AUTHENTIC STUPIDITY - BEN ELTON

After his sold-out 2019 UK tour, Ben Elton returns to the stage with Authentic Stupidity, tackling the rise of Artificial Intelligence — and arguing that it’s "Authentic Stupidity" we should really fear. A pioneer of modern stand-up since the 1980s, Elton continues to deliver his signature high-energy, thought-provoking comedy.

Ben Elton’s return to the stand-up stage with Authentic Stupidity is both a nostalgic reminder of his comedic roots and a glimpse into the disorientation of a man once known for being ahead of his time. A legend of British comedy, Elton has built a reputation over the past four decades for being politically sharp, culturally aware, and fearlessly outspoken. But in this new show, it's clear that while his energy remains undimmed, the cultural context around him has changed.

The show opens with Elton identifying his central theme: that the real danger facing humanity isn’t artificial intelligence, but what he calls “authentic stupidity”—our long-standing ability to make foolish decisions, regardless of technological progress. It's a classic Elton premise: wordplay mixed with political commentary, sharp but still accessible. He pokes fun at how people now rely on gadgets to think, navigate, and even interact, while lamenting the loss of everyday skills like reading maps or fixing things yourself.

Elton’s delivery is as relentless as ever. He paces the stage furiously, arms flailing, voice rising and falling like a conductor guiding an orchestra of chaos. There’s a breathlessness to his performance, with barely a pause between punchlines. At times, this makes it hard to absorb what he's saying—there’s simply too much to take in. His stamina is impressive, particularly for someone officially past retirement age, but the pace can leave the audience behind.

A large part of the show is given over to topics Elton has clearly spent a lot of time thinking about. Assisted dying, for example, is handled with both gravity and humour, as he passionately defends the right to choose one's end. But then there are more rambling segments, like a lengthy dissection of James Bond films, especially Daniel Craig’s efforts to bring a gritty realism to the franchise. This bit, while amusing, stretches on far too long, and resurfaces again in the second half, taking up valuable space that could have been better used exploring more current themes.

Elton’s approach to modern identity politics is where the show becomes more complex. He tries hard to embrace the cultural shifts—gender fluidity, the fall of the straight white male’s unchallenged status, and the rise of intersectionality. He acknowledges that the younger generation now hold the moral high ground, cleverly joking that it’s the only kind of real estate they can afford. But it’s clear that, while supportive, Elton doesn’t always understand the full depth of the issues. He becomes frustrated by what he sees as overly complicated language or rules and often defaults to poking fun at his own confusion.

This self-deprecation is both disarming and central to the show. Much of the material is rooted in Elton’s personal experiences of getting older. He jokes about his body letting him down, the strange new etiquette of modern dining, and the overly territorial behaviour of neighbours when it comes to recycling bins. These bits are funny, familiar, and delivered with warmth. However, they also underscore a growing theme throughout the show: that Elton, once a pioneering voice of radical thought, is now struggling to keep up.

His audience, largely made up of people who’ve grown older with him, seem to appreciate this honesty. There’s laughter, applause, and a general sense of affection in the room. For them, Elton is not just a comedian but a cultural touchstone. Yet for a younger viewer, there’s a lingering sense that this is comedy from another era—adapted, but not entirely transformed.

The show includes a few moments tailored to the New Zealand audience, but many of the references remain deeply rooted in British culture. Jokes about UK law reforms in the 1980s or throwbacks to personalities like Ronnie Corbett may fly over the heads of younger fans. This limits the show’s reach, making it feel more like a personal catch-up with a familiar figure than a fully inclusive performance.

Elton’s real talent lies in his ability to find absurdity in everyday life. His best moments come when he turns the spotlight on mundane frustrations and draws out their ridiculousness. But Authentic Stupidity often moves too quickly to let these insights land. Just when a topic starts to get interesting, he swerves off into the next. The show touches on many important issues—digital echo chambers, the risks of over-inclusivity, ageing, environmental awareness—but rarely dives deep enough to offer anything more than fleeting food for thought.

There’s a sense, too, that Elton is holding back. For a comedian who made his name by challenging authority and questioning the status quo, this show feels cautious in places. Perhaps it’s a reflection of his long break from the stage or an awareness that the ground beneath him has shifted. He clearly admires the courage and principles of younger generations, but he’s not entirely comfortable navigating their terrain.

