After seeing the dramatic lives of Elton John, Freddie Mercury, and Aretha Franklin brought to life on the big screen, it’s only fitting that the king of rock ‘n’ roll has been given his turn to shine again in Elvis. The result is a bold and dramatic musical epic that gets some things very right and others a bit wrong.

From his rise to fame to his unprecedented superstardom, Elvis Presley (Austin Butler) maintains a complicated relationship with his enigmatic manager, Colonel Tom Parker (Tom Hanks), for over two decades. Through love, loss, fame, fortune, and of course, music, the singer and some of his peers begin to question if he is truly in charge of his own destiny.

Butler’s performance steals the show. The 30-year-old stated that he felt a responsibility to Elvis and his family to live up to the icon through his portrayal. From speaking in his notable deep voice and performing his famous dance moves onstage to even singing like him, Butler nailed every single element. Hanks supported the young actor well in a rare role as the antagonist, while the casting and performances across the board were excellent.

Elvis has a unique style thanks to director Baz Luhrmann. It is told from the Colonel’s perspective even though he is clearly the villain, an element I enjoyed. However, at times it is an overload on the senses due to quick edits, comic book-style visuals, and odd mixtures of Elvis classics with modern-day pop hits. It is also a shame that not a single Elvis song is sung in full.

Even at almost three hours long, parts of Elvis’ iconic life are rushed through, but the film also never loses your attention. The ending is both sombre and powerful thanks to how Luhrmann and his writers chose to abruptly wrap up the story. It is a tragedy that the world lost Elvis at just 42, and this tragedy and the reasons are dramatically emphasised.

Elvis won’t really tell you anything new about the star, but overall, it is a captivating, exciting, and haunting feature that showcases much of Elvis’ trailblazing journey.

“I want to make something that I’ve never seen before in Aotearoa.” These are the words of celebrated playwright Hone Kouka (Bless the Child) who describes Ngā Rorirori as a culmination of three artforms that intrigue him: dance, farce, and theatre. I couldn’t put it better myself: Ngā Rorirori is unlike anything I’ve ever seen before and I doubt I will ever see anything like it again.

Pillow (Regan Taylor) and Manuela (Mycah Keall) Rorirori stand to come into some moolah from their marae, which could become a cash cow if they impress the Chief Executive of the Department of ‘Whenua, Whakapapa and Whatever’ Ripeka Goldsmithworthy (Hahna Nichols). Newly heartbroken filmmaker Stacey Li Paul (Nomuna Amarbat) documents Pillow’s life while he tries to dazzle Manuela’s partner Rere Ahuahu (Sefa Tunupopo) instead in a classic case of mistaken identity with hilarious consequences.

I could tell you that you’re in for a surprise when Ngā Rorirori segues from dance to theatre, but I don’t think that would cover it. We open with contemporary choreography (Braedyn Togi) that aches and thrusts to measured, precise beats (compositions and karanga by Sheree Waitoa, compositions by Maarire Brunning Kouka and Reon Bell, who infuse a hip-hop and R&B flavour into the sound design). And then we’re bowled over by an unrestrained tornado of colour, sound effects, physical theatre, and clowning in scenes where actors lip sync to dialogue performed by a separate vocal cast.  Only the characters of Pillow and Stacey share the same actor both onstage and off it.

The dubbing is super jarring at first but ultimately serves to heighten the dialogue so it can thrive in the magical, elevated realm of Ngā Rorirori. Cohesion is achieved here because if naturalism was integrated at any point, it would stand in too stark a contrast with… well, everything else! One can’t really interact with a surtitle machine come to life and act normal about it now, can they?

Elements of cinema come into play with said surtitles, which incorporate te reo translations (Hōhepa Waitoa) to great effect. Aspects of French farce and melodrama, Italian commedia dell'arte, Broadway musicals, children’s TV shows, and more influences than I can count are woven into a work where te ao Māori beats fast, hard, and loud at the centre.

All the while, actors throw mammoth energy into delivering and honouring Ngā Rorirori. How big, how bizarre, how beautiful.

My nine-year-old enjoyed Matariki, a children’s book written to celebrate and explore Matariki. “It reminds you of the Māori ways of the world; about protecting nature and the earth,” he says.

