Words like ‘suspenseful’ and ‘nail-biter’ are often thrown around casually, but when was the last time a thriller truly sent a tidal wave of terror washing over you? Coming Home in the Dark is an ever-building symphony of dread informed by strong characters, a gripping story, and an intimate camera.

High school teacher Alan ‘Hoaggie’ Hoaganraad (Erik Thomson) and his wife Jill (Miriama McDowell) are enjoying a picnic with their two boys when they are interrupted by a pair of drifters, Mandrake (Daniel Gillies) and Tubs (Matthias Luafutu). Soon their idyllic day turns into a nightmare road trip, and what Hoaggie at first believes to be a random encounter may actually be rooted in the sins of his long-buried past.

In his feature debut, director and co-writer James Ashcroft shows he is perfectly willing to test an audience’s limits. At times he and co-writer Eli Kent play the game as you’d expect, but other moments will send unexpected shockwaves through the crowd, including a particularly ballsy beat that sets a brutal tone early on. With hints of stylistic prowess from the book of De Palma and sensibilities reminiscent of the Coens’ darker entries, this is as confident a debut as any director has made in recent memory and an invigorating addition to Aotearoa’s feature filmmaking roster.

Much of the movie takes place inside a car, but thanks to Ashcroft’s gift for visual suspense and committed performances all-round, it never stalls. Thomson screams everyman, and his grounded portrayal of the frightened, guilt-stricken family man contrasts magnificently with Gillies’ sinister turn. He makes the villainous Mandrake a ghostly figure, one who seems to move with the wind and commit excruciatingly unpredictable acts, much in the vein of Anton Chigurh (No Country for Old Men). Despite this, we can’t help but admire his intelligence, wit, and charm.

Coming Home in the Dark is filled with risks, which makes it stand out as an assuredly fresh thriller. Who is right and who is wrong is up for debate, but what isn’t is the hold this film will undoubtedly have on those who see it.

As Ginette McDonald pointed out to me at halftime, I (a 20-something) am not quite the target demographic for Winding Up, the latest play from Sir Roger Hall about 70-somethings Barry (Peter Hayden) and Gen (McDonald herself). Seeing as the two-hander picks up on the lives of the central couple from Conjugal Rites, which Hall wrote before I was born, I’m inclined to agree. But I didn’t need context to root for Barry and Gen in this tender and touching chapter of their 50-year marriage.

Winding Up is set in the retired couple’s upmarket apartment while other happenings – like family dramas and flirtations with nosy neighbours – occur offstage. Barry and Gen often bicker and tease each other but their love shines through above all else, accentuated by a script that jumps from sharp to sassy to sweet in a heartbeat. Moments that make me fall in love with them in turn include a hilariously awkward (attempted) love-making scene and a gentle slow dance in which the full gamut of emotions runs across McDonald’s face, beautifully lit by Marcus McShane.

Hayden’s portrayal of a kind man with lots of zest (and patience!) is wonderfully offset by McDonald’s nuanced but no-nonsense Gen. Both veteran actors, their chemistry sparkles and sizzles as five decades of marriage are expressed in the touch of a hand, an exasperated eye roll, the tucking in of a blanket.

With the couple contemplating going on a cruise, I initially hope the setting will shift from the apartment to a boat but end up enjoying the slice-of-life perspective from their living room. Plus, seeing the pictures of their holiday afterwards (set and AV design by Lisa Maule) is a lovely touch. Together, Maule’s sleek set, Sheila Horton’s sophisticated costume design, and Michael Nicholas Williams’ gorgeous classical music design (particularly effective during the transitions, some of which are a tad too long) show a well-off couple in years made golden not just by age but by love.  

I expect you, like me, have never wondered what happens when a wallpaper realises it is being watched. However, this fascinating “three-course meal” of domestic history, spoken word, and sensory dance experience seeks to answer that very question.

On arrival at Katherine Mansfield House, audience members have 15 minutes to enjoy the hors d’oeuvres, the lovingly recreated rooms of the home of one of New Zealand’s most famous writers. We’re told that rooms in the house have been reclad in facsimiles of the original wallpaper that neatly sets the scene for what’s to come and helps make this venue an inspired choice.

