Only Bones, a remarkable physical theatre production created and performed by Daniel Nodder, is an exploration of the human body's expressive potential. This one-man show transcends traditional boundaries of performance, captivating audiences with ingenious use of movement and gesture, and all within a one-square-metre performance space.

Clocking in at just under an hour, tour-de-force Nodder unfolds without a single spoken word, relying entirely on the language of the body to convey everything from The Big Bang to the invention of fire to a truly striking performance of Shallow from A Star Is Born (2018) using his kneecaps. Yep, you read that right. In my 34 years of living, I never expected to see a ballad between patellas. But that is exactly what keeps me excited about theatre and performers like Nodder – seeing boundaries being pushed to create something truly unique. And believe me, you haven’t seen anything like this before, or the 10 versions that came before it.

Created by Thom Monckton, The Only Bones Project is a minimalist physical theatre and sparse-video performance project with the guidelines of ‘only one light, no narrative, no set, no props, no text, and all within a limited amount of space’. Performers create their own world within this concept. Nodder epitomises that sage advice, ‘less is more’. The command of his body is remarkable, sometimes cringe-inducing, with audience members gasping at joints going this way and that. From teeth to toes, Nodder can isolate his body parts and give each a personality of their own.

This fascinating and playful performance is set within the wonderful composition and sound design of Ben Kelly and lighting design of Rebekah de Roo. All components are weaved together so harmoniously.

After watching in awe and pondering how one might even discover they can contort their body this way, my afterthought was how much this performance is a testament to the creative’s commitment to expression and their craft.

Discordant, atonal, brutal, distressing? Yes! Wonderful? Yes!

Wozzeck is about an ordinary but vulnerable man, a soldier, whose self unravels as he sees horrible visions and faces poverty, exploitation, and humiliation. He struggles to provide for his child and wife, Marie, and he encounters every day the disdain of his so-called superiors, his fellow soldiers, and his wife and her lover. It is Marie’s tragedy too: she loves and fears for her child and is eventually killed by Wozzeck before he drowns himself. We know the child will suffer.

Wozzeck, written during and after World War I in which its composer Alban Berg was himself a soldier, is in three acts with five scenes in each, each separated by a short orchestral interlude. The orchestra was only 39 strong and while cacophonous at times, it did not overwhelm the singers. The instruments were often used in small combinations. Their parts brilliantly underlined the emotional state of the singers.

The opera was presented semi-staged and, thankfully, with English surtitles. Perhaps inevitably, the performance seemed to me rather better musically than it was dramatically. All six main soloists, each an artist of international standing, were excellent. Madeleine Pierard has the most wonderful spun tone. Julien Van Mellaerts’ voice was smooth, secure, and expressive. American Corey Bix as the condescending Captain and Paul Whelan as the pretentious Doctor not only contributed strong vocal performances, but injected some rare humour into this tragic tale. Jason Collins as the ‘other man’ was equally strong. The Tudor Consort provided excellent chorus voices.

The work may have frightened some of the usual Orchestra Wellington patrons off. It was a bold decision to perform it. It cannot be an easy work for soloists, chorus, or orchestra. Orchestra Wellington is to be congratulated for programming Wozzeck and all performers for pulling it off so successfully.

Well, this will be a fun review to write, but little ones: please avert your eyes.

Dracula’s Cabaret is an Australian institution: a vaudevillian variety show inspired by the iconic The Rocky Horror Show. The comedy cabaret restaurant thrilled, teased, and titillated audiences for an unprecedented 37 years in Melbourne and on the Gold Coast, where it first creaked open its doors in 1985 and remains today. Produced by Luke Newman, Dracula’s: The Resurrection Tour combines those decades of perfected performances into one tasty morsel that Wellington fans got to sink their fangs into for the first time ever this November.

Dracula’s: The Resurrection Tour stars Vladimir (host and comedian William Rogers), Onyx (vocalist James Smart), Viper (burlesque performer and vocalist Clara Fable), Duo Synergy (aerial and variety artists Scott Lazarevich and Emma Goh), The Heart Attack Twins (dancers Molly Kealey and Amber Flaherty), Vendetta (guitarist Viola Skyes), and Whiskey (drummer Lachlan Neate). These nine performers pack a (blood)sucker of a punch as they present a scintillating, sexually charged smorgasbord of acts straddling both the expected and the wickedly unorthodox.

