Monica Moore - Page 5

Navigating their way through the awkwardness of a blind date; where the quest for love is a combo of hopeful anticipation and the crushing reality of rejection Aaron (Jeremy Downing) and Casey (Kristen Paulse) to and fro - entering each other's zone, testing the water, retreating and retaliating, back and forth in a dance of 'lurve'. They're great. They illuminate their characters fully infiltrating them and then there's the bonus of the great singing.

This magnificent story delivers the message of the strength of the human spirit in the face of the inhumane. The investment in both hope and dignity is craftily woven between cast and audience capturing and connecting us to both the trauma and the triumph of the human spirit. This is a must see; a reminder of what happened in the not too distant past and a push to think about our present and future.

There are laugh-out-loud moments but the comedy comes mostly from the social commentary and sharp, British gallows humour that touches a chord with anyone who has ever felt overlooked, dismissed, humiliated or rejected.  These are the men that Donald Trump appealed to with the promise of bringing back the industrial boom.  They measure their masculinity by what they can provide and their lack of prospects (especially in the face of the capable working women in their lives) only exacerbate their feelings of failure.

Choreographers Lesley Bandy and Hayz Pincheira Rowe along with Conductor Chad Davenport, have collaborated to create 'Imaginarium' a fusion of story, dance, band and song. The 55 members of the West City Concert Band are front right and centre in this performance, becoming integral visual parts of the story as they move and infuse within the the dynamics of the choreography.

'The Audience' is an unexpected experience of an unrelatable life becoming relatable and of humanity meeting humanity. A life and rhythm is breathed into the script cleverly connecting 'she who is above' to the hearts of the masses, delivering this message: The Queen is a person, she feels and needs and at times her life is unrecognisably and stiflingly difficult. The theatrical value weighs heavily on talent both individual and collaborative; making refined nuances of timing and delivery, well, crucial.

There was just the right amount of scary to keep me on my seat and the use of lighting and sound was on point to deliver this. This was a crucial element to the play's success and succeed it did.

Written by Roger Hall it is a classic, cleverly crafted comedic social commentary of 1970's New Zealand middle class. Opening in 1978, Middle Age Spread is one of Hall's most successful social comedies, with an extended Wellington season, a New Zealand-made movie and  a West End production that ran for 15 months. This play stands the test of time and like Oscar Wilde who made frivolous fun of 'the dilemmas of the people at the time' Hall's work has evolved into an historical lens that pokes fun at 'from whence we have come'.

This high energy, 'sit on the edge of your seat' play is crafted written by Joni Nelson who has cleverly meshed a social commentary into rollicking great entertainment that you will enjoy and will make you think. There are loads of laughs and surprises (who exactly is in the bathroom?) amongst the pathos and this story had me engrossed from the beginning to the end. A sign of a great play is when time flies. Time flew.

Having been part of writer Leki Jackson Burke's 'south side' school experience I can validate that he has expressed the heart of the experiences of young Pasifika people as they negotiate their way through high school. A determined mother, empathetic teacher, the importance and relevance of performing arts and young people who are willing to overcome difference and find connection in their commonality are all relevant themes well represented in this contemporary piece.