The Gentlemen Film Review
Words Sarah Kidd
“If seriously high levels of profanities and realistic blood splatters are not your thing, then this may not be the right choice for the weekly date night”
After more than a few years of dabbling in mainstream film endeavours such as Sherlock Holmes and the questionable Aladdin, Guy Ritchie has finally returned to his crime comedy roots with his latest offering The Gentlemen.
Fans of his similar earlier creations such as Lock, Stock and Two Smoking Barrels, the brilliant Snatch and RocknRolla will undoubtedly enjoy Ritchie’s new project which follows a similar recipe, updated for the 2020’s. Once again as he did in Snatch twenty years ago, Ritchie chooses to mix the waters, his star-studded cast including both American and English actors.
Wisely however, he casts one of his biggest names – Matthew McConaughey – in the role of Mickey Pearson, an American schooled and now living and running his lucrative marijuana empire in the UK; Brad Pitt may have been able to pull off the ‘pikey’ accent – to great effect – in Snatch, but with that distinctive Texan drawl, casting McConaughey as anything but an American could have derailed the film before it had even started.
Employing his usual nonlinear narrative, The Gentlemen takes a good twenty minutes to get its feet under the table, pour a cup of tea and weave its story, but once it gets going it offers up a good range of interesting characters and a plotline that sees a profitable Pearson crave retirement, but only if the price is right and only if he leaves with his gangsta reputation intact.
Cue sub-plots that involve everything from bribery to blackmail to personal bodyguards packing machine guns, and of course a questionable Irishman with a penchant for using farm animals to get what he wants (fans of the science fiction television series Black Mirror might spot the similarities) and wearing plaid shell suits; Colin Farrell seeming so naturally made for the role that you do have to wonder if he just wandered onto the set and started playing himself.
While the cast includes such actors as Henry Golding as Dry Eye, Jeremy Strong as the conniving Matthew Berger, desperate to get his hands on Pearson’s empire no matter what it takes, and the fantastic Michelle Dockery as the completely unflappable Rosalind Pearson, wife and Queen of the aforementioned Mickey, it is none other than Hugh Grant that is the keystone.
A journalist of questionable integrity Fletcher (Grant) has been squirreling away information like nuts for winter in the hopes of blackmailing Pearson and retiring to some tropical island for the rest of his miserable days. Not stupid enough to approach Pearson directly, he instead shows up on the doorstep of Raymond (Charlie Hunnam), Pearson’s personal shadow, who while despite being always impeccably dressed is not at all averse to using force in the form of a bullet to the back of the head if so required.
Despite the overall impressive casting, it is Hunnam and Grant that really make the film, those used to seeing Grant in his usual sappy roles in numerous rom-coms in for a pleasant surprise as his lecherous persona and humorous story-telling peppered with all the slang fans of Guy Ritchie’s have come to expect, intertwines itself throughout the plot. Balancing it all out, the cool, calm and ever calculating character of Raymond, sees a nice departure for Hunnam from his role as Jax in Sons of Anarchy.
“Despite the overall impressive casting, it is Hunnam and Grant that really make the film”
Needless to say, this is a Guy Ritchie movie, so if seriously high levels of profanities and realistic blood splatters are not your thing, then this may not be the right choice for the weekly date night.
But make no mistake about it, Ritchie is back.
Much Ado About Nothing – Pop Up Globe Review
Words Mike Beck
Throughout its several seasons in action, The Pop-Up Globe has provided innovative productions at a very unique venue that is really something to be experienced if you’re an appreciator of live theatre. High standards, updating/mashing up & re-contextualising classic plays, & pushing the boundaries of theatre have always been the philosophy of Pop-Up productions.
With this summer’s Shakespeare retrospective (which also includes Romeo & Juliet) Much Ado About Nothing is given the rom-com treatment, while sticking with the ethos to stretch conventions, but upping the anti even more so. Players are given a platform to stretch, while challenged to be alert for improvisational moments, as well as substantial physical acting demands. Writing in the venue itself as a character, several actors find themselves roaming the teared catacombs interacting with the audience, climbing and abseiling down the structures scaffolding. Just how they got this one past OCH is anyone’s guess.
Transposed to the holiday stopover of the South Pacific, Much Ado About Nothing adheres in part to Shakespeare’s original text, while meshing modern cultural themes and ideas. The play stocks plenty of Kiwi & PI humour and references. Very much a match-making/who will wed who tale, this version will have you rooting for any potential hookup hinted at throughout the two part show.