But even the ‘traditional’ song, dance, burlesque, and acrobatic numbers are anything but. Haloed in epic stage lighting (Reuben Willmot), Smart, Skyes, and Neate’s rendition of Led Zeppelin’s anthemic Stairway to Heaven is nothing short of world class. Stripteases include a flawless burlesque number from Fable (I’ve never seen such smooth disgloving!) and a tongue-in-cheek towel moult from Smart and the electrifying Rogers, who is all-round hilarious. Duo Synergy performs three gravity-defying feats that send my jaw plummeting to the floor. 

And then we’ve got the unconventional. John Taylor’s technical design sees superb puppetry utilised hilariously in a scene featuring a giant worm-like penis (sorry kids, I did warn you) and a terrifying giant baby I’m still having nightmares about. Let’s not forget the floating-heads concert of Queen’s Bohemian Rhapsody that gets some of the loudest laughs of the night.

Packed with feathers and leather, debauchery and stage sorcery, every second of this 80-minute show slays. I’m desperate to ride the roller coaster again.

Four teenage girls from the private boarding school Appleyard College set off on a picnic to Hanging Rock, a geographical marvel and former volcano in central Victoria, Australia. On Valentine’s Day 1900, Edith, Irma, Marion, and Miranda ascend the monolith. Only Edith comes back. Later, Irma is found bruised, bloody, but alive.

Back at the college, headmistress Mrs Appleyard has turned to the bottle to cope with the growing unrest as more perturbed parents withdraw their daughters from the school. Much to her annoyance, she’s left with orphaned student Sara, a close friend of Miranda’s. Meanwhile, Englishman Mike Fitzherbert nurtures a growing obsession with the mystery.

Tom Wright’s stage adaptation of Joan Lindsay’s acclaimed 1967 historical fiction (or is it?) novel of the same name sees five actors play multiple characters. Between Emily Bell, Lydia Verschaffelt, Gracie Voice, Ava Wiszniewska, and French-accent icon Anna Curzon-Hobson, there’s a handful of distinct roles. For instance, Bell plays Sara beautifully, Voice is the dangerously infatuated Mike, and Wiszniewska tweaks the heartstrings as a traumatised Irma. But they take turns to embody the missing girls, and not in the way you might think. In the opening picnic scenes, the cast speaks in third person, narrating the girls’ actions even when carrying them out. This striking playwrighting choice depersonalises the characters for me, but equally and aptly, intensifies the disorientating sense of unease that builds throughout the play.

The superb cast accentuates the impending sense of doom with performances perfectly sculpted (director Tanya Piejus) to climax at just the right moments. Verschaffelt in particular is a knockout in the final scene (and a wickedly funny drunk as Mrs Appleyard), but the entire cast works as one cohesive, committed unit to hit the horror home. This coupled with Hanging Rock looming large above the action (AV design by Tanisha Wardle), a sparse and haunting sound design by Brian Byas, and well-timed, moody lighting changes (Jamie Byas), and Picnic at Hanging Rock is a thrilling watch.

Bravo to Wellington Repertory Theatre for this stellar production of a story I’m still thinking about. Will somebody please tell me what happened to the missing girls!

Murder becomes a regular in this 50-minute solo thriller-comedy. Fatal Fame is Dripping Bottle Theatre’s debut show, and let’s just say that it opens the company’s canon with a bang… literally. The production follows Annie (Zoe Snowdon) as she rises to infamy in the most interesting way possible. Serial killing.

Snowdon’s depiction of Annie is nuanced and realistic. Oftentimes uncomfortably so, as she embodies so excellently what a serial killer can be. We see the not-so-gentle decline of Annie from socially awkward to sociopath. Snowdon’s mannerisms and stage presence culminate in the perfect depiction of a killer who executes each of her victims convincingly, albeit very humorously.