Authors Kitty Brown and Kirsten Parkinson, two cousins from Ōtepoti, Dunedin, delve into the meaning of Matariki. They ask, how can we celebrate Matariki? Let’s look to the stars. With rich bilingual text, we learn about each of the stars that form the Matariki star cluster.

With its earthy and uniquely Kiwi illustrations, Matariki offered an opportunity for my son and I to learn more about everything we didn’t know, which I discovered was a lot! Were there seven stars or nine? In the book there are nine but a little a visit to Te Papa’s website explained that it could be both. Different iwi share different kōrero regarding Matariki, they say. Next we visited Te Ara, The Encyclopeadia of New Zealand, which says iwi across New Zealand understand and celebrate Matariki in different ways and at different times. Te Aka Māori Dictionary came to our rescue a few times to help us pronounce words such as hiwaiterangi and waipunarangi correctly.

When my son and I were halfway through reading Matariki, he randomly asked me if I knew about Kupe and his stone and he proceeded to tell me what he knew when I told him that I didn’t. I thought this was really cool – it really hit home how we are all on a learning journey together and not only can we learn from each other, but the simple act of reading can educate, create connections, and encourage us to seek out more information to become more informed and more aware.

Matariki is a lovely simple book that encourages us to look deeper, stay connected, and celebrate Matariki by remembering our past, caring for our environment, and connecting with our people.

You’ll be the Death of Me was honestly one of the most intriguing books I’ve ever read. The story follows a group of ex-friends, who are brought together once more by a horrible scene they witnessed together, and in which they look terribly guilty…

One thing I liked about this book is the plot twists and how cleverly crafted they are. Karen M. McManus is well renowned for her mystery novels, so I entered this book wondering if she would manage to uphold the high standard she has already set. And my goodness she did. I adored the fact that the plot twists weren’t just thrown in there for the sake of it, but actually made you smack your head and wonder why you didn’t realise before. All throughout, McManus teases us with little bits of information that reveal a new way the story can go, or another possible suspect. These bits connect beautifully at the end, and that is one of the things I love most about this book.

Another thing is the fact that there are many, many characters but it is never difficult to recall who they are. I have noticed that in other books where there are several different characters, sometimes they all seem to blend in together. But it is never hard to tell who is who in this book. The characters are all wonderfully diverse and distinct from one another. 

Another thing is that McManus beautifully portrays the fact that these kids are children put into a very adult situation. The characters don’t suddenly become adult-like detectives but still retain the fact that they are, in fact, children chucked into a murder situation and are struggling to find their footing. They handle teenager crushes whilst hunting a suspect down, and navigate petty grudges whilst figuring out how to prove themselves innocent of a crime they didn’t commit.

All in all, You’ll be the Death of Me is an amazing read if you are looking for that book to keep you turning the page, to keep you on your toes. It’s amazingly written, with great characters and an even better storyline.

The Bookseller at the End of the World is such an evocative title, I had to read it after I read articles about the author Ruth Shaw. What a wonderful book! It had everything – great characters both animal and human, interesting travel adventures, heartbreak (several times over), but mostly joy.

Ruth has lived more in one year than some people do in their whole lives. She leaves men behind and has a restless soul due to various things that happened in her past. Ruth learns how to sail and spends time living on boats. She adopts pets along the way too and even nurses a baby bird back to health who she aptly names Katherine Mansfield (Katie for short). Katie is quite a feature in the shop. Her work stories in King’s Cross in the 1980s are eye-opening. Never a dull day in Ruth’s life. Her open manner means she can talk to sex workers and gain their respect without telling them how to live their lives. She gets a hug from a staunch regular and even she was surprised.

Ruth’s life story is interspersed with excerpts from her bookshop encounters. I loved it. It made me cry and laugh. The opening chapter, Two Wee Bookshops, is fantastic. I was hooked. The interaction with the American woman who asks if the shop is open and sells books is priceless. But even better is the gentle way she encourages young children to read and the story about young Toby made me weep. I want to read it again but will have to wait a while to get over it. I would love to visit my namesake Ruth and see her wonderful empire and meet Lance, who quite rightly gets his own chapter The Adventures of Lance.

Ruth Shaw has certainly made her mark on this world and has helped countless people. This book is lovingly and thoughtfully crafted, and beautifully descriptive. A joy to read. Five stars.

Most of us bumble into relationships, without a manual, as the author states early on in this book, and then wonder why we have challenges. For example, the last time I read a relationship book it was Men Are from Mars, Women Are from Venus by John Gray several decades ago while I was single. Now I’m married and far from the perfect partner, as very few of us are, and that’s the point of this book.

