russell Crowe’s iconic turn as Maximus.

For those unfamiliar with the original, Gladiator II may provide a rousing spectacle. But for fans of Ridley Scott’s 2000 masterpiece, it’s a reminder of the power of storytelling—a lesson this sequel struggles to fully embrace.

Gladiator II was released in NZ cinemas on November 14, 2024

SOLO LEVELING -REAWAKENING-! (2024)

Solo Leveling -ReAwakening- features a catch-up recap of the first season coupled with an exclusive sneak peek of the first two episodes of the highly anticipated second season in one momentous theatrical fan experience.

Solo Leveling -ReAwakening- serves as a condensed retelling of the first season of the anime Solo Leveling, complemented by a sneak peek at two episodes from the upcoming Season 2. Directed by Shunsuke Nakashige, this film compresses a vast and engaging narrative into a 120-minute format. While it offers a visually appealing experience with some exciting action sequences, the brisk pace and heavy condensation may leave both new viewers and long-time fans wanting more.

For those unfamiliar with the Solo Leveling universe, the film introduces the story of Sung Jinwoo, once dubbed the weakest hunter in a world ravaged by dangerous "gates" that open portals to other dimensions. These gates unleash terrifying monsters, and hunters—humans with extraordinary abilities—are the only defence against them. Jinwoo’s journey from an underwhelming hunter to the most powerful in the world is the core of the narrative. His transformation is sparked by a mysterious "system" that grants him the unique ability to level up—a power no other hunter possesses. This ability sets him on a path to unlock greater strengths, face terrifying monsters, and uncover the deeper mysteries of the world around him.

©Solo Leveling Animation Partners

The film’s format—condensing twelve 25-minute episodes into just under an hour and a half—is undoubtedly ambitious, and the result is a story that feels accelerated, sometimes to its detriment. The film focuses primarily on the action, with the quick pacing glossing over critical backstory and character development that made the first season of the anime so captivating. As a result, newcomers to the series may find themselves struggling to fully grasp the motivations of the characters or the significance of the world-building. While Solo Leveling’s premise is engaging, the lack of thorough explanation leaves key elements feeling rushed and underdeveloped.

For existing fans, Solo Leveling -ReAwakening- functions as a nostalgic refresher, rekindling the excitement of the first season with the added bonus of glimpsing the future events of Season 2. It serves as a bridge between the two seasons, reconnecting viewers with Jinwoo’s journey and hinting at the new challenges he will face. The two new episodes from Season 2 are a treat, offering tantalizing hints at what’s to come, though they also highlight just how much more the series has to offer than what is provided here.

The film’s world-building is one of its strongest aspects, particularly the depiction of the Hunter culture and the economic implications of dungeoning. The world Jinwoo inhabits is one where hunters risk their lives not only for personal glory but also to support their families. Jinwoo’s concern for his mother and sister adds an emotional layer to his character, distinguishing him from other anime protagonists who are typically driven solely by personal growth or revenge. This focus on the economic reality of being a hunter is a refreshing departure from the typical "hero’s journey" formula, adding a grounded dimension to the story.

©Solo Leveling Animation Partners

The pacing, however, presents a challenge. While the animation by A-1 Pictures and motion graphics by Production I.G. remain visually stunning, especially during action sequences, the swift narrative progression leaves little room for the story’s depth to unfold naturally. The film’s accelerated pace makes it difficult to settle into the story, especially for those new to the series who are unfamiliar with the lore and character dynamics. This makes it harder to fully immerse oneself in the world of Solo Leveling, as it feels more like a fast-paced highlight reel rather than a cohesive narrative experience.

In terms of character development, the film touches on Jinwoo’s transformation but doesn’t delve deeply into the nuances of his growth. His initial weakness is a compelling starting point, but the rapid progression of his powers means that viewers don’t get the time to see the gradual buildup of his abilities and the internal struggles that come with them. The changes to his personality as he levels up are evident, but the emotional weight of these changes is lost in the rush to keep up with the plot.

One of the more fascinating elements of Solo Leveling is the integration of RPG mechanics into the story. The game-like elements, such as the quest windows and levelling system, are seamlessly woven into Jinwoo’s daily life. This constant reminder of the game's influence on his existence enhances the sense of immersion and adds an extra layer of tension, as viewers are reminded that Jinwoo’s journey is not just about combat but also about his progression within a system he doesn’t fully understand. This concept is an interesting commentary on the way in which humans can become so deeply involved in systems that dictate their lives, often without questioning the broader consequences.

©Solo Leveling Animation Partners

The action sequences are one of the highlights of the film, with Jinwoo’s increasing strength translating into increasingly impressive feats of combat. The animation quality improves as Jinwoo levels up, creating a sense of progression not only in his powers but also in the technical aspects of the animation. The increase in speed and intensity of the action sequences is particularly striking, making the fight scenes a visual spectacle. This approach to animation helps convey the sense of Jinwoo’s growth in a way that feels both satisfying and engaging.

However, despite these strengths, Solo Leveling -ReAwakening- struggles to fully capture the essence of the series due to its condensed format. The editing leaves many moments feeling disjointed, with entire sections of the story feeling rushed or unexplained. For viewers who have not watched the first season, this film may not serve as the ideal introduction to the series. The lack of exposition and context leaves the world of Solo Leveling feeling shallow and underdeveloped, making it difficult for newcomers to get invested in the stakes of the story.

For fans already familiar with Jinwoo’s journey, Solo Leveling -ReAwakening- offers a thrilling recap of the key moments of the first season while setting up anticipation for the upcoming second season. The two new episodes from Season 2 provide a tantalizing preview of what’s to come, but they also emphasize how much more the story has to offer beyond the confines of this condensed movie format.