Comedy and thriller make for a combination I didn’t think possible. Fatal Fame proves me wrong. The thriller provides a thought-provoking commentary on how real and present killers can be, and the comedy provides a much-needed escape at times from the dark themes within.

Fatal Fame foreshadows fantastically. Every word and every action has its purpose in the grand scheme of the piece.

The scenography by Scott Maxim is cleverly done. The harsh lighting makes it feel as if Annie is retelling her story through a police interview. I particularly like the motif provided by sound and lighting whenever a murder occurs.

Popping balloons at the end of the show make me incredibly uncomfortable due to my phobia of this. However, I do commend the symbolism provided. Killers such as the fictional Annie take to murder like a pin takes to inflated rubber.

This show is not for the faint of heart, yet it is well crafted. I would urge you to read the content warnings before taking your seat.

Come to Fatal Fame if you don’t mind joining Annie’s rise to popularity. However, your name will be below hers, and you will become a victim of this scarily comedic show.

At Wellington’s opening night of the Cinema Italiano Festival, I remember my boyfriend will have to read subtitles during tonight’s screening of The King of Laughter (Qui Rido Io). He then reminds me the movie is in Neapolitan, not Italian, so I too will have to read subtitles. You most likely will as well, but don’t let that stop you from catching the film on the 9^th or 12^th of November at the Embassy Theatre.

The King of Laughter (Qui Rido Io) is a biopic from director Mario Martone about Neapolitan comic theatre legend Eduardo Scarpetta, played by the acclaimed Toni Servillo. Written by Martone and Ippolita Di Majo, the story is a beautiful symphony, a celebration of the language and the city, its theatrical heritage and its people.

Renato Berta’s cinematography paired with Giancarlo Muselli and Carlo Rescigno’s production design is testament to Italy’s long legacy of crafting cinematic masterpieces I would gladly hang on the wall of a museum. Actor Eduardo Scarpetta, who plays Vincenzo in the film, is the great-great-grandson of the film’s protagonist, proof of the Scarpetta family’s lasting impression and endurance.  

Set in late 19^th and early 20^th century Naples, the story follows the rise and fall of this pivotal figure of Italian theatre. And yet I had never heard of him until now. Neither had many of the guests I spoke to after the credits. Gabriele D’Annunzio (Paolo Pierobon), Scarpetta’s contemporary and inadvertent rival, is celebrated the world over. But Scarpetta, who single-handedly took on and, at the time, surpassed the iconic commedia dell’arte character Pulcinella? He is hardly mentioned in our history books. Is it because his artform, parody, is not truly considered art that is worthy of enduring the test of time?

The King of Laughter (Qui Rido Io) tackles this notion. What makes something art? Is it how serious the content is? Or is it its cultural influence or critique? Is it the genre? Or is comedy’s accessibility what makes it important? Either way, the film makes one thing clear: we mustn’t take ourselves too seriously.

Kenneth Young describes his Dance as “a celebration of love and life”. It was glorious and exuberant, and it reminded me of the character dances seen in classical ballet, which took me to a memory of Sir Jon Trimmer on stage in one of the character parts he danced later in his career. Trimmer, who had died only two days earlier, was a neighbour and much-loved member of our community and it was lovely to have a memory of him sparked in that way.

From the joy of dance to Scriabin’s Poem of Ecstasy, the mood remained high. If ecstasy comes from bringing together a huge number of musicians, a thoroughly mixed assortment of harmony, rhythm, tempo, volume, and orchestration in a way that pushed boundaries in 1908 and sounded as if it is still on the edge more than 100 years later, then this was it. Learning Scriabin was synaesthetic made sense of the music. If sound was colour for me, I imagine I would also want to celebrate that with noise and complexity.

Principal flautist Bridget Douglas, elevated behind the orchestra, under a single spotlight, played Debussy’s modern interpretation of an ancient Greek story, Syrinx. Douglas is an amazing musician and audience favourite. We were captivated. Conductor Gemma New had earlier asked us not to applaud but to allow the mood to carry into Sibelius’ Luonnotar. The strings set off at urgent pace before soprano Madeleine Pierard started to sing her narrative of the Finnish creation story. A demanding piece by all accounts but absolutely no trouble for Pierard. Her voice is stunning, and she made apparently light work of the difficult leaps and incredible range.