All in all, Authentic Stupidity is an enjoyable, energetic performance from a veteran comic who still knows how to command a stage. It’s a show filled with quick wit, heartfelt moments, and a few thoughtful jabs at modern life. But it also reveals the growing gap between Elton’s formative years and the world he now inhabits. He’s no longer the radical voice charging ahead of the crowd—instead, he’s a well-meaning observer, running hard to keep up.

There are laughs to be had, a few ideas to ponder on the drive home, and a certain comfort in seeing a familiar face doing what he does best. But this is not a groundbreaking return. It's a reminder that even the most progressive voices must evolve—and sometimes, evolution is a slow and stumbling process.

Ben Elton's Authentic Stupidity tours New Zealand until May 2nd 2025. Dates as follows:

• Wed 30 Apr - Napier, Napier Municipal Theatre
• Thu 01 May 25 - Dunedin, Dunedin Town Hall
• Fri 02 May 25 - Christchurch, Christchurch Town Hall

Tickets can be purchased here

AGATHA CHRISTIE'S MURDER ON THE ORIENT EXPRESS (2025)

A murder aboard the luxurious Orient Express leads detective Hercule Poirot to investigate a group of eight suspects, all trapped on the train by a snowdrift, in this classic Agatha Christie whodunnit. Adapted for the stage by Ken Ludwig.

In Auckland Theatre Company’s Murder on the Orient Express, the audience is swept aboard a moving train and into a world of opulence, suspicion, and sharply timed comedy. Adapted for the stage by Tony-nominated playwright Ken Ludwig and directed by Shane Bosher, this production delivers a theatrical experience as rich and layered as a Christie mystery ought to be—complete with lavish sets, an evocative score, and a brilliant ensemble cast.

Photo credit: Andi Crown Photography

Set in the winter of 1934, the story follows world-famous Belgian detective Hercule Poirot as he returns from a case abroad. His journey home is interrupted when the Orient Express becomes stranded in the snow somewhere between Istanbul and London. Come morning, an American tycoon is discovered murdered in his cabin, and with the train cut off from the outside world, Poirot must deduce which of the fellow passengers is responsible.

At the centre of this ensemble mystery stands Cameron Rhodes as Poirot, a performance as fastidious as the detective himself. His portrayal walks the tightrope between dry wit and moral gravity, never allowing the moustache—or the melodrama—to overwhelm the intellect of the character. Rhodes anchors the play, drawing the audience in with a detective whose calm is increasingly tested as the pieces refuse to fall neatly into place.

Photo credit: Andi Crown Photography

Yet it is not only Poirot who impresses. Rima Te Wiata’s Helen Hubbard is a whirlwind of brassy charm and comic timing, effortlessly commanding attention whenever she bursts onto the scene. Jennifer Ludlam brings regal dignity to Princess Dragomiroff, and Mirabai Pease plays Mary Debenham with quiet intelligence and an undercurrent of tension. Sophie Henderson gives Countess Andrenyi both elegance and edge, while Bronwyn Ensor is heartbreaking and sincere as the timid Greta Ohlsson. The cast brings Christie’s characters to vivid life, each with secrets lurking beneath their carefully constructed facades.

What sets this production apart, however, is its sheer visual ambition. John Verryt’s set design is nothing short of exceptional. The modular construction of the train carriage, with its ornate detail and clever mobility, allows scenes to glide from compartment to compartment with ease. Sliding panels and practical doors simulate both the intimacy and the isolation of train travel, while never sacrificing visibility or pace. It’s a rare feat in stage design—to create something both beautiful and believable—but this production accomplishes just that.

Photo credit: Andi Crown Photography

Equally striking is the use of lighting and projection. Sean Lynch’s lighting design sculpts the scenes with precision, shifting tone from comedy to suspense with changes as subtle as a shaft of light falling on a dagger or the glint in Poirot’s eye. When combined with Paul McLaney’s atmospheric soundscape and Harley Campbell’s motion projections, the stage becomes a living, breathing train—complete with steam, snow, and the low rumble of wheels on track.

This sensory richness creates an immersive environment where the audience needs no effort to imagine themselves aboard the Orient Express. The visual storytelling is so complete that the focus remains firmly on the unfolding mystery. There is no need to ‘fill in the blanks’ as is often the case in stage productions; the world is built with such integrity and detail that nothing distracts from the narrative.

Photo credit: Andi Crown Photography

Ludwig’s adaptation is both faithful and fresh. By trimming excess characters and simplifying the plot’s many moving parts, the script becomes accessible without losing the intricacy fans expect. His addition of a framing prologue is a clever touch, helping guide those less familiar with Christie’s work into the story’s world.