Karen Nimmo is a Wellington-based registered clinical psychologist so, unlike many self-help books, this one is based on New Zealand culture and lived experiences and importantly has some efficacy behind it.

Best of all, it’s chock-full of practical, no-nonsense advice and strategies delivered in plain English.

This isn’t a book you work on with your partner, nor is it about changing your partner. It’s about becoming at ease with yourself and ultimately at ease in your relationship. The author does this by getting the reader to take a look at their ‘love bucket’ of all the things they bring to a relationship, which she then themes up into the seven pillars of relationships. I’ve read reviews that described this as a transformational book, which sounds a bit dramatic. In contrast I found it supported very gentle shifts that felt more realistic and sustainable to me.

In terms of structure and readability, The Good Partner is full of clear sub-headings so you can dip in and out of it. It also has well signposted chapters so you can flick straight to the topics you want to explore further, like conflict resolution.

I found it invaluable in supporting me and my attitude during a period of self-isolation when otherwise tempers might have frayed. Instead, I came out thanking my partner for the time we’d had together, and I meant it.

I was so impressed I signed up to the author’s regular emails and continue to learn and upskill myself on this important topic.

Alone in a dripping, derelict, dinghy basement at the end of the world, Victor Bravo (Ben Volchok) hosts a radio programme called The Final Hours Hour. It’s quite possibly the only radio programme on quite possibly the only radio station, Apocalypse FM. In the midst of a perpetual nuclear winter where the only thing that grows is onions, Victor endures with just a few things to keep him company. He has an old iPod, some tapes, a cassette player, a telephone, and an action figure with an onion for a head. Onion Boy watches on, bemused, while Victor valiantly insists: “It’s a beautiful day, it’s a beautiful day”.

Written before COVID but taking on a new meaning post-pandemic, The Final Hours Hour is an exploration of loss and loneliness, isolation and desolation. And onions. The onions are important. In fact, the smell of onions permeates the BATS Theatre Studio, especially after Victor blends them to make a banana milkshake sans banana, sans milk, and sans shake. Just onions, then.

The Final Hours Hour has a strong concept. We watch a man try and fail to distract himself in the unrelenting face of the apocalypse, and for brief interludes we too forget his inevitable fate. We have hope when he does. We laugh when he makes jokes, although he rarely laughs himself. And we – or at least I – become inextricably invested in The Continuing Adventures of Onion Boy, especially when a space alien gets involved. Volchok’s performance and speech work here are excellent.

The scope of Victor’s loss plays out painstakingly in an inspired and cluttered set, with sound and lighting design (all three by Volchok) emphasising place and hopelessness. The slow build is cut short by one extended scene of sorrow that doesn’t impact me as much as watching Victor just try, desperately, devastatingly, to carry on.

Humour and pathos balance precariously on diced onions in The Final Hours Hour. While they sometimes topple a tad, largely, they stand their ground.

I really wanted to like Jurassic World Dominion. Growing up, Steven Spielberg’s 1993 classic Jurassic Park was one of my favourite films, and although the franchise has never really been able to capture the magic of the original, I had high hopes for an instalment set to close off this prehistoric universe. Instead, I was underwhelmed and to put it frankly, bored!

The future of mankind hangs in the balance as humans and dinosaurs coexist following the destruction of Isla Nublar. This fragile balance will be tested when the CEO of genetics company Biosyn, Dr Lewis Dodgson (Campbell Scott) attempts to use the power of these primitive creatures for his own gain. Will human beings remain the apex predators on a planet they now share with history’s most fearsome creatures?

Dominion is extremely lazy. It’s almost impossible to produce a film with no inconsistencies but when you create a chase scene where a velociraptor is unable to catch up to Claire Dearing (Bryce Dallas Howard) but then keeps up with Owen Grady (Chris Pratt) on a motorbike only a few moments later, that is just lazy. The film is riddled with these sorts of inconsistencies, as director Colin Trevorrow decided it would be easier than coming up with intelligent explanations for why his characters travelled great distances in mere minutes and why security cameras never seemed to be working.