Once settled in an upstairs room, the petite audience of 10 is treated to the sumptuous main course, a reading from Charlotte Perkins Gilman’s 19^th-century short story, The Yellow Wallpaper. This is the tale of an unnamed narrator who is prescribed bed rest in an old country estate and eventually grows fond of her cage-like room and its garish wallpaper. The lush and poetic descriptions of the patterns and shapes on the walls that surround the narrator are beautifully read by Liz Butler, who wears a suitably yellow dress, and conjure unexpectedly creative imagery from something as mundane as a wall covering.

Dessert is taken in a different room and, like all good sweet treats, it tickles the senses with its scent of spicy incense, hypnotic music (Aaron Dupuis), and soft, yellow light (Matilde Vadseth Furholm). Two dancers (Abi Sucsy and Ellen Butler) employ sensuous and sinuous movement – often in harmony, occasionally in conflict, sometimes together, sometimes apart – to bring the spirit of the yellow wallpaper alive.

With creative direction from Butler and Andrew Ford, Yellow Cat Collective have pulled off the seemingly impossible – making wallpaper interesting. Having sampled their tasting plate of creativity, I’m left hungry for the full buffet of storytelling they presented at this year’s Fringe Festival to describe “the sprawling waves of optic horror” that so enthralled the unnamed narrator.

The Adventures of Tom Sawyer is based on the beloved 1876 novel by Mark Twain – which, ashamedly, I haven’t read! I do however know of Huckleberry Finn (Alfie Byrne), who gets up to all sorts of mischief (I mean adventures) with his good friend Tom Sawyer (Thomas Neville).

Set in the 1840s, this play focuses on Tom’s perspective and upbringing in a small town in Missouri, where director Lynn Coory notes “children’s currency was a dead rat and a brass doorknob and where children roamed free from breakfast to supper”. From grave robbing to buried treasure to miraculous resurrections, The Adventures of Tom Sawyer certainly is one great big adventure.

This Khandallah Arts Theatre production stars a number of youngsters and seasoned actors working as one. Neville, Byrne, and Josh Harford as Joe Harper share a wonderful chemistry, especially when bellowing around a campfire together. All of the kids do very well, with Ira Crampton deserving a hearty clap for his energy and enthusiasm as Ben. In the grownup category, Hayden Rogers makes an excellent villain of Buckshot Joe and as his would-be victim Widow Douglas, Marj Lawson’s lively performance is a favourite of mine.

The world building on display here is fantastic, with audiences transported to simpler times thanks to clever costuming (wardrobe collator Theresa Donnelly), a charming old-world suburbia set (Stephanie Woodman), and scene-setting music from talented guitarist Jack Dryden. Idyllic projections by designer Brian Scurfield work in harmony with the lighting design of chief technician Chris Collie-Holmes to establish different locales – from a cemetery to a cave to a haunted house – so the audience never loses their place. The thundering rain outside certainly added mystique to the spooky scenes!

Overall this Khandallah Arts Theatre production has great heart. I’d recommend more music through some of the transitions, as the energy does dip while the audience waits for the next scene to start in silence. A bit more pace and we’ll have a firecracker on our hands!

The Justice of Bunny King is not always mesmerising, but its characters certainly are. Though its story loses steam, saved by a left-field surprise of a third act, its messages ring true, and I wager most will leave the theatre with a slightly altered perspective. 

Bunny King (Essie Davis) is a squeegee bandit with a goal: to save enough money to regain custody and house her two kids. After promising her youngest a birthday party during a visit, Bunny will do anything to keep her word, despite having no job, no home, and no help from social services. Things are only complicated further when her niece Tonyah (Thomasin McKenzie) reaches out for help.

The film rides or dies on the shoulders of Bunny, an undoubtedly demanding role. She must at once be warm and compassionate, frustrated and cool, but Davis refuses to let her become superficial. Bunny is imperfect, with shades of light and dark. She makes mistakes, often lashing out at those who wrong her in immature ways. But these elements boil down to a supremely human character, one who we’ve all encountered and maybe now feel we can relate to a little more.