That said, the play does take a few liberties with tone. Rather than leaning heavily into the dark tension of murder, Bosher’s direction embraces the absurdity of the situation with moments of physical comedy and heightened farce. At times, this results in sudden tonal shifts, where audience laughter from a previous scene slightly undercuts the gravity of a discovery. But overall, this levity keeps the production moving and avoids becoming bogged down in melodrama.

Photo credit: Andi Crown Photography

There are moments of minor confusion, particularly when Ryan O’Kane re-enters as Colonel Arbuthnot after playing the recently murdered Ratchett. With costumes that are a little too similar, and accent being the only initial clue, one could forgive the audience for doing a double take. However, this is a small wrinkle in an otherwise well-executed ensemble performance.

Special recognition must go to Elizabeth Whiting’s costume design, which masterfully captures both the elegance of 1930s fashion and the personality of each character. From furs and frocks to military uniforms, the wardrobe is not only period-accurate but also character-revealing—adding another layer of storytelling through visual detail.

Photo credit: Andi Crown Photography

In the end, Murder on the Orient Express is a production that confidently balances craft and character. The Auckland Theatre Company has delivered a sleek, stylish, and spirited rendition of a beloved whodunit. It doesn’t just retell a classic story—it elevates it. With a set that dazzles, a cast that delights, and direction that keeps things snappy, this is a show that needs no imagination from its audience. It provides everything, right there on the stage.

And in true Christie fashion, by the time the final twist is revealed, you’ll be left marvelling at how all the clues were there—hidden in plain sight, aboard a train that never truly stood still.

Agatha Christie’s Murder on the Orient Express runs from 22 April – 10 May 2025 at the ASB Waterfront Theatre

Tickets can be purchased here

SPEED IS EMOTIONAL

Jo Randerson lives life at full voltage, fuelled by a restless, fiercely funny creative energy. Diagnosed with ADHD in their 40s alongside their son, Jo’s lifelong superpower drives their acclaimed work across performance, writing, film, activism, and more.

Jo Randerson’s Speed is Emotional isn’t just a show — it’s a livewire plunge into the chaos, colour, and comedy of living a neurodiverse life. Delivered with their trademark intensity, this genre-blending performance pulses with radical honesty, riotous humour, and electric creative energy. It’s a rollercoaster through the brain of someone who experiences the world in fast-forward — and chooses not to hit the brakes.

Randerson, a widely respected figure across Aotearoa’s arts landscape, has long defied categorisation. Their work spans theatre, writing, comedy, activism, direction and curation. With Speed is Emotional, they turn that kaleidoscopic lens inward — reflecting on life with ADHD, queer identity, parenting, and a brain that never really sits still. They use every tool in the creative toolkit — poetry, music, projections, sound, costume, improvisation — to craft a show that is part confession, part celebration, and entirely self-aware.

The title, Speed is Emotional, is both literal and metaphorical. “Speed” refers not only to Randerson’s hyper-charged pace and quick-fire thinking, but also to stimulant medication often prescribed for ADHD — a cheeky, knowing nod to the diagnostic path of discovery they took later in life. The emotional speed — the intensity of feeling, the joy and pain that come with an unfiltered inner world — is what defines the show’s tempo and tone.

Diagnosed in their 40s after their son went through the same process, Randerson began to see their lifelong traits — boundless energy, deep sensitivity, scattered focus, bursts of brilliance — not as failings, but as part of a wider neurodiverse spectrum. This diagnosis isn’t a conclusion but a starting point: an invitation to reframe, revalue, and reclaim.

And reclaim they do — with absolute ferocity.

The show’s structure follows a loose but intentional rhythm. There are no chapters or tidy segments. Instead, we are ushered through thematic “waves” — hyperactivity, anxiety, depression, impulsivity, emotional intensity — often presented through metaphor, movement, or sound. The result is a theatrical landscape that feels alive with internal motion.

Randerson performs inside, outside and all around a variously-suspended canvas, often speaking directly to audience members, engaging them with eye contact, questions, and physical proximity. Props are not static objects but active players: a the backdrop becomes a hiding place and a womb. Costumes and lighting are used with wit and precision. It’s a visual and auditory playground — a place where mess becomes meaning. Music from Elliot Vaughan underscores the experience with tenderness and tension, at times swelling into chaotic crescendos and a few comedic interruptions. The set itself is an extension of Randerson’s mind — chaotic, creative, bursting with symbolism. 