The original was so good because Spielberg built suspense so well. Did you know that in Jurassic Park dinos are only on the screen 11 percent of the time? Dominion is the complete opposite. Why would audiences fear these monsters when every two minutes they see Pratt and co escape from one? The dinosaurs may look amazing but the mystery and fear that used to surround them has been lost. There was no sense of wonder, nothing was new or suspenseful. The return of Alan Grant (Sam Neill), Ellie Sattler (Laura Dern), and Ian Malcolm (Jeff Goldblum) added some well-timed nostalgia, but even they couldn’t save Dominion’s weak script and predictable plot.

As sad as it may be, as Grant suggested all those years ago, it really is time to close the park down and move on.

Orchestra Wellington’s 2022 theme Circle of Friends played out in this concert with the centrepiece being Schumann’s Symphony No. 4, alongside his wife Clara Wieck’s Piano Concerto in A Minor, and their friend and supporter Brahms’ Alto Rhapsody, a work given to the Schumanns’ daughter as a wedding present.

Overall, the concert delighted the audience as usual. However, the intensity of the beautiful and anguished opener Alto Rhapsody to me was missing. Mezzo-soprano Kristin Darragh combined with the Orpheus Choir Male Chorus and the orchestra to perform this work. While Darragh has a strong and lovely voice, the performance as a whole seemed curiously tentative.

Clara Schumann’s piano concerto was written between the ages of 12 and 15, when she was already much celebrated for her piano performances. Jian Liu, the soloist for this performance, was more than up to the virtuosic demands that the composer imposed on herself as the first performer of the work, delivering clarity, brilliance, speed, and elegant shaping of lyrical lines.

Conductor Mark Taddei provided the audience with an illuminating talk about Schumann’s symphony before performing it in full. He said it should be called Clara’s symphony, partly because it reflects the happiness of their marriage at the time and partly because the recurring theme within it spells out the name Clara, forwards, backwards, inverted, smoothly, spikily, and every which way. It is a glorious symphony, full of joyous energy, tenderness, and passion, sometimes lyrical, sometimes brooding. Standout moments were the song-like line of the oboe above the cellos in the second movement, the lyrical solo violin in the same movement, the early energy of the scherzo movement and its winding down to something sweeter and more gentle, the huge dramatic chords that blasted out from time to time breaking up the music’s flow, and then the thrilling pace of the finale.

Three fresh-faced, besuited but barefoot office workers unpack their desks and take to their keyboards for the first time. Their introduction to the world of work starts nicely enough as the two main protagonists (Caspar Ilschner and Otto Kosok) settle into their bland pods, wrestle with a box of tangled cables, joke with each other, and persuade their computers to work. However, as they get sucked into the unrelenting grind of corporatism, they are compelled to battle with constant phone calls from unseen managers, tedious meetings, a presentation about the latest financial report, business jargon, the effects of excessive caffeine consumption, and an overbearing competitiveness that descends into a literal and figurative fight for superiority. Finally, a headless, paper-stuffed boss arrives in a red-drenched nightmare to end the destruction and chaos.

For anyone who has spent time in an office job, this is all painfully familiar, but it’s unlikely you’d have ever seen your big business experiences presented in this way before. Ilschner and Kosok are consummate physical theatre cum dance performers whose athletic and carefully choreographed movements frequently mirror each other, only to be thrown into conflict as their initially friendly banter turns to vicious rivalry. They rarely speak, so their physicality is the main channel for their sophisticated symbolism and satire, which they deliver with great skill.

Martin Greshoff, as the third corporate lackey, provides a stunning live electronic soundtrack from his desk. His stark melodies are mixed with dial-up modem sounds, computer bleeps and dings, and disembodied voices. A further shoutout to Greshoff for his trombone-playing, which is a tender final counterpoint to his jangling digital soundscape.

Hollie Cohen’s design makes clever use of white cardboard boxes, paper screens, and animated projections that beautifully support the idea of an office environment while allowing the performers to create carnage in safety.

At one point in this highly original performance, a distant voice asks, “Do you work well under pressure?” The answer for these three is clearly and unequivocally, “Nah”.

At first glance, Rope looks like your classic British murder mystery. There’s a murder, a motive, and a swanky cocktail party where the whisky flows freer than the secrets. There are also murderers, Wyndham Brandon (an unwavering Slaine McKenzie) and the erratic Charles Granillo (Tom Foy). Before you cry out that I’ve spoiled the show, I haven’t, and that’s what makes Rope so interesting. From the very first scene we know whodunnit and why.

