Waiting for Godot is a play in which two homeless men, Didi (Andrew Foster) and Gogo (Jeff Kingsford-Brown), wait for someone who never arrives. Pozzo (Peter Hambleton), a rich and well-fed aristocrat, walks past twice with his slave Lucky (Jack Buchanan). The first time, he sits down and eats chicken, and the second time he falls over, suddenly blind. And “in the meantime”, says Gogo, “nothing happens.”

Needless to say, Waiting for Godot is pretty sparse in terms of plot. I’ve written essays about what it all means in the past, but in the spirit of brevity, I think it boils down to the epitome of the existential crisis. It’s a play that audiences and theatre-makers interpret in different ways, bringing their own subtexts and histories to the table. Productions can therefore vary quite wildly. Ross Jolly has here delivered a relatively straight retelling with a traditional set (Foster), but his expert direction means that although “nothing happens”, we’re never bored.

Almost every beat of this production feels alive. Every word is uttered with electric energy by the exceptional cast, the chemistry crackling between our two leads. Put Foster’s reserved, tender, and cynical approach together with Kingsford-Brown’s bumbling affection, and Didi and Gogo’s relationship becomes quite touching.

Hambleton is a show-stealer, delivering delicious one-liners with snarky smirks as entitlement oozes out of the chicken bones he so idly throws away. And yet he is still (almost) likeable. Buchanan’s commitment to embodying a broken man makes him unrecognisable. When the doubled-over Lucky is forced to “think”, Buchanan’s outburst is profound and painful to witness, even eliciting a mid-show clap.

Marcus McShane’s lighting design complements the gloomy mood, while Sheila Horton does well to distinguish class with filthy and immaculate clothing.

Overall, it’s the dynamic pace of this production that drives the non-action ever-forward, keeping us engaged at every turn. If you want to get completely lost in the theatre for a couple of hours, Waiting for Godot is the one.

For a certain sector of movie fans and comic lovers, Avengers: Endgame is nothing short of a cultural moment. It’s the fourth and final episode in the Avengers series, and is also the latest entry in the Marvel film canon, which now numbers a whopping 22 movies. At the time of writing, the blockbuster is set to break records across the globe. With so many people flocking to see Endgame in theatres, I’m going to assume you’ve seen it. Beware – spoilers ahead.

Endgame starts directly where Infinity War left off, in the aftermath of the evil Thanos wiping out half of Earth’s population with a click of his fingers. The Avengers assemble, swiftly organise Thanos’ demise, and then mire themselves in their profound loss. That is, until Ant-Man (Paul Rudd) zaps his way from the quantum realm, but also the past, or something. With the mathematical genius of Tony Stark/Iron Man (Robert Downey Jr), the Avengers enact a new plan: to travel back in time, steal back the infinity stones, and right Thanos’ wrong.

While I wouldn’t call myself an Avengers fan per se, I’ve always loved Iron Man, and Endgame is a wonderful vehicle for Downey Jr’s talents. The wisecracks are still there, yes, but the narrative also allows him to play a doting father, grief-stricken comrade, and finally, the true hero we always knew him to be. His last moments onscreen were captured in dramatic, sincere close-up – it was powerful stuff, especially for the small child openly sobbing in the seat next to me.

The rest of the movie is a perfectly fitting send-off, if a little convoluted at times. I have a few minor gripes (can we stop with the fat jokes in every Thor scene?), but overall, Endgame made great use of its stellar cast and hundreds of millions of dollars in digital effects. It’s a fabulous, funny, clever conclusion to one of the 21st century’s most iconic superhero sagas.

Conversations with Dead Relatives is a heartfelt and genuine work that explores where its writers and performers, Alex Ellis and Phil Ormsby, come from. In conversation, the real-life couple discuss their lineage and enact each other’s ancestors.

The show begins with Ellis handing out homemade baking while Ormsby chats amiably away to the audience over a cuppa. We’re clearly in the couple’s living room. In this homely moment, I long to see pictures and embellishments on the stark, black walls. John Parker’s design concept doesn’t feel fully formed here, but as more and more picture frames emerge from old trunks and colour floods segments of the set, I’m slowly drawn in.

Many themes blossom out of the stories we’re told, giving depth and dimension to the cleverly curated work. An underlying theme is the question of whether or not Ellis wants to bring a child into the world. This feels unresolved to me because Ormsby never shares his own feelings on the matter. Learning his desires as well would have brought me closer to the couple as people – thus bringing me closer to the ancestors they portray.

Some characters are incredibly compelling, like Ellis’ larger-than-life Orm the Viking (what an accent!), and Ormsby’s prim, proper, and prudent Ellen Elizabeth Ellis. I’m compelled because of the excellent performances and the big personalities of these characters, not because of how they relate to the writers. It’s lovely learning about the couple’s heritage, but without a familial connection to them, the work doesn’t resonate with me on every level. I’d engage more deeply if things were turned back on the audience more often; if I was asked to think about my own family history.

Nevertheless, Conversations with Dead Relatives aptly reflects the talent and effort of those who created it. The script itself is beautifully written and the actors bring to life its stories with courage and conviction. It’s a great watch.