Front to back, the cast make the story feel visceral. Even minor characters, such as Government Family Services caseworker Trish (Tanea Heke), make an impact. This is largely aided by Gaysorn Thavat’s focused direction and Sophie Henderson’s concise screenplay.

It’s clear that the collaborators felt a kinship towards Bunny, but at times the story she is in runs out of gas. The film takes an unexpected turn in the final act, which will work for some and alienate others. For me, it worked, bringing scope, suspense, and surprise to a tale I thought had tapped out.

Bunny and Tonyah struggle to be heard, supported, and empathised with, feelings we’ve all had. The film’s anti-patriarchy message is one many will raise a fist to, but I foresee The Justice of Bunny King being a love-it-or-hate-it experience for most.

Julia Millen’s favourite childhood song was On the Road to Anywhere. It was a ditty that became the theme for a lifetime. Beginning with New Zealand and venturing later to Europe and South America, Millen clearly revels in her many and varied hitchhiking experiences.

There is much to be learned from this lengthy saga of her travels: not least survival tips for the tricky and challenging situations faced by those who choose to stick their thumbs out. I was relieved that Millen usually opted to hitchhike with two female companions – free spiritedness even of the 60s variety has risks attached.

There are tips of other kinds too and I found these entertaining. We learn where the Impressionists are hidden away in Paris, that the Swedes don’t go in for garden taps, and that in Greece you may get your hands rinsed with retsina. And I felt amusement mixed with memory-driven horror at our writer’s discovery that the Greek word for ‘yes’ is ‘nai’, pronounced confusingly like the English word ‘no’. Leads to all kinds of trouble.

Millen’s narrative is peppered with literary and classical references, due perhaps to her background in library work, though I suspect that many of them would be missed by millennials. The Hound of the Baskervilles? An Enid Blyton Mr. Plod?

Readers are also treated to the personal journey to, through, and eventually out of a first marriage – though quite why it was entered into in the first place is a bit of a mystery. Or is that the 60s again? And being married doesn’t seem to preclude hitchhiking adventures.

It’s only when back in New Zealand, after 20 years of thumbing her way around the world and a historic trip to Antarctica, that Millen finds her man – on the beach at Pukerua Bay. Should we be surprised that after following myriad “roads to anywhere”, her early inspiration to a heady, hedonistic life morphs into an acknowledgement that “There’s no place like home”?

Joanna Grochowicz has made quite a name for herself as a writer of what is sometimes called the golden age of Antarctic exploration. Her books give us a closer look into that time, when men risked it all to explore what is still one of the most desolate continents on Earth.

Shackleton’s Endurance tells the story of Sir Ernest Shackleton’s ill-fated voyage to the Antarctic in 1914. When disaster strikes, though, and his ship becomes stuck in the ice, his journey soon becomes a matter of life and death with the odds stacked against him and his crew.

It’s a harrowing tale, and one made even more compelling by the fact that it all actually happened. Grochowicz, who has made the genre of ‘fictional history’ her forte, has really outdone herself and her skills are on full display here.

I say fictional history because while Shackleton’s adventures were completely factual, his and his men’s interactions would have to be based on second-hand accounts from various sources, such as crew journal entries that survived their adventures.

I loved the characters and how well fleshed out they were; thus, they felt real to me, and I found myself feeling for them as they struggled to find their way out of what must have seemed like hell on Earth.

One of the best parts of the book is Shackleton himself. Unlike Roald Amundsen (the star of her previous book, Amundsen’s Way), who seemed stern and domineering, Sir Ernest comes off as a kind and compassionate man who always put the welfare of his crew first. This makes him a more relatable protagonist than Amundsen ever was.

History can sometimes feel boring, and because it happened some 107 years ago, many people find themselves disassociated from it. Grochowicz makes it all come alive on the page, and the results are spectacular. Shackleton’s Endurance is a thrilling ride and one I highly recommend picking up.

The Runaway Girls is a heart-warming story about the warmth of friendship and the lengths two girls go through to protect theirs. It is set in Victorian England and written by Jacqueline Wilson. In this story, Lucy Locket, the protagonist, runs away from home for multiple reasons relating to her home life. Lucy meets Kitty on her escape, and the two instantly become best friends. 