The play then becomes an exercise in suspense. Will the party guests find the bones in the chest that they dine on? Will the murdered boy’s dad (Sir Johnstone Kentley, played with presence and pluck by co-director Paul Stone) discover his son lies crumpled but two feet away?

Because suspense is so integral to Rope, there are a handful of things that would get this production cracking along with more electricity. The pacing could accelerate in some scenes, particularly the long opener in the dark and the finale, where a slower build to the climax means it doesn’t have as much impact. Snappier exchanges of dialogue and more staccato vocal deliveries from the cast, plus tense music used more frequently (sound design by Jake Davis), would help to up the stakes. Davis’ lighting is often used to great effect, especially with a few well-timed blackouts, and there is an excellent rainy soundscape that could be ramped up with thunder and lighting.

The opulent set (Oliver Mander) positions the chest as a character in itself, while Hayley Knight and Wendy Howard’s sleek wardrobe adds to the absorbing aesthetic of an evening in the 1920s. Stone and co-director Helen Cashin’s decision not to modernise the setting proves to be a good one.

Special mention to Tim Macdonald as the gormless and charming Kenneth Raglan and Mandy Eeva Watkins as Leila Arden, who takes delight in everything ghastly. Together with Susannah Donovan (always a highlight), the fabulously French Stephanie Gartrell, and the shrewd Nick Edwards, these two outstanding performers complete the committed cast of this dark and sinister Wellington Repertory Theatre production.

You may recognise writer, actor, director, and comedian Tom Sainsbury from Wellington Paranormal or Give Us A Clue, a televised charades gameshow hosted by Paula Bennett. The former deputy prime minister of New Zealand is one of the many politicians Sainsbury has parodied on social media app Snapchat, so working with her on the show was quite the hoot, he tells us between endearing drags of his imaginary cigarette. Endearing because as he says, he doesn’t smoke in real life, only in his reenactments of it.

Snapchat Dude Live! is a mix of banter, storytelling, and Sainsbury’s famous Snapchat satires of middle New Zilunders. Snap videos of these impressions are projected onto two screens shaped like smartphones that form the centerpiece of the show (set by Chris Reddington, technical by Peter van Gent and Paul Randall). With wigs, a few costume staples, clever scripting, and whip-smart timing, Sainsbury interacts with pre-recordings of his characters live to tell a story in real time. And what a story it is!

I never thought I’d be so invested in a quietly sensitive lumberjack and a not-alcoholic cat lady who played hockey in high school. But Gav and Liz, I love you and I love your love.

Sainsbury brings his characters to life with a glint in his eye and a spring in his step. He adds a layer of depth to the shallowest of them and makes me like even the most unlikeable ones (although still screw you Tracey and Stacey) with the strength of his storytelling and performance.

I’d love to see Sainsbury’s confidence come up a notch when he’s interacting with the audience as himself. He tells some killer jokes and personal anecdotes that he doesn’t quite let land, moving on too quickly when we’re still busy laughing. I hope this doesn’t come out of a fear that he’s not as funny as his characters, because he certainly is.

Wicked fun and unexpectedly touching, Snapchat Live! is a blast from beginning to end with all the snooty cats in between.

We have done it everyone. After some harsh (but honest) reviews over the last few issues, I have given my first five-star rating. And I can comfortably say that Tom Cruise’s latest venture Top Gun Maverick deserves all the praise it is about to get. An eye-popping blockbuster from start to finish, I would even make the case it tops its 1986 predecessor.

After serving for three decades as one of the Navy’s top aviators, Pete ‘Maverick’ Mitchell (Cruise) is called up as a last resort by his superiors to train a detachment of top graduates for a special assignment. While leading the group, Maverick must confront the ghosts of his past and his deepest fears, culminating in a mission that demands the ultimate sacrifice from those who choose to fly it.

This film is thrilling. From the very first scene, audiences are treated to sensational sounds and visuals that are some of the most realistic I’ve ever seen and heard on the big screen. It’s realistic because it is real. In a special touch, Cruise himself welcomes visitors to the film, explaining that almost everything you witness is the real deal. In a time where seemingly everything is made with CGI, this approach was so refreshing. And best of all, I actually felt like I was in the cockpit myself during the blood-pumping action sequences, low-altitude flights, and airborne dogfights.