©Solo Leveling Animation Partners

Solo Leveling -ReAwakening- is an exciting but ultimately overly-compacted adaptation of the beloved anime series. Its fast-paced nature and condensed storytelling make it a challenging watch for newcomers, while its appeal to long-time fans lies more in its nostalgic value and its ability to whet the appetite for what’s to come in Season 2. While it doesn’t offer the depth or nuance of the full first season, it does enough to make viewers want to explore the world of Solo Leveling further—whether by catching up with Season 1 or eagerly awaiting the next chapter in the saga.

Crunchyroll and  Sony Pictures Entertainment will release Solo Leveling -ReAwakening- in cinemas in New Zealand on December 5

Runtime: 120 mins 

Language: Japanese with English subtitles & English dub

TAKI RUA THEATRE - BREAKING BARRIERS (2024)

What began as an experience in biculturalism between Māori and Pākehā grew into Taki Rua Theatre, the unofficial national Māori theatre company. As we tour the motu with the latest ensemble of young artists, we witness the deeply personal and politically visionary story of the 30-year struggle to create a truly bicultural force, and the wāhine toa who agitated for change.

The documentary Taki Rua Theatre – Breaking Barriers, directed by Whetū Fala, provides a compelling exploration of New Zealand’s journey towards bicultural identity through the lens of one of its most significant artistic institutions. With a script written by Fala, and contributions from Consulting Director Christina Asher, the film is an homage to the individuals and ideas that have shaped Taki Rua into a beacon of Māori cultural expression and resilience.

Emerging in the wake of the 1981 Springbok tour, a moment that catalysed national introspection, a group of liberal-minded Pākehā artists took over an unused theatre space in downtown Wellington. Originally known as The New Depot, the theatre sought to tell New Zealand stories for New Zealand audiences, reflecting the cultural shifts of the time. However, it soon became clear to the founders that to truly represent the nation’s identity, a deeper partnership with Māori communities was essential.

This evolution led to the rebranding of the theatre as Taki Rua, symbolising a shift towards inclusivity and biculturalism. While the change alienated some conservative Pākehā audiences, it opened the door to a more progressive and supportive community. This was a defining moment for the theatre, allowing it to grow into an institution that not only showcased Māori stories but also nurtured Māori talent.

Director Whetū Fala brings together voices from across Taki Rua’s 40-year history—actors, playwrights, producers, directors, and te reo Māori advocates—to reflect on the challenges and triumphs of the theatre’s journey. These narratives are woven with archival footage and excerpts from iconic Taki Rua productions such as Te Hokina, Purapurawhetū, Whatungarongaro, and Ngā Tangata Toa. These works, which once shocked audiences with their raw social commentary, are now celebrated as milestones of artistic expression.

Through these interviews and performances, the documentary reveals how Taki Rua’s struggles with financial instability, creative disputes, and political pressures mirror Aotearoa’s own journey toward recognising and celebrating its bicultural heritage. The film’s emotional depth lies in its ability to connect the theatre’s internal conflicts with the broader societal challenges faced by Māori, including the loss of language, cultural repression, and the ongoing fight for self-determination.

At its heart, Taki Rua represents more than a theatre—it is a movement to restore pride and strength to Māori culture. As the documentary highlights, Taki Rua has been instrumental in inspiring younger generations to embrace their heritage. By integrating fluent te reo Māori speakers as consultants and educators, the theatre not only preserves traditional stories but also empowers new creators to craft original narratives. Productions like Te Kuia Me Te Pūngāwerewere, a joyous te reo Māori play for children, demonstrate Taki Rua’s commitment to nurturing Māori voices and connecting them with wider audiences.

The film also delves into the personal sacrifices and collective resilience required to sustain the theatre through adversity. The loss of government funding, for instance, was a devastating blow, yet the unwavering dedication of the Taki Rua whānau ensured its survival. This narrative of perseverance resonates deeply in a time when Māori continue to assert their identity and rights in the face of systemic challenges.

The documentary’s release is both timely and necessary. As Aotearoa grapples with its colonial legacy, Taki Rua Theatre – Breaking Barriers serves as a reminder of the transformative power of the arts. The film celebrates Taki Rua as a stepping stone for Māori self-expression, allowing the community to thrive independently while fostering understanding and collaboration between Māori and Pākehā.

Whetū Fala’s direction captures the passion and love of those who have dedicated their lives to Taki Rua, juxtaposed with moments of loss and hardship. The interviews and archival footage are masterfully edited by Siobhan Houkamau, and the cinematography by Fred Renata, Matt Henley, and Richard Bluck brings a striking visual clarity to the stories. Executive Producers Gaylene Preston and Reikura Kahi provide the film with an authoritative perspective, ensuring its resonance with both Māori and non-Māori audiences.

Taki Rua’s impact extends far beyond the stage. By nurturing Māori artists and enabling them to find their place in global and mainstream media, the theatre has contributed significantly to New Zealand’s cultural landscape. It has also shown that true biculturalism is not about compromise but about partnership and mutual respect.

Taki Rua Theatre – Breaking Barriers reminds us of the importance of taking risks and breaking barriers. It’s hard to imagine New Zealand’s theatre scene today without the stories of Taki Rua, stories that have shaped not just the stage but the nation itself. For anyone interested in the intersections of art, culture, and identity, this documentary is an unmissable tribute to the power of storytelling in forging a shared future.

Whetū Fala’s documentary is a celebration of courage, creativity, and community. It chronicles not just the history of a theatre but the evolution of a nation striving to reconcile its past and embrace its dual heritage. Through its compelling narrative, Taki Rua Theatre – Breaking Barriers reminds us that cultural revival is a continuous journey—one that requires resilience, vision, and above all, unity.

Taki Rua Theatre – Breaking Barriers will be released in cinemas on November 28, 2024

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"