My favourite part of this book is the natural and normal friendship Kitty and Lucy share. They argue and make up, tease and joke like any best friends you might find now. The only disparity is the fact that they lived a hundred years ago, which does tend to make a difference. For example, when Lucy loses Kitty in the park, she has no way of communicating with her and is understandably distraught. Whereas nowadays we can just send our friends a text or call them. Also, the poor are better cared for today, which is a contrast in Lucy’s world where they are ignored if they are lucky, or beaten and shooed away.

Additionally, I love how compatible Lucy and Kitty are. They make a fantastic team when facing foes. Kitty is generally more knowledgeable and fierce, but Lucy makes excellent use of her sweet demeanour and discovers some hidden talents, like lying on the spot well and melting adult’s hearts. Her parents would have a heart attack if they ever saw her, smiling like an angel while spinning devilish lies, but it serves them well on the streets!

I also enjoyed the ending in which Jacqueline subtly brought in an easter egg from another book, though it doesn't hinder your understanding if you haven’t read it yet. Still, for someone who does understand, it was nice to see. I liked the fact that it was a happy ending, perfectly suited for the characters.

All in all, The Runaway Girls is an excellent book that has everything a good read requires: wonderful characters, an awesome story, and an interesting setting. I definitely recommend this book.

Tikanga, the book, belongs to Francis and Kaiora Tipene. It is written from their perspective, their knowledge, their traditions; but it belongs too, to their whakapapa and those who have come before them.

Driving past the opening of the brand-new branch of Tipene Funerals in Porirua, curiosity got the better of me. Many had gathered, eating, conversing, and listening to music. I could see Francis and Kaiora speaking with visitors. I made the hasty decision to pull over with my son. Perhaps it would be a great conversation starter about life and death and everything in between.

I was also curious to see if Kaiora and Francis, the humble narrators of such a powerful book, whose words, so genuine, are like I imagined. I felt welcomed and got to witness manaakitanga (hospitality, kindness, generosity, support), which “must be ingrained and extended everywhere you go”, Francis says.

In Tikanga, Francis and Kaiora express the traditional Māori values that ground and guide them in their funeral work and everyday lives. The regard, respect, and agency they give to those that will one day pass through their doors, living or otherwise, Māori and non-Māori, illustrates how they live the concepts of te ao Māori.

“Everyone with a business thinks their business is different from other businesses, but I think ours is ‘more different’ than most. It is especially different because it is so dependant on its culture and being able to live Tikanga every day, no matter what is going on,” Francis says

Tikanga is about what is important and valuable to Māori, but it translates to all. In Tikanga there is a candid nod to all cultures; both Francis and Kaiora are pragmatic and able to incorporate values and traditions different to their own.

Both are keen to convey that they don’t know everything. They are not a mouthpiece for all Māori, but acknowledge the platform they now have to champion Māori culture everywhere, every time with the aim to do better, be better, and encourage those around them to do the same.

Appreciation of poetry closely resembles appreciation of painting – it’s highly subjective. So in commenting on Ian Wedde’s latest collection, I find I must put aside my preference for poems that rhyme and ones that address contemporary themes.

A dictionary definition of poetry runs: “a literary composition that is given intensity by attention to diction (choice and use of words), sometimes involving rhyme, rhythm and imagery.”

Note that this definition makes no mention of content. And it’s content, for my two cents’ worth, where Wedde scores most points. For his exhaustive collection (76 poems) largely charts his family history back to the 1700s: “stalking the family ghosts of German ancestors and obscure relatives and associates”, as he puts it.

A Creative New Zealand Berlin Writer’s Residency 2013-14 provided the opportunity for keeping a diary, and it’s from that diary Wedde draws his material.

His forebears merit such a poetic celebration. Some of them witnessed a great deal of what they probably didn’t want to witness, giving rise to serious themes. And a relative-of-a-relative of some kind published a mostly unread panegyric to the Paris Commune martyrs – now you can’t get more esoteric than that.