Top Gun Maverick uses nostalgia when necessary, but it also doesn’t overdo it. We can clearly see that Maverick has lived a life during the 30-year gap, while the film connects with his past enough to take us back. Through great writing, we feel that the emotional and dramatic stakes continue to rise as the story moves, but this is balanced out thanks to perfectly timed moments of humour. Cruise delivers another fantastic and witty Cruise-like performance and other cast members such as Miles Teller and Glen Powell support the star well.

A modern-day blockbuster that actually lives up to the hype, Top Gun Maverick is an adrenaline-filled joy ride that expertly touches on ideas around family, bravado, heroism, and sacrifice. In simple terms, it will take your breath away.

Sublime Interludes is created and performed by recent New Zealand School of Dance graduates Bjӧrn Åslund and Tabitha Dombroski, and it had its first staging in the 2022 New Zealand Fringe Festival. Through a minimalist set and evocative choreography, the work seeks to explore the highs and lows of human existence in a raw and unrefined way. The hour-long performance is a hypnotic journey through varying types of fear and anxiety, from the feeling of isolation, hopelessness, loneliness, to the ultimate battle or acceptance of those demons.

Åslund and Dombroski make a striking choreographic pair. Through closely danced duets and physicality they convey an impressive sense of one another’s presence and movement story. There is something special about a duo on stage, which allows more opportunity for the audience to understand and get to know the artists behind the work. For the emotionally charged and vulnerable purpose of Sublime Interludes, this is an ideal composition.

The dancers shift seamlessly between moments of serenity and soothing patterns then into extreme hyperactivity, which successfully emphasises the unpredictability of depression and anxiety. While they are both lovely to watch, their strength as performers shines in the more tender and balletic sequences. They easily create eloquent shapes with their bodies and leap deftly across the stage, highlighting elements of classical training.

Despite tackling a heavy theme, the creators ease the load by interweaving elements of humour and lightheartedness. In one scene, Åslund and Dombroski leap and spin across the stage, with large smiles on their faces to the tune of Baby Shark. And at the end we witness the performers coming to an acceptance and achieving reconnection, which is both beautiful and heart-breaking.

Sublime Interludes and the respective artists show a lot of promise, and their partnership is compelling, but there may still be a degree of untapped energy or confidence holding them back. I believe that with time and perhaps a few more performances under their belts, they will be able to uncover and cultivate their full potential.    

Too Much Hair is a musical cabaret about gender euphoria (the state of bliss and comfort that happens when our gender expression is aligned with our identity). Starring Ania Upstill, William Duignan, JTHAN Morgan, and Felix Crossley-Pritchard, it feels like hanging out with your friends at a house party. With a band. And rainbow glitter everywhere. Everyone’s wearing sequins. You’re inside but you can pretty much guarantee unicorns and bunnies are frolicking around in the garden, where there are almost certainly fairy lights strung up in the trees. Honestly, it feels like the best house party ever.

Joyful is the best word for Too Much Hair and I’m going to keep coming back to it, not for a lack of access to a thesaurus, but because it’s the most appropriate and accurate way to describe this show. It makes me feel joyful and the cast radiates joy at every turn, particularly in songs like Joyfriend (complete with rap segment, kudos Upstill) and Affirmed in a Bookshop, a rocky number with killer guitar riffs by Duignan and rowdy vocals from Crossley-Pritchard, who plays keys beautifully throughout the show.

The structure is much like a concert, where audiences are treated to a considered setlist with interludes of banter outlining the context of the songs. Spoken word poems are woven throughout, with the three-part Traveller a poignant highlight. Tony Black’s lighting design captures the starlight in the performers’ eyes in these deep and emotional segments that fill my tummy with butterflies.

Another highlight is Morgan’s jaw-dropping performance of Monster, with powerhouse vocals that elicit many a whoop from the starstruck crowd. Monster further illustrates co-creators Upstill and Duignan’s expert navigation of the bouncy and the still, the moving and the silly, the joyful and the tender.

Too Much Hair moves a mile a minute and is so fun. It knocks you right off your feet with colour and sparkle (costume design by Sarah Bell, set design by Jade Alborn). And the titular song? Still stuck in my head!

I should state upfront that the 1980s is my decade. I turned 13 in 1984 and my iTunes library is even now loaded with hits from that era. This also seemed to be the case for much of the well-sauced preview night audience at Circa as Cringeworthy – The 80s took to the stage in all its big-haired, Lycra-clad, fluoro glory.