The cast and musicians are drawn from a troupe known as The Northumberland Theatre Company, a group conjoined with the venue. There’s a great display of talent in the mix here; Jess Hong & Theo David play the central couple to be, while James Maeva & Renee Lyons embellish the courting antics which seemingly appear to transpire across the board. Veterans Greg Johnson & Stephen Lovatt add their experience with great aplomb.
The Pop-Up Globe in summer gives you the opportunity to make a night of it; an enclosed garden bar, food/beverages available pre-show, and a chance to mingle with the cast too if that’s your bag. The venue itself is one you’ll want to investigate, its open-roofed design and standing room floor give it very much a street performance setting. Finding your seats inside the myriad levels of the Globe is an adventure in itself, ushers are on hand if you lose your way.
Sadly, this is the season finale of the Pop-Up Theatre in its posited location of the Ellerslie Showgrounds in Greenlane. The show & transportable venue goes on the next road after summer, around the country & abroad. Make it a priority to catch Much Ado About Nothing this summer, where else are you gonna find the unlikely mix of Shakespeare & Cook Island log drumming?
On now until 1st March 2020 at the Auckland Anthony Harper Pop-up Globe Theatre
The Good Liar Film Review
Words Wal Reid
Every now and then there is a film that leaves you with a smile on your face. A sense of satisfaction that leaves you wanting, thinking out loud, “That was a good watch”.
The Good Liar is that film. Based on the novel of the same name by Nicholas Searle, it stars the impeccable Ian McKellen as a crafty career con artist who meets a wealthy widow (Helen Mirren) online, and then discovers that his plan to steal her fortune has unexpected roadblocks.
McKellen is brilliant as the cantankerous, wispy grey-haired con artist Roy Courtnay, even to the point you want to poke his eyes out with your fingers. Helen Mirren as Betty McLeish, plays a former history teacher at Oxford who lost her husband and has a considerable amount of savings, thus, becoming Roy’s latest target.
Mirren assumes her usual regal posture. She is astutely wooden with that shrewd gaze as if hiding a secret. It’s a delicious coupling that holds the mystery until the end. Actually, have to say that openly gay McKellen is also convincing playing her love interest. Such is the high calibre of acting, he turns in a sterling performance that keeps the viewer glued to the silver screen, guessing what his next move will entail.
Director Bill Condon (Beauty and the Beast) does a fantastic job of holding together the film’s pathos, delving to dark places during the World War II scenes and keeping the enigma of the characters intact until its reveal. It’s a compelling watch. If you like a good British thriller with the usual tripe; comedy, intrigue and a solid cast, including Jim Carter aka Mr Carson from Downton Abbey and Russell Tovey from the BBC/HBO black comedy Years and Years, then you will simply adore this film. That’s no lie.
My Heart Goes Thadak Thadak Theatre Review
Words Wal Reid
“Its Bollywood-Kiwi vibe, helped make it more palatable to those of us less attuned to the theatrical.”
Bollywood has always been admired for not looking to its western counterparts for inspiration and direction. It’s one of the most successful & largest film industries in the world, plus, also a devilishly clever portmanteau.
Legendary Bollywood director Rakesh Ramsey has died in the middle of shooting his latest (Western)film, Dust of the Delhi Plains, so now, the Q Theatre audience are enrolled, and get to play the extras in the film. As they say, “The show must go on”.
Kiwi playwright, Ahi Karunaharan’s (A Fine Balance) latest offering, takes the audience on a magical time-machine journey. Set in 1970’s Bombay at the height of Bollywood’s inception; the ostentatious sets and not to mention, the on-set calamity, are farcically and entertainingly explored. This is a movie set after all, and Karunaharan sets out with his young cast, to debunk the idea that making a Bollywood Western is all glamour – a task, that turns out, is easier said than done.
The cast are gifted. Each playing their part with the fervour and craft their character demands, all adding to the onstage melee. Mustaq Missouri as frustrated director Manjit is hilarious to watch. His facials and manic gait, had his character warm to the audience as he tries to steer the cast (of one) to fulfil Rakesh’s legacy.
Actress Rashmi Pilapitiya is fabulous as the diva-esque Ranikumari. The (once) legendary actress returns to help finish the beleaguered film. Her comedic timing has a pompous Julie Andrews finesse. She is adamant the film must continue on with her at the helm, even when she is demanding a make up person.