The chief enjoyment for me was on the linguistic side – the words and imagery Wedde uses. I loved the pigeon named Werther “fastidiously poking feathers into an improbable nest”, enjoyed the extended metaphor of the bowl of pea soup, and accurately pictured “the narcissist of small differences” encountered at the library when Wedde is enquiring after a relative’s book. On a grimmer note, there’s the watering can in the Stasi Museum, and “the implacable conduit where Arendt disciplined her bafflement into thought”. The little ache of the title merits a poem of its own.

It’s a scholarly read, but there’s much deserving of reflectiveness for the general reader – and a bonus for those who are familiar with German in the form of a generous smattering of words and phrases in the original tongue.

At the age of 18, Paul Wood was convicted of murder and served 11 years behind bars. While there, he managed to turn his life around by becoming the first person in New Zealand history to complete an undergraduate and master’s degree while in prison.

In his latest book, Dr Wood explains the term ‘mental fitness’ and why it is so important to strengthen it to help deal with the challenges we face every day. At the heart of the matter is the idea that mental fitness can be strengthened, just as a bodybuilder lifts weights to enhance physical fitness.   

One of the biggest problems I have with most self-help books is that I’m always sceptical about the author’s motives and how much they really know about the topic they are writing about. But not this time; I mean, here is a man that was sent to prison, served time with some of the worst offenders in the country, and came out the other side a better, wiser person. In the case of Mental Fitness, there was no doubt in my mind that what I was reading was 100 percent genuine and that Wood was the real deal.

His writing too impressed me with what is sometimes called the ‘common touch’, that ability to connect with just about everyone and to make them understand the message you are trying to send. Mental Fitness is incredibly simple to understand and, as a result, an easy read. Nothing is too difficult to grasp, and nothing feels undoable for those who pick this up to improve themselves. There are really no downsides that I could find here, and I think this is something everyone should read at least once.

I really loved this book and will definitely be putting some of Dr Wood’s ideas into practise to increase my own mental fitness.

First of all I have to say wow! Some more describing words would be powerful, brutally honest, motivational, heart-wrenching, gosh, I could go on!

Here you find entrepreneur Rebekah Campbell focusing on her career and accomplishing what seems to be the impossible. She’s a powerhouse of a woman successfully creating and selling three profitable companies and making her mark in a man’s world. But in between all the successes, failures, hard work, and planning, she unveils her vulnerable self. As much as Rebekah is hungry for success, she yearns for love. But how is she going to find love while growing her business?

In 138 Dates, Rebekah explores the modern world of dating with the help of online dating apps. Juggling work and play seems effortless as she schedules dates like business meetings. One after the other she goes on 138 dates with some nice guys and some awful guys, gets rejected a couple of times and does some rejecting herself, all while meeting with investors around the world, widening her business network, and growing her business steadily.

I loved Rebekah’s writing style and felt like she was talking to me directly, telling me her story. I felt her discomfort, her stress, her excitement, her pain, her disappointment, and her ambition. This woman is a force to be reckoned with!

I was rooting for her all the way and wished that I could be there to help her put herself back together on days when she felt that she just couldn’t deal with being lonely anymore. I have personally gone through a lot of what she went through, especially the online dating scenario, and didn’t realise how many similarities we had in our criteria, expectations, and desires.

I would recommend this book to any woman who feels like she isn’t enough. It was an honour to read Rebekah’s story and I hope that she reaches more women like me that need to hear that she is perfect in this imperfect world.

How would I describe Unsheltered? Not for the faint-hearted. Extremely tough subject matter. Of its time. Depressing and heart-breaking. With glimpses of joy and humanity. The author Clare Moleta says the book is Australian but not set in Australia. It’s about a mother’s (Li) relentless search for her missing young daughter Matti, after they end up at Makecamp (a refugee-type camp).

Li’s description of killing and eating a rabbit to survive made me feel ill. I guess that’s a good sign if an author makes you feel strong emotions? It put me off reading Unsheltered for a while but then I was hooked again. Would Li find Matti? Was the search worth it for Li? For me? I find these stories stressful, but you need an outcome, good or bad. The harrowing descriptions of what Li went through to find Matti were rough to read. And just when I thought it couldn’t get worse, it did right towards the end. This novel could be based on a real story which is the saddest bit about it. One of the camps is called Transit and Li’s saviour Rich says, “I know they call it Transit but have you noticed no one f***ing goes anywhere?”