This isn’t theatre that washes over you — it draws you in. One moment you’re laughing out loud at the absurdity of a memory, the next you’re wincing at a story of self-harm or shame. The tonal shifts are swift but intentional — like an ADHD thought spiral made visible. You’re not just watching a show, you’re inside it.

There’s something deeply courageous about the rawness of this work. Speed is Emotional speaks candidly about experiences many might shy away from: the pain of parenting while undiagnosed, the isolation of not fitting in, the internalised shame of being “too much.” Coarse language is used not for shock but for sincerity, and the occasional reference to self-harm is delivered with the care and clarity of someone who has done the work to understand those parts of themselves.

What stands out most, though, is the laughter. This is a comedy, and it’s funny as hell. Not in a polished, stand-up way — but in a freewheeling, punchy, rebellious but poetic kind of way. Randerson wields humour like a torch in a dark tunnel: guiding us, warming us, but also revealing the weird corners we might otherwise miss. It’s this balance — between vulnerability and humour, absurdity and depth — that makes the show feel not only personal, but generous.

Randerson is open about their identity as both queer and neurodiverse — identities that sit at the heart of this performance. But rather than delivering a “representative” narrative, Speed is Emotional instead offers an invitation: to view these identities not as limitations but as perspectives, each with its own unique rhythm, insight, and power.

For those who identify as LGBTQIA+ or have ADHD, this show will land with a special kind of resonance. You may find yourself nodding along in recognition, laughing with relief, or quietly tearing up as Randerson names things you’ve never heard aloud before. But even for those outside these communities, there’s plenty to connect with. At its core, Speed is Emotional is about self-understanding, forgiveness, and embracing the messy, marvellous chaos of being alive. As Randerson puts it: “Maybe there’s no such thing as normal. Maybe we’ve been aiming for the wrong thing all along.”

The final scene — where Jo is joined by their partner Thomas and their children for a musical finale — feels like an act of radical inclusion. It’s a moment that transcends performance and moves into something much more intimate: a declaration that family, art, and identity are not separate worlds, but overlapping, co-creating forces.

Speed is Emotional is a bold, brilliant piece of theatre. It’s a show that fizzes with life, jokes, tangents, tears, and truths. It’s also a love letter — to the arts, to neurodiversity, to queer joy, and to the strange, speeding rhythms of a brain that refuses to be boxed in.

If you’re looking for a tidy narrative or a passive viewing experience, this might not be your show. But if you're ready to lean in, laugh, feel, and rethink what it means to be "normal" — then Speed is Emotional will meet you right where you are, with glitter, grit, and a grin.

Dates: Speed is Emotional runs from 16 Apr – 03 May at Auckland's Q Loft Theatre

Tickets can be purchased here

Duration: 75 mins approx.

KAIJU NO. 8: MISSION RECON

In a Kaiju-ravaged Japan, Kafka Hibino, working in monster disposal, transforms into the powerful "Kaiju No. 8" and secretly strives to join the Anti-Kaiju Defense Force, alongside his childhood friend Mina Ashiro. As a new threat emerges, Kafka faces a critical decision that could change everything.

In the world of Kaiju No. 8: Mission Recon, Japan is constantly under threat from massive creatures known as Kaiju. These gigantic monsters wreak havoc on cities, and it’s up to the elite Anti-Kaiju Defense Force to protect the population. However, this isn’t your typical Kaiju story. Instead of following a young, ambitious hero, we meet Kafka Hibino, an older, down-on-his-luck worker who cleans up the mess left behind after the battles. Kafka may not have the typical heroic qualities at first glance, but his journey is one of redemption, determination, and self-discovery.

Adapted from Naoya Matsumoto’s manga, Kaiju No. 8 stands out with its unique protagonist and blend of humour and intense action. The omnibus film Kaiju No. 8: Mission Recon combines the first ten episodes of the anime’s first season into a single 119-minute feature, with the addition of a new original episode titled “Hoshina’s Day Off.” While the trailer might give the impression of a light-hearted, almost childish anime, it quickly reveals a deeper balance between thrilling monster battles and moments of comedy.

Credit: ©JAKDF 3rd Division © Naoya Matsumoto/SHUEISHA

At the heart of Kaiju No. 8: Mission Recon is Kafka Hibino, a man who has long abandoned his dream of joining the prestigious Anti-Kaiju Defense Force. Kafka’s job as a member of the cleanup crew is far from glamorous—he spends his days disposing of the remains of fallen Kaiju, a task that’s as gruesome as it is thankless. Kafka is the opposite of a typical anime protagonist. At 32, he’s no longer the eager, idealistic young man trying to prove himself. Instead, he’s a middle-aged man who has failed repeatedly to join the defense force, making his quest for redemption feel all the more relatable.