Ramsey’s two children, Roshan and Kamala, are convincingly played by Mayen Mehta & Sanaya Doctor, both vying for the director’s chair. Their theatrical sibling rivalry is incredibly convincing, each with opposing views, it’s a wonder the film gets completed. Shankar (Shaan Kesha) plays the loveable rogue, the unsung hero and ‘yes’ man, who with good intentions ends up making a hash of things. His talents however, don’t go unnoticed, even his dancing.
My Heart Goes Thadak Thadak nicely showcases the comedic side of a Western Movie. Its Bollywood-Kiwi vibe, helped make it more palatable to those of us less attuned to the theatrical, while the cast are more than apt to carrying the show from start to climatic end. The only quibble I had, was the opening of the show which at times seemed lengthy. The first half meandered its way, patchy in conveying its intention to the audience. It wasn’t maybe as seamless as it could have been. However, the second part was tighter, punchier, the scenes indefectible as the audience arrived at its grandiose finale.
If you like an epic desi western with all the trappings: magnificent landscapes, gunfights on horseback, saloon bars and bounty-hunters, then Rakesh Ramsey’s latest film, Dust of the Delhi Plains, is just the ticket. Oh, they are currently recruiting extras, so get along to play your part. In the words of ex British Prime Minister, John Major, it was “most agreeable.”
My Heart Goes Thadak Thadak is on at The Q Theatre until Sunday 14th December.
A Fricken Dangerous Space-mas – Theatre Review
Words Sarah Kidd
“Don’t for one moment think A Frickin Dangerous Space-Mas is just spoof and slapstick, not for one teeny, tiny moment dear friends.”
It’s that time of the year again, where Christmas jingles have taken supermarket speaker systems hostage, shopping malls resemble giant kindergartens and the promise of lazy days in the sun, BBQ’s and strawberry covered pavlovas await just around the corner. But more importantly, the yuletide season also brings with it Basement Theatre’s annual Christmas show, the comedy trio Frickin Dangerous comprised of Pax Assadi, James Roque and Jamaine Ross taking the helm in 2019 and delivering a production that will make your ribs ache and the cheeks on your face beg for momentary reprieve.
Set aboard the International Space Station or ISS for short (no, not ISIS) audiences are greeted by a stage design that is both clever and functional. Running down the middle of the room – the audience seated on either side – the walkway with its clean lines of orange and white immediately intimate that this is the interior hub of the spaceship; the doors at each end, a centre console and a ladder to the left of the main entrance, nestled amongst the attendees themselves, only adding to the illusion of the close confines that our astronauts must contend with.
Throw in thoughtful and well executed lighting, sound effects and the amusing use of props to provide attendees an outside view of the space station itself and you have the recipe for complete immersion. The creative team of Brad Gledhill and Rachel Marlow (Filament Eleven 11) well-deserved of a pat on the back for such sagacious use of a limited footprint. Setting complete and it is time to meet the six crew members of the ISS, played by David Correos, Carrie Green, Marianne Infante and Sam Snedden. Confused? Don’t be, the fun is only just beginning.
A voiceover by Snedden introduces all to Captain Chip, a self-absorbed and none too bright American who more than likely has a picture of himself in his quarters that he high fives each morning. While initially his character may come off as cliché, it fits well within the full spectrum of the cast, his incompetency allowing for Sampaguita – or Sam as she prefers to be called – and Hans to shine with their impressive space academy skillset.
Played by Marianne Infante, Sam is a Filipino fighting her own culture and constantly trying to avoid her Dad’s (Richard Perillo) video calls where he conveys how much he misses her; her best friend Hans (Carrie Green) a Maori of Swedish heritage both like a big brother and her main competition for the role of Captain, the promotion one that has been promised by Chip to be announced during the traditional Secret Santa. And then there is Calvin, a British scientist whose behaviour is … weird to say the least; David Correos bringing the character to life with side-splitting intensity and a (literal) streak of blue humour.
Green and Snedden also play the characters of Lindsay and Vlad; Green transforming completely with the mere removal of Hans’s beanie to become Lindsay, the Australian single mum who is beyond overqualified; a chef, a doctor, an Olympic fencing champion, her careers all accompanied by ‘a really interesting story’ of how they came to be. Worshipping her every move, Vlad, son of Russian president Vladimir Putin who wants nothing more than to move to Ibiza and become a world-renowned DJ is portrayed with a self-possession that is downright enviable; Sneddon wielding both American and Russian accents with ease, the removal of his Captain’s hat denoting the change between the two.
The first act builds our characters, delivering hilarious and sometimes heartstring tugging insights into their lives, raucous scenes such as Vlad and Lindsay’s frequent trysts leaving many audience members with tears streaming down their faces.
