Tag: marriage celebrant (Page 3 of 3)

Aida. Presented by The North Canterbury Musical Society. Directed by Teresa Dann. Musical director Leanne O’Mahony. Choreographer Jo Allpress-Bartlett. Rangiora Town Hall. 5 – 21 May, 2016. Reviewed by Kineta Knight Booker.

Based on an Italian-language opera of the same name, with a pop rock twist by Elton John and Tim Rice, Aida is a timeless story about a classic love triangle, set against a backdrop of ancient Egypt. The story challenges perceptions of loyalty, betrayal, and forbidden love.

To say this is a good show is an understatement. The driving force behind it is the powerhouse of the two dynamic leading ladies, Chuana McKenzie (Aida) and Catherine Hay (Amneris).

McKenzie has an incredible voice and it’s worth seeing the show just for her; and Hay is a young woman with confidence, sass, and a dynamite voice.

But it’s not just the ladies who hold centre stage comfortably: John Bayne (Radames) who’s at the centre of the triangle, has a strong presence and a certain vulnerability which allows us to see the angst his character is going through. And James Hart (Mereb) is a particularly good talent.

Special mention to the orchestra, lead by Leanne O’Mahony, for its great sound which kept the show moving along nicely. And to Tom Robertson and Matthew Roxburgh who did a superb job on the sound desk. The notes the singers and musicians created were amplified perfectly by the talent from this duo.

The show is a credit to Teresa Dann, in which Aida was her directing debut. Certainly not the easiest show to start with, but there were some lovely moments throughout. However, there were times in the show that there was just too much acting, which was borderline overacting, but that doesn’t take anything away from what was a very good musical.

This week Christchurch entertainer Kate Taylor came into the Backstage Podcast studio to talk about her productive and creative 2016.

This singer, vocal coach, event co-ordinator, #12PianistsProject founder and Christchurch All Girl Big Band co-founder is a human dynamite of energy and talent. She also talks about her upcoming Stevie Wonder Tribute at The Cavell Leitch New Zealand International Jazz and Blues Fest. 

A podcast not to be missed.

Backstage Podcast is easy to download. On your iPhone just press the purple ‘podcasts’ app and search for Backstage Podcast NZ; you can download Podbean on your android (Backstage Podcast NZ); or iTunes Backstage Podcast NZ.

The Dunstan Creek Séance. Presented by The Forge at The Court Theatre. Director Daniel Pengelly. Dramaturgy Allison Horsley. 16 April – 7 May, 2016. Reviewed by Kineta Knight Booker.

Complete with a silent protester outside (“Séance = Satan”) and the show’s tagline “Keep telling yourself it isn’t real”, already there was an atmosphere of tension on the cold, dark night even before the show began.

As you walk through the doors, old, spooky photos line the hallway into the theatre. The show is introduced by The Court’s associate director, Daniel Pengelly, as a presentation by Suzanne and Arthur Bishop and a look at their latest book Ghosts of the Goldrush: Hauntings of Central Otago. Pengelly mentions the book is available for purchase at the Box Office after the show which makes you question whether this whole thing is in fact real.

We meet Suzanne and Arthur (Lizzie Tollemache and David Ladderman) who start a lecture like any other – Arthur with his notecards, Suzanne running the slides. However, the presentation takes an unplanned turn.

It’s the first time the notable occultists have appeared in public following the events of the Dunstan Creek séance – an infamous experiment that lost them their jobs after putting a young woman in hospital. With this lecture, the Bishops have returned to explain what really happened at Dunstan Creek, but it seems the presence unleashed is not yet ready to rest.

When lost in the drama of the performance, gripped by the unfolding story, as Suzanne and Arthur go in and out of character between themselves and a couple from the goldrush era (Rose and Ben), it becomes somewhat spooky and downright scary.

With the haunting music, atmospheric lighting (Sean Hawkins), trickery I’m still trying to figure out, and coupled with the paranormal content, this is certainly the scariest piece of theatre I’ve witnessed. Sitting frozen in my seat, my heart beating faster and faster, I held tight to my breath in case a scream escaped my mouth. In all honestly I’ve never felt so relieved for a show to finish which is an absolute credit to Tollemache and Ladderman.

It’s certainly a performance not to be missed, but be warned – show contains paranormal activity and is not suitable for those with a nervous disposition.

Matthew, Mark, Luke & Joanne. Presented by The Court Theatre. Directed by Steven Ray. Written by Carl Nixon. 9 April – 7 May, 2016. Reviewed by Kineta Knight Booker.

There’s something cleansing about watching a comedy show about belief soon after seeing another show currently on at The Court which is centred around hauntings and a séance.

Indeed, Matthew, Mark, Luke & Joanne was the perfect performance to challenge the viewer to more wholesome goings on – reflecting on what your life’s “religion” is, be it yoga, materialism, coffee, or being a follower of Jesus.

Carl Nixon’s newest play is a triumphant insight into human nature following a big life change. His characters are people we all know – that eager, young Christian who grates on you with their naivety, that person who quotes their yoga teacher more than any book they’ve ever read, and the one who spends their cash like a fool.

The play starts in the gluten free, organic, and ethnic aisle of Matthew’s local supermarket, where he has a life-changing epiphany reaching for coffee beans. This revelation impacts his relationship with his wife, that of his best friend who’s also his business partner, and ultimately his career and life goals.

There are many laugh out loud moments, and each line of Nixon’s play was brought to life brilliantly by Tom Peters (Matthew), Luanne Gordon (Joanne) and Phil Vaughan (Mark), and Steven Ray’s direction was interesting, thoughtful and creative. It was the rawness from each of the monologues where Nixon’s work was seen best – poignant, reflective moments for his characters, and perhaps for the audience too.