Despite the setback, Kafka is determined to change his fate. His dream of joining the Defense Force isn’t driven by ambition or a desire for glory—it’s a genuine wish to make a difference. What makes Kafka so appealing as a protagonist is that he doesn’t rely on his newfound powers to cheat his way into the defense force; instead, he uses his years of experience working with Kaiju remains to earn his place. Kafka’s growth throughout the series is heartfelt, and his journey towards self-acceptance is a big part of what makes the anime resonate.

Credit: ©JAKDF 3rd Division © Naoya Matsumoto/SHUEISHA

The action sequences in Kaiju No. 8: Mission Recon are one of the most exciting aspects of the show. The Kaiju battles are fast-paced and inventive, and the animation does an excellent job of capturing the scale and intensity of these fights. The design of the Kaiju themselves is diverse and detailed, with each monster bringing something unique to the table. These creatures feel alive, and the sheer force of their power is palpable.

What’s more impressive is the way the anime blends action with moments of humour. Kafka’s awkwardness, especially as he comes to terms with his new Kaiju form, provides a contrast to the brutal intensity of the battles. The humour is not just there for comic relief but also serves to make the characters feel more human. Kafka’s interactions with his colleagues, as well as his attempts to keep his Kaiju identity a secret, add a light-hearted tone to the otherwise dark and action-packed plot.

One of the more unusual elements of Kaiju No. 8: Mission Recon is the inclusion of an original episode titled “Hoshina’s Day Off.” This episode follows as a bit of an end credits special, offering a comedic finale. While this episode doesn’t contribute to the main plot, it serves to provide more character development and a light-hearted contrast to the high-stakes action the audience have been feasting on. However, this shift in tone can feel a bit jarring, especially when the main story ends on a tense note. 

Credit: ©JAKDF 3rd Division © Naoya Matsumoto/SHUEISHA

The anime’s visual style is striking, with bold colors and energetic camera movements that make each action scene feel dynamic and exciting. The animation is clean and detailed, and the lighting plays a significant role in setting the atmosphere. Many scenes take place at night, with characters dressed in black suits, which creates a unique visual contrast between the dark environment and the vibrant lighting used during battle sequences. The animation studio, Production I.G, is known for its high-quality work, and Kaiju No. 8: Mission Recon is no exception. The fluidity of the animation enhances the intensity of the Kaiju battles and allows for creative choreography in each fight.

What sets Kaiju No. 8: Mission Recon apart from many other Kaiju-centric anime is its tone. While it has the typical high-octane action that fans expect from a show about giant monsters, the anime balances this with moments of humour and emotional depth. Kafka’s character arc is central to the show, and his journey is what keeps the audience invested. There’s a strong focus on his inner struggle, and the anime doesn’t shy away from exploring the complexity of his feelings as he grapples with his Kaiju identity. The theme of redemption and second chances is a major thread throughout the season, and it’s something that resonates with viewers long after the credits roll.

While Kaiju No. 8: Mission Recon shares similarities with other anime like My Hero Academia or Attack on Titan—with its focus on a world threatened by powerful creatures—it also manages to carve out its own identity. Kafka is not your typical young hero; instead, he’s a man who’s trying to make up for lost time and prove that it’s never too late to chase your dreams. This shift in focus offers a refreshing change from the usual anime tropes, giving the story a unique perspective.

Kaiju No. 8: Mission Recon is an entertaining and well-rounded anime that offers much more than its initial premise suggests. The film does an excellent job of balancing intense action, humour, and character development. Kafka Hibino’s journey of redemption and his determination to fight for a dream that once seemed out of reach is both inspiring and relatable. The action scenes are exhilarating, the animation is top-notch, and the humour adds a light touch to the otherwise serious plot.

While the inclusion of the filler episode “Hoshina’s Day Off” might feel a bit out of place, it doesn’t detract from the overall experience. Instead, it gives viewers a brief reprieve before the story dives back into the action. If you’re looking for an anime that blends high-stakes action with emotional depth and a unique protagonist, Kaiju No. 8: Mission Recon is definitely worth checking out. To see how the story unfolds, be sure to catch the remaining episodes on Crunchyroll.

Kaiju No. 8: Mission Recon is in NZ cinemas from April 10, 2025