As if all that wasn’t enough, a sideline story is introduced, Captain Chip advising his crew that an engineer from New Zealand will be arriving soon to assist with the gyro-spectrometer which is in desperate need of repair. The Frickin Dangerous trio – obviously not satisfied with just staging a scripted play – taking it to the next level by introducing a different guest star every evening, which brings with it an element of improv that only contributes to the already chaotic hilarity. With a guest list that includes such names as David Farrier, Kura Forrester, Jack Tame and even Chlöe Swarbrick, each night is guaranteed to offer something completely different; comedian Chris Parker who was the guest star of this particular viewing, invoking some true blue kiwiana that the attendees threw themselves behind wholeheartedly.
“Raucous scenes such as Vlad and Lindsay’s frequent trysts leaving many audience members with tears streaming down their faces.”
Act two slams its foot on the accelerator, as the crew of the ISS are faced with co-worker tensions, relationship woes and slightly more seriously – the destruction of planet earth itself; Sneddon and Green coming into their own and cycling through their characters so brilliantly that jaws are left on the floor as to just how they manage to do it. In fact, when the evening closes and the actors line up to take a bow, the audience almost questions where Lindsay and Vlad are. But don’t for one moment think A Frickin Dangerous Space-Mas is just spoof and slapstick, not for one teeny, tiny moment dear friends; for interlaced throughout is brilliant satire, social commentary and references to current culture and memes that will have those in the know nodding… knowingly.
Directed by Jane Yong, A Frickin Dangerous Space-mas is kiwi comedy at its absolute, riotous, finest and the perfect show with which to welcome in some of that cheeky, Christmas cheer!
Writers: Frickin Dangerous Bro (Pax Assadi, James Roque, Jamaine Ross)
- DATE: 21 NOV – 20 DEC
- TIMES: VARIOUS TIMES
- RUNTIME: 90 MINUTES
- VENUE: THEATRE
- PRICE: $30 – $60
Portrait Of A Lady On Fire Film Review
Words Mike Beck
“A technical tour de force; for art lovers and lovers alike, Portrait Of A Lady On Fire is a cinematic masterpiece.”
A sure fire hit at this year’s Cannes & NZ Film Festivals, French writer/director Celine Sciamma (Tomby, Water Lilies) paints a delicate but fiery tale of love and art in a delightful foreign period piece.
Set in Brittany in 1770, Marianne (Noemie Merlant) is a promising young artist, commissioned by a countess (Valeria Golino) to paint a portrait of her soon to be wed daughter Heloise (Adele Haenel). The hitch being that due to failed attempts to achieve this in the past, Marianne must go incognito and paint her subject in secrecy without her knowing her motive.
As the title suggests, their is some spark in this story. Just as much as the friction of interweaving relationships drives Portrait Of A Lady On Fire, themes are explored visually at a high technical & visual level. Natural light is applied seemingly throughout, creating great contrast (think Kubrick or Barry Lyndon), also, the consistent presence of candles & flames visually convey the inner emotions, desires & conflicts of its principle characters.
Portrait Of A Lady On Fire is very much a film that highlights art by using various techniques found in the art world as a narrative. Employing the dimensions of the screen as a frame, objectifying its subjects, framing within a frame, the camera depicting the mise-en-scene/characters inhabiting a shot as a painting itself are some. Keep an eye out for more. Also, the premise of a painter having to work in secrecy is a cinematic device that Sciamma incorporates to utilise ‘the gaze’. She does this with flying colours, while Merlant & Haenel have the chops to act out accordingly.
Overall, Portrait Of A Lady On Fire is so well told visually, that you could forego the subtitles (unless you understand French & Italian) and still follow/understand the story. On top of this, the exploration of sexuality, politics, feminism & the limitations/expectations of societal constructs really give this film extra depth. A technical tour de force; for art lovers and lovers alike, Portrait Of A Lady On Fire is a cinematic masterpiece.
SIMPLE MINDS BRING THEIR 40 YEARS OF HITS TO NEW ZEALAND DEC 2020 JOINED BY SPECIAL GUESTS ORCHESTRAL MANOEUVRES IN THE DARK
Frontier Touring are delighted to welcome seminal Scottish band Simple Minds back to New Zealand in December 2020 aspart of their 40 Years Of Hits Tour performing an exclusive a day on the green show at Villa Maria Winery on Saturday 12 December 2020, after two indoor shows at Christchurch’s Horncastle Arena on Wednesday 9 December 2020, and Wellington’s TSB Arena on Friday 11 December 2020. They’ll be joined by special guestsOrchestral Manoeuvres In The Dark (OMD), who will be touring New Zealand for the first time in more than 30 years.