The evening finished as it had started, with a stage full of musicians expertly led by an expressive and expansive conductor. Ravel’s Daphnis et Chloe Suite No. 2 gave New the opportunity to have the last dance.

Helen Moulder has been thrilling audiences at Circa Theatre since the late 1970s and The Bicycle and The Butcher’s Daughter is another solid entry in her canon. It’s a lovely story of familial relationships in a changing world seen through the eyes of five members of a famous clan of butchers who sell their products under the cheesy tagline, “On your feet with Patterson’s Meat!”

In this one-woman show, Moulder plays everyone – businesswoman Olivia, patriarch Sir Harold, arty Jennifer, vegan comedian Lexi, and 11-year-old Grace – alongside a mysteriously mangled bicycle. This simple device cleverly mirrors the unfolding tale of the Pattersons and the fake news scandal that threatens to derail their burgeoning product deal with investors in China.

Each character is exactly drawn and, even without the basic costume changes that slow the pace somewhat, they are clearly rendered through Moulder’s acting skill. Olivia is slick, bossy, and constantly on the phone, wheeling and dealing. 94-year-old Sir Harold potters in his garden while ranting about change and drifts randomly back to “pūkeko pies” in comic outbursts. Lexi’s stand-up comedy routine, starting with a half-consumed banana folded carefully in a beeswax wrap, is sweary, angry, and genuinely funny. Estranged sister Jennifer is artily flaky as she struggles with unfunctional plumbing while trying to open her new gallery on Featherston Street. Finally, 11-year-old Gracie completes the narrative circle and we discover why bicycles are so important in the Pattersons’ family history.

Delivered on a typically sparse Circa Two set, this is an intimate production that mostly uses direct address to engage the audience. Sue Rider’s choice to use scene and costume changes is enhanced through the addition of lively Beethoven sonatas recorded by Juliet Ayre and Richard Mapp and straightforward lighting (design by Giles Burton) that keep the changes interesting.

For 75 minutes of delightful entertainment, you can’t go far wrong with The Bicycle and the Butcher’s Daughter.

Milk, meet Halloween. Halloween, meet milk. MILKOWEEN! is the fourth entry in the canon of Wellington’s wettest show. In this blood-curdling, milk-churning improvised comedy, Ruff as Gutz performers make up a spooky story on the fly while we, the audience, throw water balloons at them whenever we want something to change. Three of these balloons are filled with milk. When one of them explodes, the consequences are so dire, it is worth crying over spilt milk.

In the curious, chaotic case of MILKOWEEN!, audience suggestions result in a terrifying tale set in an abandoned aquarium, where the ghost of Justin Bieber roams the halls, intoning “baby, baby, baby” and terrorising the local residents. Namely, dead fish, two sharks named Bob and Nige, and some dude (Dylan Hutton) who’s been trapped in the closet for at least 30 minutes, if not 45. The sexiest teenagers in all the land – Chad the Jock (Emma Rattenbury), Casey the Cheerleader (Tadhg Mackay), Felicia the Goth (Salomé Grace), and Nigel the Nerd (Zoë Christall) – must unravel the great mystery of the Biebs, all while dodging deadly toenails and attempting to learn the Shark Alphabet (Sharkabet for short).

The MILK concept is fun and funny, wet and wild. As you can imagine, forcing performers to change tack faster than a speeding balloon could be a recipe for disaster. Improv is challenging enough under normal conditions! Dugdale-Martin and Hutton in particular are glorious at responding to our cues, and one magical moment between a brilliant Grace and design leader and technician Jacob Banks serves as the perfect example of concept execution. The quick changes score a high laughter rate overall, a testament to the talent of this troupe. The improvisors all commit to their stereotype designations and conceive impressive character arcs in a short space of time, all the while managing to tie together such extraneous elements as unexpected cousins, interspecies relationships, and aubergines into one cohesive story.

Milky, mercurial madness at its silliest, soggiest, and most delightful.