Matthew, Mark, Luke & Joanne is a very, very good play. Go in expecting nothing, leave feeling like you’ve just been witnessed to in the most incredible way.

Mamma Mia. Presented by Showbiz Christchurch. Director/Choreographer Stephen Robertson. Musical Director Richard Marrett. Isaac Theatre Royal, 31 March – 16 April, 2016. Reviewed by Kineta Knight Booker.

Have you ever been to a production where the male ensemble steals the show? Or where the backing vocalists are just as sensational as the onstage performers?

Showbiz’s Mamma Mia is an absolute standout production – from the lycra and lighting through to the distinctive full ABBA sound (with no less than four keyboards!) supervised beautifully by Richard Marrett.

Based on the book by Catherine Johnson, with music and lyrics by ABBA’s Benny Andersson and Bjorn Ulvaeus, the story is centred around 20-year-old Sophie and her upcoming wedding. She finds an old diary of her mother’s (Donna) and decides to invite three men written about to the Greek island she lives on with her mother hoping one of them is her father.

The story itself is simple but it’s the characters and music that makes it a success.

Mamma Mia is driven by its big company numbers. The dancing, the singing, the bright costumes and even brighter smiles. Money, Money, Money shows the darker side to ABBA’s songs, which was staged in a strong but beautiful way. It was just the start of the showcase of talent from Juliet Reynolds Midgley (Donna). Her voice has a faultless strength and sincerity to it, whether it be in the company numbers or ballads – in particular Slipping Through My Fingers and The Winner Takes It All.

A welcome addition back to Christchurch was Matt Pike (Sam). He brought a great deal of warmth to the stage, and his S.O.S. duet with Reynolds Midgley was one of the most powerful moments in the show. Almost a moment of reflection for the audience – either captured by the story of Sam and Donna, or the history of their own lives.

The male ensemble was certainly a crowd pleaser, especially during Lay All Your Love On Me and in Tanya’s (Sarah Greenwood) Does Your Mother Know number. Nicky Marshall is a cheeky talent and plays the role of Pepper well.

The duo of Greenwood and Sarah Kelly (Rosie) was a hoot to watch. Kelly’s natural comic talent came easily with the role and Greenwood’s ‘banana’ had those not already laughing – guffawing. Together with Reynolds Midgley they make up Donna and the Dynamos – an absolute super trouper of a trio.

With such a large production it’s hard to get everything perfect. Unfortunately there were a few sound issues with lead mics not going on at the right time for dialogue and often the leading men’s mics were not loud enough during their numbers or company songs, and during Dancing Queen (although a fantastic number) the balance of the backing vocals drowned out the girls onstage. But this is just being picky, in an otherwise faultless show.

However, the lighting was spectacular. Standout numbers were Money, Money, Money, Mamma Mia, and in the reprise of I Have A Dream at the end of the show.

Showbiz’s first of its three 2016 productions has hit an absolute highnote, and if they’re all like Mamma Mia this will surely be the company’s best year on record.

Monthy Python’s Spamalot. Presented by Showbiz Christchurch. Director/Choreographer Sara Brodie. Musical director Luke Di Somma. Isaac Theatre Royal. 4-12 September. Reviewed by Kineta Knight Booker.

The stage oozed with warmth, energy, and hilarity. The audience reacted with laughter, singing and whistling. This is one absurdly nutty show. Away from the lights of the theatre, the sound effects, pyrotechnics and a real wizard on stage, you might question yourself – did that really just happen?

If you’re a Monty Python fan, you’re in the right place. You understand the intelligence of the humour. If it’s not your thing, or you’ve never been introduced to it, your first reaction might be to look for your closest exit or at least sit there and wonder what on earth is going on. A servant who plays coconuts to simulate the king riding a horse? Men with beards playing women? Ham acting like you’ve never seen it before?

This musical comedy is based on the 1975 film Monty Python and the Holy Grail and retells the tale of King Arthur and the Knights of the Round Table, while parodying other Broadway musicals as it goes.

And I just can’t get over what a crazy show it was. Is my theatre brain so structured it doesn’t know how to process complete ridiculousness, but at the same time guffawing at the lunacy?

It’s a busy stage, although sometimes a bit bunchy, with hundreds of costumes, and a wealth of talented actors. The orchestra, lead by Luke Di Somma, was clever and powerful, and the songs came easily from the cast through Di Somma’s direction.

A favourite scene has got to have been in the plague village – I Am Not Yet Dead. Humourous direction from Sara Brodie and great ensemble work from the cast.

The sets are spectacular, which is completely typical of Showbiz, and the height and the depth of the set would have taken an age to complete. Lighting of King Arthur (Jason Reekers) in I’m All Alone was beautiful, yet the face of the stunning lone ballerina was unfortunately lost.

Reekers plays a superbly silly King Arthur, and mention must go to Lady of the Lake, Leigh Wilson. Prima donna to a tee, playing the only female lead with passion and gusto. It’s great to see Wilson back treading the boards after many years away from theatre. And then there’s Patsy (Warwick Shillito). He simply steals the show. Showbiz, where did you find this gem? And Brett McPhail (Not Dead Fred/Herbert/French Taunter). Another brilliant new face.

Even the poor audience member who was dragged up on stage, Jo “Do you have a last name?” No, added to the hilarity of the night.

A great big nod to this show. Monty Python lovers won’t regret it, and newbies – expect silliness to prevail in your mind for days after seeing it.