Joining Simple Minds at all shows are acclaimed UK avant-garde band Orchestral Manoeuvres In The Dark (OMD). Also celebrating their 40th anniversary, they’ll bring hits like ‘If You Leave’, famous for soundtracking iconic teen film Pretty In Pink, anti-war song ‘Enola Gay’, and other classics like ‘Souvenir’, ‘Electricity’, and ‘So In Love’.
Don’t miss out on your chance to see a truly monumental 40th anniversary performance from one of the most consistently excellent bands Scotland has ever produced, Simple Minds.
Doctor Sleep Film Review
Words Mike Beck
“Those into spiritual warfare are going to delve deep into the tapestry of Doctor Sleep’s essence..”
Taking on the task of creating a sequel to a cinematic classic is a tough gig. From the pen of psychological horror mastermind Stephen King, Doctor Sleep is the long awaited follow up to 1980’s The Shining, one of Stanley Kubrick’s ace achievements, it’s a considered masterpiece of its genre. Almost 40 years in between drinks (yes addictions are a narrative theme in these ones too), Doctor Sleep slots into the top ten of longest time-periods between sequels. It’s lengthy arrival due to King writing this follow up in almost as many years after the original, also, the huge success of King’s cinematic version of ‘IT’ in 2017 opening the door financially for Doctor Sleep to see the light of day.
Picking up where things left off/bridging the time lapse and recap for its audience, young Danny Torrance not only carries big trauma from experiencing his father Jack’s decent to insanity, he’s also tapping into the afterlife through his psychic gift known in these stories as ‘shining’. Fast forward to his adult life (ably played by Ewen McGregor), and as Danny’s challenges of past demons & the supernatural world he inhabits begin to burden him, the cycle of addiction rises. Not only that, there are other dark forces to contend with out in the big wide world.
Doctor Sleep takes a little while to shift gears, but when it does you’re strapped in for a wicked ride. Go into this one with expectations to match Kubrick‘ benchmark, chances are you’ll be disappointed. For starters the tone, pacing, & look is completely different, which is an intentional move by director Mike Flanagan. The digital age and evolution of film technology is to be considered also, allowing the potential for some elaborate visual storytelling. You might have a niggle with the portrayal of central characters from the first film appearing here by look-alike actors, snippets of pivotal scenes being re-enacted rather than re-cycled.
“Doctor Sleep takes a little while to shift gears, but when it does you’re strapped in for a wicked ride.”
Flanagan worked closely in collaboration with writer King on Dr Sleep, bringing back some of the themes that Kubrick omitted in his screenplay for The Shining. King himself cites the character of Jack Torrance (played by Jack Nicholson) as his most autobiographical character, identifying himself with the potential harms of alcohol. & you’ll love who comes in to help out here, with Cliff Curtis again showing he can tackle any sort of role put to him. The casting overall is strong, with Rebecca Ferguson as head antagonist Rose The Hat turning in a colourful performance.
Doctor Sleep has many twists and turns, and the investment that King puts into his character development means that you’re gonna feel the wins, and equally so, the losses/casualties. With its strong theme of good versus evil, those into spiritual warfare are going to delve deep into the tapestry of Doctor Sleep’s essence. Following up the two indifferent ‘IT‘ films, Dr Sleep switches on a light in the dark.
Bellbird Film Review
Words Melanie Tito
“From a viewer’s perspective it is a relief to watch a movie which allows us breathing space, without rushing to fill every minute with rapid dialogue or drama.”
Like a hot, strong cup of tea on a stormy day, Bellbird brings joy and warmth alongside the harsh realities of grief and struggle.
Set in a small rural community in Northland, the iconic New Zealand landscape of a working farm provides both rustic charm and an apt metaphor for the nature of life: beautiful, mundane, chaotic, painful.
Early on in the film we are introduced to Beth (Annie Whittle), wife to Ross (Marshall Napier) and mum to Bruce (Cohen Holloway). Beth is the heart and glue of her family, a community spirit, a lady who loves to sing. When she dies, the music stops. Ross and Bruce are more lost for words than ever, following a lifetime habit of leaving most things left unsaid. The rigorous demands of the family farm give them no time for respite and as one season slips into another, they continue their hard labour and awkward communion while shouldering their grief privately.