I guess the genre is Sci Fi-esque as there were words and expressions I didn’t understand, like XB Force – I still have no idea what this means. “She was good at spotting spoor, too.” Spoor but not used in the usual context, again no idea. It’s a book you must pay attention to but some bits I really wanted to skip. On the other hand, descriptions I really enjoyed include: “Didn’t see the sky fatten like a bruise” and “The children in these stories emerged out of some collective dust and faded back into it again, untouched and untouchable”.

If you watch the news and can handle more reality in your life, then you’ll enjoy Unsheltered. It is a book about human perseverance above everything, and that is admirable.

With Tap Head, comedian Barnie Duncan has achieved what his mum Robyn, to whom this show is dedicated, always claimed was possible – that you can feel more empathy for an inanimate object than a human being.

The inanimate object in this case is a lonely cold tap who works in a public toilet in Waitangi Park, desperately trying to engage with those who pass through his sterile world. By day, he stares at the smooth mound that resides where the hot tap should be and daydreams about taking his non-existent partner in plumbing to the park to play table tennis. By night, he tries out his vaguely crude and pathetic stand-up routine at comedy clubs.

Also plying his trade on the comedy circuit is Barnie Juancan who, with his freshly shaved knees, uses surreal dad jokes to provide multiple excuses for his literal lateness in starting the show, interspersed with salsa dances. Between digs at Jair Bolsonaro and an Uber ride with a German wasp, he brings a whole new meaning to turning on a tap.

Duncan’s greatest of many performance skills is an aptitude for mime and physical comedy that renders Tap Head a fully formed character with deep feelings. He even bares his buttocks in a sad shower scene that provokes an audible “Awww” from the opening night audience. Sharply contrasting this pathos with the arrogance of Juancan, he leaves us in no doubt as to who we’re rooting for.

Aiding Duncan’s performance is a precise and clever combination of lights (Kaitlyn Johnson), sound and music (Daniel Nixon), and animated projections (Caiden Jacobson). BATS’ Co-Pro model that allows more pack-in time clearly worked to this show’s advantage as these technical elements are outstanding.

It’s only since coming home from seven years in Melbourne that Duncan has found a truly appreciative audience for his Monty Python-esque humour. With Tap Head, he has done his mum proud.

A diehard The Lion King fan, I walk into Spark Arena barely containing my excitement, only to have my sky-high expectations met and exceeded by the very first note. Two minutes into Circle of Life and I’m already crying. Those tears flow five more times as I feel The Lion King transport me back to my childhood with stage magic the likes of which I’ve never seen before. The sad scenes aren’t what get me but the sheer spectacle, the unfathomable artistry on display. As I say to my husband Dean after the show, I’ve never cried at how good something is before, and yet here we are.

To even begin to comprehend why The Lion King is so good, we must start with Julie Taymor. Not only the director but the costumer and the co-designer of mask and puppetry with Michael Curry, Taymor’s vision is monumental. From ginormous giraffes to mischievous meerkats, “from the crawling ant to the leaping antelope”, her designs capture the vast scope of the animal kingdom and are brought to life by world-class choreographer Garth Fagan, who emboldens a cast painted by hair and makeup designer Michael Ward to truly embody each animal. The stunning masks of Scar (the standout, terrifically terrible Antony Lawrence) and Mufasa (the gallant Mthokozisi Emkay Khanyile) feel as if they move, even breathe, on their own.

Two highlights for me are moments not on film: a powerful and poignant scene in which Rafiki (the extraordinary Futhi Mhlongo), Young Nala (brilliance from Filia Te), and Sarabi (Lungile Khambule, the picture of mourning) grieve the loss of Mufasa and Simba; and the massive number He Lives in You, which is still stuck in my head!

While I can’t do The Lion King justice with words, and so few words at that, I’ll do my darndest by saying out of the hundreds of shows I’ve been to, I think it’s the best thing I’ve ever seen.