Beneath a giant glitterball, the cast of four (Andrea Sanders, Devon Neiman, Susie Dunn, and Matt Mulholland) energetically pump out Kiwi classics by everyone from Split Enz and Jenny Morris to The Mockers and The Holidaymakers in a first half dedicated to homegrown talent. The fact that three-quarters of the cast weren’t even alive in the 1980s doesn’t deter them from fully embracing the decade that taste forgot. Despite occasionally erratic sound levels and fuzzy mics, they intersperse the pop favourites with factoids about 1980s Kiwi history to knowing murmurs from the audience. A recurring theme is the unfortunate trend for New Zealand bands of the time to move to Australia to find fame as the local music scene wasn’t developed enough for their ambitions.

The energy and cheese amp up in the second half when the cast explode onto the stage with Mi-Sex and follow it with a non-stop deluge of British New Wave hits from the likes of The Human League, Culture Club, and Depeche Mode. Moving onto dance movies and power ballads, Sanders and Dunn’s rendition of Bonnie Tyler’s Total Eclipse of the Heart, complete with billowing sheet, is the highlight of the show for me.

With impressive dance moves, especially from Neiman and Mulholland’s lizard-like hips, strong singing voices, a gorgeously pink set (Shiloh Dobie), funky lighting (Joshua Tucker), and ridiculous get-ups (Sanders and Creative Show Off Costume Hire), this show is fun with a capital F. Audience participation, singalongs, and clapping are strongly encouraged and don’t forget your lighters (read cell phone torches) for the finale of Crowded House’s Hey Now.

Long live the 80s!

The undoubted highlight of this excellent concert was The All-Seeing Sky by John Psathas, Orchestra Wellington’s composer-in-residence. The work is scored for orchestra and two percussion instruments, marimba and vibraphone. They were played by Swiss artists, Fabian Ziegler and Luca Staffelbach, with whom Psathas worked during the composition process. Quite apart from the music, this was a visual delight with the percussionists wielding their mallets like magicians.­

Psathas described the music as grim, dealing with Dante’s underworld. But in fact, while there was furious strength and rhythmic drama, there was also great delicacy and the creation of beautiful soundscapes. This was partly thanks to the qualities of the solo instruments, and partly to the beautiful passages where they were coupled with individual instruments such as the bassoon, cello, clarinet, harp, and whispering strings.

Enough of Psathas! There were two other wonderful performances in this concert! Orchestra Wellington’s theme for the season is Circle of Friends featuring works by Robert Schumann and his wife, Clara, by Felix Mendelssohn and his sister Fanny, and by Brahms and others whose lives were intertwined.  

Fanny Mendelssohn’s Overture in C opened the concert. After a thoughtful and graceful introduction, the work breaks out into a very attractive liveliness which leads to a bold, final burst of energy. What might Fanny have produced if she were not a woman at the wrong time in history, constrained by family wealth and position as well. The orchestra gave a sparkling performance of her work.

It was only when Robert Schumann married Clara that he turned to symphonic composition producing the masterly Spring Symphony, conducted by Mendelssohn at the first performance. It is a hugely joyful work with new life flowing and bursting out relentlessly. Taddei luxuriated in both the energy and the tender passion expressed in the work.

Thank you, Orchestra Wellington.

Part of Doc Edge Festival’s virtual screenings, Tigre Gente is a powerful documentary that is brilliantly told by director Elizabeth Unger. Using the contrast of two completely different worlds, it provides viewers with a jarring look into the destruction caused by the jaguar trafficking industry and those willing to risk their lives to stop it.

The director of the Madidi National Park in Bolivia (Marcos Uzquiano) is determined to investigate and put a stop to a new, deadly jaguar trade that is sweeping through his park and South America. On the other side of the world, a young journalist from Hong Kong (Laurel Chor) goes undercover as she investigates the selling of jaguar teeth in China and Myanmar – connecting the dots between the trade in China and the influence of Chinese business in South America.

The strongest element of Tigre Gente is the parallel perspectives it uses to tell the story. While Uzquiano and his team tirelessly chase illegal hunters through the Amazon’s vast bush and rivers, audiences are left shocked as Chor witnesses the horrible effects of wildlife trading on the streets of Hong Kong and the attitudes that surround it. The film cuts between the two stories and as each new secret is releveled in Bolivia, its influence immediately becomes clear in China. The film showcases visually stunning cinematography. Unger captures the mystic beauty of Madidi National Park as well as the activity on the streets, markets, and cultural hubs of China.