Though grief is a central theme in Bellbird, the film is not short of opportunities to smile and laugh, with the carefree humorous spirit of Marley (Kahukura Retimana), the deadpan comedy of Bruce’s boss, Connie (Rachel House) and the earnest comic of Clem (Stephen Tamarapa). The daily grind is made a whole lot easier with cheeky banter, spontaneous thoughts and finding humour in the most abstract details and it is good to remember this while watching Bellbird.
I like many things about this film. From a viewer’s perspective it is a relief to watch a movie which allows us breathing space, without rushing to fill every minute with rapid dialogue or drama. Slowing down to allow swells of silence, shadows across faces, captures of still life, bring a harmony and balance to the film so that we are able to digest both the bitter and the sweet in a pleasurable way.
The spotlight is on Napier and Holloway as the film shines a spotlight on the dad/son relationship, and both play their characters exceedingly well, speaking not just with their lips but with their silences and, indeed, with their entire bodies. We see the relatable layers of vulnerability and tenderness beneath their stoic exteriors and in so doing, remember that there is nothing more ordinary, complex and wonderful than the human heart.
A brilliant debut feature by writer-director Hamish Bennett, celebrating love and loyalty, in an age where we need to be reminded more often of the gifts of community. I look forward to seeing what Bennett creates next.
Half The Sky Theatre Review
Words Sarah Kidd /Photos Andi Crown
“This evocative production allows you to fully immerse yourself within this precious moment in time where a family – in every sense of the very word – come together”
In this third collaboration between Massive theatre company and acclaimed English actor, screenwriter and playwright Lennie James, Half of the Sky explores the varied facets of love; the play a poignant and thoughtful exploration of an emotion that features in the lives of each and every one us.
Certainly, love is an emotion that is often spoken and written about, prose and love letters scattered throughout history between infamous lovers. It is an emotion that many a song has been composed for, the lyrics either buoyant and hopeful as they speak of those first heady hours when someone new captures our heart, or sorrowful and bitter when the soul is betrayed.
Half of the Sky does touch on the relationships of two people who have chosen to share their lives with each other, but more importantly it explores the love between family members, specifically that between three sisters Nyree, Ruihi and Marika who have a unique bond due to the closeness in proximity of their birthdays which all fall within three days. Coming together for Ny’s birthday, as per her wishes, it is a celebration tinged with sadness as Ny faces her own mortality, the weekend long party her way of organising future plans for both herself and her daughter.
Running alongside the sisters’ narrative is also that of the relationship between Iosefa played with grace by Max Palamo and Fetu who Sefa steps in to raise after his mother leaves him in the care of his adoring but struggling grandmother. Now in his late teens, Fetu wishes to both thank his guardian while simultaneously setting him free from the bonds of responsibility. Communicating this through some serious lyricism laid down via rap by the comedic and rather talented Pat Tafa, it fits together with the story of the sisters like the tongue in the groove, the five characters sharing tales of the past while conveying their thoughts about the future as they face the inevitable with courage, conviction and a whole lot of laughter.
As Ny, Kura Forrester is a tour de force, her range far reaching as she juggles being a mother, a sister and a partner simultaneously, her own wants and needs that for so many years were placed on the backburner coming to the forefront. Decisions need to be made, not only for her daughter but for herself. Time is running out and there is life to be lived.
Ahwina-Rose Henare Ashby plays Ru, the middle sibling haunted by a childhood mistake that nearly cost her everything whilst struggling with both her own relationship and that of the one between herself and her mother. Ashby captures Ru’s spirit of a woman coping with past trauma’s but who more importantly has learned how to forgive; although the ability to do so is soon challenged by Ny’s decision on how she spends the last of her days, Ashby portraying Ru with a fierce yet maternal persona.
But it is often Grace Palmer as the youngest sibling Marika that lights up the stage with an exuberance that is infectious. Not only is she an accomplished actress for one so young, her embodiment of the cheekiness of Marika is spot on; subtle touches like the widening of her eyes as she watches her two older sisters argue, or her comedic timing bringing the character of Marika to life in full technicolour.
With a simple stage layout – lighting used to highlight one of the three areas of focus – and a cast of only five, this evocative production allows you to fully immerse yourself within this precious moment in time where a family – in every sense of the very word – come together.
Half of the Sky is an absolutely stunning piece of theatre examining what makes us human. And what makes us human is the ability to love and be loved in return.