The New Zealand Dance Company’s Kiss the Sky is a triple bill of choreographic works by three powerhouse choreographers, and performed sublimely by a company of six dancers: Chris Clegg, Ngaere Jenkins, Xin Ji, Chrissy Kokiri, Katie Rudd, and Carl Tolentino. Kiss the Sky is an ode to the great expanse above us and our natural world.

The first work is a striking piece by Korean choreographer, KIM Jae Duk. Weaving sharp regimented angles with sinuous lines and stark minimalism, Sigan appears to take influence from forms of martial arts and meditation. The cast of four dancers execute the work with admirable discipline and remarkable dexterity. There is a well-ordered satisfaction to this work; however, the jarring musical score (composed by Jae Duk) creates a disconcerting experience.

The Fibonacci, evidently inspired by the mathematical sequence, is created by Wellington choreographer, Victoria Columbus. The Fibonacci demonstrates Columbus' clever mind and sharp eye for choreographic detail. Every moment is a stunning and disciplined pattern, flaunting the effortless synergy of the dancers and perfectly complemented by Rowan’s Pierce’s epic sound design. With his incredible lithe fluidity, Chris Clegg is a magician on stage, making him the standout performer.

Stephanie Lake’s If Never Was Now is a work reflective of the natural world in all its beauty and brutality. It’s like watching the daily life of bees with an industrial flair. Whether it’s through a slyly humorous mating ritual or a brutal slaying (à la a black widow spider), the dancers flit around busily and connect with one another enthusiastically. If Never Was Now is an eccentric and surreal end to the triple bill.

The New Zealand Dance Company don't often perform in Wellington, but when they do their performances are met with a raucous round of applause and stamping feet of appreciation. Kiss the Sky is no exception and there is certainly no denying their astounding talent and innovative flair.

In one of Red Scare Theatre Company’s most (emotionally) ambitious shows to date, we watch two characters smear each other with the ugliest sides of love and friendship and somehow come through the other side.

‘Sweet’ Jane (Heather O’Carroll) had two best friends at university: the man she eventually married and had a baby with, Elliott, and Atlas (Ali Foa’i), who mysteriously disappeared 13 years ago. One day, while riding public transport with a racist pensioner, Jane receives a Facebook message from Atlas. She heads over to his house and the pair reacquaint themselves over several glasses of red.

This is where O’Carroll and Foa’i really kick into gear. Both actors give phenomenal performances; O’Carroll practically bathes in shame, sadness, and rage. She’s in tears for the last 20 minutes of the show, an incredibly difficult state to sustain. Foa’i, on the other hand, is beautifully restrained, only reluctantly showing us the cracks in his cool-guy façade. Director James Cain also deserves praise here for guiding the pitch of the piece so masterfully, allowing for moments of humour, exasperation, and joy.

As you might have already guessed, the script (penned by Matthew Loveranes) is heavy going. It deals with suicide, unrequited love, and betrayal. It’s also quite elevated, with each character describing their deepest, darkest secrets incredibly articulately. At times it’s beautiful, hitting beats of truth; but ultimately, it serves to elevate Jane and Atlas as romantic heroes (of sorts). It’s an interesting choice to make when so many other playwrights are scratching out ultra-realist scripts full of Kiwi yeah-nahs and ehs.

As a result, the production feels mature, if perhaps a little old-fashioned. The classic vibe is bolstered by Lucas Neal’s lovely set, which lays out a lounge (complete with original art and light fittings) on the BATS Heyday Dome stage.

MoodPorn is one of Loveranes’ best scripts yet, but what makes it really special is the acting cojones and assurance of its two leads.

Paper Shaper is a gentle, lovely story of a little man who lives in picture form on the side of a rubbish bin. When no one is around, he comes to life and uses the paper tossed in the bin to create birds, flowers, butterflies, and a sun – essentially, a whole world.

The play takes place in a park with the set consisting of a rubbish bin, trees, and a park bench. The paper shaper quickly endears himself to the audience, constructing magnificent paper creations, comically struggling with the heat of his self-designed sun, and dealing with the aftermath of the rain clouds he made as a solution.

The production is advertised as “The antithesis of big brand kids’ entertainment such as Hi-5 or the Wiggles”. This could not be more accurate. There were no flashing images, thumping music, or over the top theatrics. The children are drawn in gently and carefully, making this production perfect for under-5s. Every movement is gradual so that the children have no problem keeping up. I have to say, as an adult, it forced me (in a good way) to just slow down and enjoy – I think parents, along with children, can get addicted to fast-paced entertainment.

The crux of the story begins when an older man comes to the park to enjoy a picnic and has his plastic bottle and Styrofoam container rejected (or rather ejected) by the paper shaper. Although the encounter is initially frustrating, by the end of the play they form a friendship.

Paper Shaper maintained a wonderful balance of giving the children a storyline they could follow, while leaving enough room for them to use their own imaginations. I think the toddler seated behind me summed up the play for most of the audience when he stood up at the end and proclaimed, “That was amazing!”