A fascinating programme opened with Chopin, followed by a frenetic and emotionally expressive performance of Stravinsky’s The Rite of Spring, the latter accompanied by an intriguing video display.

Michael Houstoun was a very popular choice to play Chopin and possibly the reason for an almost sold-out show. Houstoun charged straight into the first of eight dances, knocking out a crowd-pleasing, rapid, and somewhat heavy-handed polonaise. By and large this was a solid performance. Each dance had a distinct style and character, but it was almost as if Houstoun knew his solo piano could never compete on equal footing with Stravinsky’s most notorious but incredible contribution to 20^th century music.

The Chopin dances were an extraordinary contrast to The Rite of Spring but a direct reference to Les Sylphides, Chopin’s ballet music, which preceded the premiere of Stravinsky’s ballet in 1913. The nod to events of 100 years ago was brought right up to date in the video imagery, a remarkable and sophisticated concept using the pre-recorded movement of a dancer to generate graphic patterns that were further manipulated in real time by the audio feed from the orchestra. Finding ourselves seated next to the grandparents of the video artist, we took a keen interest in the display. Delainy Kennedy’s grandparents were rightly very proud of his work.

A diminutive figure on the rostrum, New’s dynamic, precise but expansive direction kept the orchestra tight through the complex time changes and difficult rhythms. It would be interesting to see the video images her performance might generate.

As always, the musicianship and the superb playing of the NZSO were exceptional. The bassoon solo that opened the piece was impeccable, nothing at all like the ‘strangled oboe’ the audience thought they were hearing in 1913. As well as my new-found love for Stravinsky I am loving the work of the viola section who excelled on the night.

A world premiere for the Māori new year, Gareth Farr’s Ngā Hihi o Matariki was an exhilarating experience, not just breathtaking but spine-tingling as well. Neither symphony nor concerto, and with the addition of kaikaranga and taonga pūoro, Ngā Hihi o Matariki had its own musical form. Matariki is a time for remembrance, for celebrating the present and for looking to the future and Farr and his collaborators brought all these perspectives brilliantly to life.

Lyrics were written and performed by Mere Boynton and Ariana Tikao, and Tikao also composed and played the parts for taonga pūoro. Both women moved amongst the musicians in the orchestra, creating visual interest while their positioning helped to form the sound of their singing and playing. The orchestra revelled in the intensity of the work and Boynton and Tikao were magnificent. Holding this multiplicity of musicians together magnificently, for over an hour, was conductor Gemma New. Her striking and dynamic style was a perfect match for the music.

Opening with a glittering scene built on melodic percussion and piccolo, it was apparent early on this was going to be music that easily evoked images and ideas. And it did, right through to the end. With little knowledge of the astronomy and which segment related to which star, it was still possible to feel the differences as much as hear them. Farr has always given a strong voice to percussion and the rhythms were as important throughout as the melodies. Boynton’s voice is fabulously rich, and accompanied by Tikao’s putorino, her heart-rending lament to those who have departed rose easily and soared through the auditorium.

I might have missed the Matariki fireworks over the harbour on Saturday night but the final section of Ngā Hihi o Matariki was a sonic firework display of its own. Drawing on the power of hope, the finale brought the audience to its feet for a standing ovation.

Everyone should see That’s All She Wrote, for their mothers, for their grandmothers, for their wives, partners, and daughters; and for themselves. Presented by Red Scare Theatre Company, That’s All She Wrote is an ode to women and non-binary creators, vastly underrepresented in the world of musical theatre. The show features music from Broadway greats like Hadestown and Waitress, as well as lesser-known shows such as Don’t Bother Me, I Can’t Cope, and Heterotopia. There is even an original song written by the talented performer Cassandra Tse herself.

The No Man Band, composed of music director Katie Morton, Ellie Stewart, Jevon Wright, and Rachel Hinds, is wickedly talented and the perfect company for their powerhouse performer. Tse is phenomenally talented, and I could listen to her serenade me for hours.