On until Saturday Oct 26 2019 Show times:
Tuesday – Saturday: 7:00 PM
Sunday: 4:00 PM
Starring
Kura Forrester (The Wholehearted, The Adventures of Suzy Boon, 2019 Billy T Award Winner)
Grace Palmer (Shortland Street, Home & Away)
Awhina-Rose Henare Ashby (The Mooncake and the Kumara, Waru)
Max Palamo (The Sons of Charlie Paora, Super City II)
Pat Tafa (The Wholehearted, Westside)
Please note: Half of the Sky discusses death, grief, and abandonment. The performance also contains strong language which may offend.
Want to know more about Massive Theatre Company or show them some aroha? Follow them Facebook, Instagram, Twitter or visit their website.
KRAVITZ ANNOUNCES HIS HERE TO LOVE WORLD TOUR FIRST TIME NEW ZEALAND 2020
One of the most successful and best-selling artists of his generation, Lenny Kravitz has today announced that he is coming to New Zealand in March 2020 as part of his Here to Love World Tour.
The tour, presented by TEG Live, will be the first time Kravitz has ever toured New Zealand and he will play Auckland’s Spark Arena on Tuesday 31 March 2020.
Pre-sale tickets for Lenny Kravitz Here To Love Auckland date will be available via TEG Live from 1.00pm Monday 21 October 2019, before the general public on-sale at 11.00am Thursday 24 October 2019 from Ticketmaster.
Regarded as one of the preeminent rock musicians of our time, Lenny Kravitz has transcended genre, style, race and class over the course of a 30-year musical career.
Revelling in the soul, rock and funk influences of the ’60s and ’70s, this writer, producer and multi-instrumentalist has won four consecutive Grammy Awards, as well as set a record for the most wins in the Best Male Rock Vocal Performance category.
Known for his undeniable, energetic gigs, this run of shows promises to uphold his live legacy yet again. Bringing all the classic hits along with the new music from his most recent album, Raise Vibration, where Kravitz elevates the union of rock n roll, funk, blues, and soul.
Receptive to youthful inspiration, but enlightened by three decades of wisdom, Kravitz represents a powerful creative rebirth and a bold, bright, and brilliant body of work befitting of his legacy and boundless spirit.
In addition to his eleven studio albums, which have sold in excess of 40 million worldwide, this multidimensional artist has segued into film, appearing as Cinna in the box-office hits, The Hunger Games and The Hunger Games: Catching Fire. Kravitz can also be seen in the critically-acclaimed films Precious and The Butler.
LENNY KRAVITZ HERE TO LOVE NEW ZEALAND TOUR
TUESDAY 31 MARCH 2020
SPARK ARENA, AUCKLAND
TEG LIVE PRE-SALE
1.00pm Monday 21 October 2019 – 9.00am Wednesday 23 October 2019
Sign up for the pre-sale at www.teglive.com.au
GENERAL PUBLIC ON-SALE
11.00AM, THURSDAY 24 OCTOBER 2019
Interview With Capital in the 21st Century’s Justin Pemberton – How Rich Is Rich?
Words Wal Reid
“But what I didn’t realise was, that it wasn’t some of them, it wasn’t most of them, it’s ALL of them. None of them at a certain level pay tax.”
New Zealand documentary/filmmaker Justin Pemberton is charming on the phone. His latest film, Capital in the 21st Century, is a retrospective commentary on economist Thomas Piketty’s best-selling book of the same name. Its account of how concentrated wealth shapes the world was so compelling, that it went on to sell 1.5 million copies and was an unlikely bestseller in 2014. The movie explores the long-run effects of wealth inequality, and, is about to go global after the films’ recent screening at the New Zealand Film Festival.
Brought to the big screen by Pemberton, Piketty’s thesis is crisply and engagingly presented in a documentary purposefully light on graphs and numbers, and heavy on top-notch talking heads (Nobel laureate Joseph Stiglitz, the Financial Times’ Gillian Tett, who he says, “was one the few people who picked the last global financial crisis”), visuals of the rich and famous, and stylised historical recreations.
Wal Reid caught up with the dynamic documentary filmmaker. His movies Richie McCaw: Chasing Great, about the All Black legend, or intelligence sharing I Spy (with My 5 Eyes), has given the Documentary genre credibility and relevance from this part of the world. He has scooped numerous awards, both here and overseas, even an Emmy nomination for his unrelenting work in the industry. Also, interesting to note, is his unique auteur/musician relationship with musician Anika Moa, who, has also composed the soundtracks for five of Pemberton’s films.
How’s the PR tour going for the film?
It’s only New Zealand at this point, overseas is coming. It’s really good training wheels isn’t it? I think New Zealand always is. (laughter) Capital was almost very subtly meant to be a sci-fi film. It was about time travel. It was about going from the 1700’s to the near future. I love time travel and I love the future.