Tigre Gente is extremely educational. In South America, the emotional connections with the jaguar are explored while it also investigates Chinese culture and misconceptions about those on the other side of the trade. It builds suspense when necessary – this element is most prominent when Uzquiano and his rangers are almost shot by a group of hunters they are pursuing. Told in Spanish, Chinese, and English, the documentary’s yellow subtitles were sometimes hard to read but this was just a small mishap in what was a compelling watch.

A unique look into the global jaguar trafficking trade, Tigre Gente is a fantastic take on a modern nature documentary that uses raw storytelling and breathtaking cinematography to touch on several important issues.  

Marvel’s latest film Doctor Strange in the Multiverse of Madness has again proven why the franchise should have started fresh after Avengers Endgame in what was a fantastic, emotional, and natural end. However, the unfortunate reality in the movie world is that money talks, meaning that Marvel will continue to pump out mediocre movies that hide behind a popular overarching storyline for as long as… well possibly forever. 

Doctor Stephen Strange (Benedict Cumberbatch) is swept up in a journey across the multiverse as he looks to protect his newest powered companion America Chaves (Xochitl Gomez) from fellow superhero Wanda Maximoff (Elizabeth Olsen). Witnessing the power of the multiverse, Wanda has embraced her evil identity as Scarlet Witch, taking extreme measures in her pursuit of America’s power.

My problem with Multiverse of Madness is that it is not a good movie. Now that may sound like an unimaginative statement but hear me out. Marvel is such a beloved franchise that they don’t seem to need to make, or care about making, a good movie anymore. Instead of pushing the boundaries as they did for the original Iron Man, Black Panther, and Endgame, recent films like Morbius, Eternals, and Multiverse of Madness are cursed with uninspired effects, disappointing performances, and nonsensical stories. Sadly, the simple act of inserting a superhero from days gone by is enough to get crowds clapping and cheering for more.

Director Sam Raimi couldn’t even decide what genre Multiverse of Madness is – horror, action, family? We have also reached the point where CGI is not just overused, but it doesn’t even look great. Another issue is that you need an overwhelming knowledge of the Marvel universe to even understand what is going on. Gone are the days when you could enjoy most Marvel films as standalones, no, you now need to watch five films and a couple of TV shows to have a chance.

Half a star for some entertaining fight scenes and the odd funny joke but overall, Doctor Strange in the Multiverse of Madness had the chance to step away from the mediocre, run-of-the-mill films Marvel has been pumping out – it didn’t.

Having thoroughly enjoyed last year’s Taphead, another show by comedic polymath Barnie Duncan was too good an opportunity to pass up. Written in the wake of the death of his adored mum Robyn, Bunny is a much more personal performance exploring grief through his love of clubbing.

For a bit over an hour, Duncan takes us on an acid trip of verbal and physical comedy accompanied, and sometimes facilitated, by a scrolling LED sign. This effective piece of technology is by turns illustrative, mocking, and directorial, asking us to laugh and applaud at appropriate moments and becomes a sidekick character to Duncan.

Duncan aptly describes Bunny as “a porcelain vase wrapped in a protective layer of dumb jokes”. His trademark dad jokes are here (“That’s a good sign”, he says as he points to a kind word passing across the face of his digital companion), but comedy is best when it comes from a place of vulnerability and it’s the segments where he talks openly about his mum’s decline and eventual death that are the strength and heart of this show.

In between these short and more serious ruminations are entertaining mimed sequences of a hard night’s clubbing to a banging house music soundtrack by DJ and producer Dick ‘Magik’ Johnson and what a David Attenborough documentary might look like while high on LSD. Duncan’s slow-mo butterfly causing a confused turtle to cry so it can drink his tears is something I won’t quickly forget. His alternative meaning of clubbing (no seals were harmed during the making of this show) and his break from the nightclub for a sneaky cigarette morphing into a male emperor penguin carrying an egg on his feet during the polar winter were equally memorable.

Having steadfastly refused to offer up the emotional denouement of his show, Duncan leaps back into hardcore dancing and then delivers it anyway to stunning effect. For a hilariously unique take on grief, Bunny is hard to beat.