“My Concerto has had a brilliant and decisive – failure. At the conclusion three pairs of hands were brought together very slowly, whereupon a perfectly distinct hissing from all sides forbade any such demonstration”. So wrote Brahms after an early performance of his Piano Concerto No 1 in D Minor. The concerto has gone on to be an often-performed great favourite of the piano concerto repertoire. Joyce Yang as soloist and the NZSO amply demonstrated why to a capacity audience.

The first movement provides tremendous contrasts of majestic and lyrical themes, the second restrained reflectiveness, and the third urgent drive and rollicking momentum. Joyce Yang played with great commitment and intensity throughout, summoning simplicity and elegiac sweetness and thundering strength in turn, always with exquisite phrasing and within a wonderful partnership with the orchestra created by Brahms and Maestro de Waart.

The second work of the concert was a youthful one by Richard Strauss, Serenade for Winds in E flat major. It was good to see the NZSO’s excellent wind section profiled, though the work itself, while charming, was not the most riveting vehicle for doing so.

Maestro de Waart declared his love for Elgar’s music in the printed programme, and Elgar’s Enigma Variations was lovingly and gloriously delivered. Elgar composed the variations to provide musical images of himself and his wife, and 12 of his friends. The work has an engaging generosity of spirit and sunny optimism. He summons up a friend who produces cheerfully terrible piano playing, a friend’s daughter with a stutter, a beginner string player, a genteel lady, his publisher and long-term encourager whom he depicts with great warmth, and so on. This very English work is always stirring and the audience and orchestra will have gone away in very good humour, probably humming an Enigma theme.

This first performance by Orchestra Wellington in 2019 was intense, crazy, and fun. Fantastic Symphonies comprised two works by Berlioz, Symphonie Fantastique and Lélio, the first a five-movement symphony, the second characterised in the programme as a monodrama or melologue, with a dramatic narrator, two vocal soloists, and choir.

In 1830, Berlioz wrote the symphony to describe his feelings of anguished, unrequited love for an Irish Shakespearean actress. It tells of a musician haunted by a woman, in an agony of longing, failing to kill himself with an opium overdose but experiencing instead a psychedelic nightmare about being executed for her murder and about a ghoulish celebration of his death. Lélio describes the musician returning to living, still struggling with his passion but seeking a different purpose, recommitting himself to music and composing a fantasia on Shakespeare’s Tempest.

In his introduction, Taddei disparagingly and amusingly spoke of Berlioz’s music being fuelled by puppy love and opium addiction. This set the scene for the performance of Lélio. I am sure Berlioz did not find humour in his situation, but Andrew Laing as narrator chose to deliver an over-the-top performance of histrionic romanticism, which appropriately picked up the 21st-century cynicism of Taddei’s earlier comments.

Both works were wonderfully performed. Of particular note were the crispness of the symphony’s first movement, the lilting waltz and harps in the second Ball movement, the duet between cor anglais and off-stage oboe in the third movement, plaintive violas, mournful clarinet, lovely sonorities produced by six double basses and four bassoons, the drama of huge brass and percussion contributions, some beautiful ethereal singing from the Orpheus Choir, and the tender and romantic singing of tenor soloist, Declan Cudd.

By the way, Berlioz eventually married the actress. He spoke no English, she no French, it is said. The marriage did not last. What a surprise!

In Shakespeare’s The Winter’s Tale, Queen Hermione is accused of infidelity by her husband, King Leontes, and thrown in jail. After giving birth to her daughter in these confines, Hermione’s friend Paulina takes the baby princess to the king in the hopes it might soften his resolve. Raging for unjustified reasons, Leontes orders the baby be left in a desolate place to die. Hermione then faints and is presumed dead. After 16 years, a statue of Hermione is unveiled that turns out to be the real human. Amidst the confusion, chaos, and celebrations, the play ends.

In This Long Winter, Sarah Delahunty imagines what might have happened to Hermione (a gut-wrenching, grief-ridden performance by Erina Daniels) in those 16 years. Thanks to Paulina (the compelling Jean Sergent, who delivers sick burns with a glint in her eye), Hermione escapes to look for her daughter Perdita (the charming Huia Haupapa). Accompanied by the obnoxious Emilia (Alice May Connolly, whose approach to an unlikeable character is commendably considered), Hemione wanders the wilderness, encountering various other Shakespearean characters along the way.

Delahunty’s script is witty and eloquent, filled with Easter eggs for fans of the Bard. References to Titania’s infatuation with Bottom in A Midsummer Night’s Dream, and Shakespeare’s famous stage direction “Exit, pursued by a bear”, are my personal favourite moments of the play. Mostly, the action is clear enough for the uninitiated, though the characters Juliet (not from Romeo and Juliet) and Helena (not from A Midsummer Night’s Dream) cause a bit of confusion.

Performed with passion and immeasurable talent by Carrie Green, Charlotte Forrester, and Isaac Thomas, Holly Ewens’ beautiful music is seamlessly entwined into the story. Production design by Michael Trigg sees a breathtaking rendition of a storm and the clever use of chicken wire.

This Long Winter is a haunting and tremendous work, exquisitely written and realised by this talented team of 28. It possesses a refreshing sense of meaning, purpose, and urgency. Go see it now.