What made you get involved with this project?
I knew about the book, because I think it surprised everyone when it went to number one on the New York Times best seller list. I’d already done something on ‘inequality’ with New Zealand Television and Nigel Latta, way back in 2011, and I’d read a bit about it, so, I was interested to see what Thomas Piketty’s take was and got a copy of the book. Obviously for me straight away, it was the ‘time horizon’, he spans hundreds of years. People said, “Look what’s happened since the War”, and he goes back right before the French Revolution. But also, it was surprising, his book is an economic textbook. It wasn’t an easy read, and, it was written for people who were economists who are either studying at a tertiary level economics, or, are already trained. I think Thomas himself became interested in the fact, that so many people wanted to connect into his story, so, he was motivated to make a film based on that. New Zealand producer Matthew Metcalfe got in touch with him and pitched it. When I heard about Matthew talking to Thomas I went, “Oh, who’s going to make this?”, I really wanted to do it, so Matthew said, “Start writing it”, so, I did, on spec. It was sent to Thomas and he liked it.
All of your movies are ‘personal journeys’, have you discovered things that have blown your mind, making this film?
I had only read the book. It was something I’d been thinking about for a long time, so it wasn’t really new information in many ways. What it’s done has made me see even more, if that makes sense. Once you start looking, you start noticing things, you start seeing more, and more, and more. The whole thing about tax havens and things like that, I kind of thought, “Well, these big companies are not paying tax”. A lot of them, but what I didn’t realise was that it wasn’t some of them, it wasn’t most of them, it’s ALL of them. None of them at a certain level pay tax. I mean they pay a small, small amount. For example, in the film it talks about how Facebook is paying less UK tax than your average teacher, because of the way it gets shifted around the world, but it all ends up in a tax haven where none of it is taxed. You can’t dodge it completely, but this concept of the people at the top paying nothing, was worse than I thought. You need a certain amount of money to even be able to do that, it isn’t cheap, you need to have these structures and shell companies set up in shadow places that allow you to move everything, because it’s not illegal in that sense.
Do you risk being ostracised by Finance commentators?
I think it’s really interesting, if you check out the Financial Times in just the last week, they have absolutely everything that we’re talking about in the film. They’ve talked about how Capitalism needs a rework because it’s not working, and, how Democracy is failing because capital has influenced the narrative. I think that’s why things like climate change can’t be tackled, even though most of the world believe it. There’s so few sceptics now, even in America. I mean there’s another thing too, “How rich is rich?” That’s another thing I’ve noticed, everybody thinks, “The rich are richer”, even if you are rich. You can be very comfortably middle classed, and living a fabulous life and have a multi-million-dollar house, drive wealthy cars and taking lots of overseas holidays, but, you’re still saying, “Yes, but these people are the problem.”
With the New Zealand Reserve Bank Governor Adrian Orr, promoting consumerism, we are seeing a global trend of negative interest rates and introduced penalties, like in Australia, for having cash. Is this a trend that is happening globally?
I think that’s kind of another thing that’s going on. It’s all tied up but, this idea that to keep the ‘balls up in the air’, to be able to keep people consuming, to be able to keep growth coming. Yes, you need to almost penalise savings and promote debt. The rise of debt is something we look at. It arrived in the 90’s went absolutely berserk by the early 21st century, and that led to the global financial crisis, which, is when interest rates collapsed to be so low, and now, they can’t put them back up. In New Zealand in 2007/2008 people were paying 8.5% on their mortgages, that’s been ten years now of low interest. I would say that a lot of people, if you suddenly doubled your interest rate you’re paying now, that would be a problem. Then, what do you have, another real estate market collapse? Maybe people who don’t own houses would be really excited about it, because they’ve become so expensive. Why have they become so expensive? Because credit has become so cheap. Historically there have been a few ways out of it, either financial collapse or revolution.
What projects do you have now for consideration?
Well, it’s about funding (laughter). In New Zealand there’s a certain amount of public funding from the NZ Film Commission & NZ On Air. You have to be able to tick the boxes, it’s regulated capital in every sense, so it has to be a New Zealand story. There’s a story I’d love to tell that’s been on my mind for a while. It’s set in America and it’s about the future and I can’t see how I can get it funded just yet. Just getting there is an idea at the moment. And there’s another one that I’d like to make that’s kind of a hybrid between Capital and another film I made, 5 Eyes, so I’d like to go there. But I’m always interested in people. A person with an interesting story.