That’s All She Wrote is in the traditional cabaret style. A single mic stands centre stage on a raised platform, the band encircling Tse. Large columns plastered with sheet music seem to scatter into the air and hang there, changing colour, form, and texture with Ruby Kemp’s lighting design. Tse gracefully and purposefully moves around the theatre in her elegant cocktail dress, bringing a dynamic and natural flow to the whole piece. A catwalk divides the audience seating into an upper and lower level, which Tse makes her way along throughout multiple songs. Rachel Hilliar’s set design adds depth and movement to the show, naturally guiding Tse throughout the room during the performance and allowing her to become the musical grande dame of her dreams. The show brilliantly balances history, memoir, narrative, and music.

That’s All She Wrote is professional, it’s important, it’s refreshing, and it’s relevant. By giving a voice to female and non-binary creators, we make more space for them to create, and with more space comes more representation. Female and non-binary creators need to be seen; That’s All She Wrote needs to be seen.

Loop Tracks had me hooked from the first sentence: “The first time I got on an aeroplane, I was sixteen years old and pregnant. I was on my way to Sydney to have my situation sorted out.” Not the OE most young women dream about.

There are twists and dysfunctional family members in this tale centred around Charlie, the 16-year-old, and her bid to abort her unwanted child. The abortion clinic in Auckland had closed down the year before, hence the flight to Sydney. Fate intervened and she produced Jim, a child who was adopted without his mother being allowed to see him. The good old days, huh?

Jim has a son, Tommy, who is on the spectrum and was dropped off by his errant, drug-taking father at the age of four, for Charlie to take care of. A whole lot of unpleasant family history unravels as Tommy’s girlfriend gets involved. Tommy becomes involved in an anti-abortion group, researching everything madly. It got me thinking about the nature versus nurture argument and if being adopted played a large part in Jim going off the rails.

In some parts of the story, Charlie refers to herself as ‘the girl/she’. I think this technique is used to show Charlie trying to disassociate from herself.

There is some gorgeous imagery – “the necklace of ruby tail lights across the city”, “the steam off my tea rises, twists like DNA helix”, and, “we’re all tigers on gold leashes.”

COVID-19 happens and among all the family drama, Charlie has a furtive flirtation through the fence with neighbour David Briscoe, who’s back from New York indefinitely. His presence prompts her to have a makeover and to focus on herself instead of her grandson. Adele, Charlie’s great friend, approves of the love interest and provides wise council throughout. She seems to be Charlie’s conscious.

The end leaves the future open to all sorts of possibilities, as it should. I loved Loop Tracks and look forward to Sue Orr’s
next novel.

I wanted to enjoy The Mirror Book more than I did but given the subject matter, perhaps I was being ambitious? Charlotte Grimshaw finally writes the story of her turbulent childhood and the impact it has on her adult years. Grimshaw is the daughter of famous New Zealand author CK Stead (Karl) and Kay, mother, housewife, and Karl’s first reader. Telling journalists for years of her “lovely childhood, house full of books”, Grimshaw decides to tell her truth. And where does that get her? She says further on in the memoir, “I hadn’t realised the way to save your life is to tell the story that’s true.”

Grimshaw uses stunningly descriptive language: “The elaborate warbling and chuckling of tūī, the cicadas whose sawing grew louder as summer went on, rising to such a pitch in the hot afternoons that my mind transformed the buzz into a visible force in the air, a shimmering wall of sound.” And “native pigeons, creaked by on slow wings, and kingfishers were a quick flash of blue against the green.”

I found Grimshaw repetitive, mentioning Karl’s character at least three times – charming, intellectually fearless, witty, and controlling. She did the same with her mother Kay, which makes me wonder, is she just reaffirming how she felt about them? But she did have some insight: “The insult Kay hurled at me most often was you’re just like him. Like Karl, she meant. I can’t specifically remember the insults I threw at her, but I know they would have been terrible.”

Despite her ill-disciplined childhood, minor criminal activity ending in court cases, and the death of a close male friend when she was at a difficult age, Grimshaw turned her life around, gaining a law degree and becoming a successful writer. I’d like to read some of Grimshaw’s other novels so I can enjoy the subject matter and her talent more. Given both her parents are alive at the time of writing this review, it’ll be a fun family Christmas.