Theatre Reviews – Scarlett Letters

After navigating a virtual sea of children in the foyer of The Court Theatre, I sit with my adult niece and two great-nephews (five and seven) for 60 minutes and let the Blue cast of Disney’s Finding Nemo Jr bring some magic and enthusiasm to a cold, rainy winter day.

A cast of two dozen children and young adults aged between 10 and 19 have become fish and sea creatures, each represented by hand-held puppets and costumes that echo those puppet characters. We have entered the vibrantly imagined world of the Big Blue to share the story of Nemo, a young clown fish whose decision to assert his independence on his first day of school is a categorically very bad one.

First published on Theatreview 7 Jul 2026

After being netted and transported to an aquarium in Sydney, he must try to find a way home, whilst his father, Marlin, and his erstwhile friend, the daffy Dory, encounter frights, friends and unplanned adventures as they seek to find him.

As always when I attend The Court, I am impressed with the sets, props and costumes; there are so many clever and gifted creatives behind the scenes – your work does not go unnoticed. From the moment we enter the auditorium, we are impressed by the colourful, wavering set (Chris Reddington). The multitudes of shimmering streamers at back and to the sides frame undersea flowers and plants, through which the performers weave. Small but clever details help the set segue between different environments, as a bubble machine evokes the aeration of an aquarium tank, and dry ice and dimmed lighting conjures up its clogged water filtration system.

As the cast come and go (some playing multiple parts and creatures), their hand-held puppets (created by Musical Stars Wellington and brought to life under the watch of Puppet Master – what a job title! – Damasia de Villalobos) help ‘create’ each character. These puppets are exquisite – colourful and detailed. Whilst acting, singing and moving, the young actors also keep their puppets moving at all times, simulating the movements of ocean waves. I can’t help but think ‘they obviously don’t have RSI’ – ah, the sweet memory of having young, supple wrists.

The colours and style of the puppet characters are carefully integrated into the costumes (Deborah Moor) each character wears, and there are multiple, delightful costumes (those jellyfish!) required to create the multitude of sea creatures, from turtles to starfish, and even those airborne beach pests – the seagulls.

The actors themselves are enthusiastic, energetic and totally committed to the joyousness of the show. We are impressed at just how much they must have been juggling (metaphorically) in their lives to become so good, and yet still keep up with school and life. There are some standout voices and we will absolutely see some of the young people on stage in the future.

I won’t single out specific actors, but I will single out our favourites characters. Mr Seven and I both love Bruce, the menacing shark who seems to be part of a 12-step programme to abstain from eating fish, while my cool Mr Five prefers the laid-back turtles and their ‘beach-life’ ’tude. You may have your own favourites – there are so many to choose from.

Jake Tupu is a skilled director to bring out the unique magic of not just one cast of two dozen children and young people, but two. I imagine that it is both a challenge and a joy, encouraging each young actor to bring their own stamp to a character, yet still create a uniform whole and a consistent experience of the show across the casts.

If you have young people in your life, take them along to see Disney’s Finding Nemo Jr – they (and you) will be rewarded with laughter and songs, visual delights and the unfiltered joy of the young, as well as a reminder that life is often an unplanned adventure, and those can be the best kind.

Images courtesy of The Court Theatre.

& Juliet

They must have paid a fortune to get the rights to all these songs.

That’s what I say to my companion at intermission – before I properly read the programme and realise that song rights for & Juliet were never an issue, because the man behind the music here wrote every single song.

Max Martin, if you don’t know about him (as I didn’t) has written 250+ songs, including dozens of number ones. This man is a bona fide creative genius. And yes, you will know these songs – or most of them – and find yourself humming, singing or foot tapping along. Featured are everything from pop bangers made famous by Britney Spears and Katy Perry, to ballads which seem more fitting for stage musicals than concerts (‘One More Try’ was, in fact, written just for & Juliet), to rockier rhythms of The Weeknd and Bon Jovi.

First published on Theatreview 31 May 2026

No wonder Martin is described as the Shakespeare of pop – his tunes fill the world as abundantly as Shakespeare’s sayings.

Martin and his wife, Jenny Petersson, wanted to find a way to put his pop songs together in story, and a book by David West Read, based around the premise that the world’s most famous Juliet didn’t kill herself, provided the perfect opportunity.

The bookends of this story are the Shakespeares. Anne Hathaway (Shakespeare’s wife, not the actress), is basically living as a solo mum in Stratford-Upon-Avon whilst The Bard lords it in London. She doesn’t want woe for the young woman in this play – she wants Juliet to have a fighting chance at autonomy and, perhaps, even at happiness. Shakespeare’s not having it. He’s written the perfect double death ending for this tragic story – “for never was a story of more woe, than this of Juliet and her Romeo.” At least he finally got the billing order right. 😉

The play portrays how the story might unfold if Juliet had the chance for a new story, with both Anne and Will playing a tug of love to ensure their vision guides Juliet’s actions. Along the way there are – of course – star crossed lovers, sub plots, comedy, misunderstandings, puns, asides to the audience, and most of the other trademarks of a good Shakespearean romp. With lashings of pop music to boot. There’s so much to like here and, as it’s delivered with exquisite precision and exceptional talent, the audience absolutely loves it all.

There’s a lot to say about this production, packed as it is with every type of performance and production excellence. This is an Australasian production, heavy on NZ performers. If you’ve seen any big musicals here in the last five-ten years, at least some of these faces and voices will be familiar to you. All together it is a strong cast of incredible singers and dancers, including a very talented (and fit and flexible!) ensemble of support characters. Before the show even begins, they are warming up the audience with chat, dance moves and general strutting of their stuff, giving us a hint of what we’re in for.

Kristin Paulse as Juliet and Awhimai Fraser as Anne are both exceptional, and when they hit the big notes, which many of these songs give them opportunity to do, the audience erupts in spontaneous and well-deserved applause. Paulse imbues Juliet with both fierceness and sensitivity, conveying her confusion about who she is, who she is becoming, and what she wants once everyone else’s expectations are stripped away. Fraser’s Anne brings the oft-forgot wife into centre stage with energy, and deep emotion and passion. Both women are incredible singers, and they are mesmerising.

Matu Ngaropo is a smooth Shakespeare incorporating, elements of the ‘Will.I.Am’ smarm he demonstrated so effortlessly in The Court Theatre’s 2023/24 Something Rotten. He is a powerful singer, but mostly I love watching him perform for the effortless charm he exudes – his puns and notes to audience are delivered in a relaxed, natural manner rather than with theatrical OTT-ness.

Lavinia Williams as Angelique is a crowd favourite, not just because of her powerful voice, but her well-timed comic delivery. Matching her is scene stealer Andrew Grainger as Lance, who is simply hilarious. The dance moves, the romantic antics, the accent!

Rounding out the ‘main’ characters are Josh Johnson (Francois) and Andrew Papas (Romeo), who play Juliet’s opposing and opposite love interests, and Jared Pallesen (May) as Juliet’s best friend, whose story line follows a more emotional and intense tangent.

The choreography (Destiny Anderson) is full on and high energy, incorporating elements of hip hop, ballet and modern dance, ensuring the pace and energy of the show is tuned to ‘high’ throughout. Dance features heavily and constantly throughout this show, but no-one misses a step. Kudos to you all for your energy and enthusiasm (and fitness!)

Music Director (Zac Johns) leads a live band, comprised of several core musicians who have travelled with the show and several more from each centre where the show is playing (it has already completed seasons in Auckland and Wellington. Given that music is so central to conveying the story of & Juliet, live music enhances the experience in a way that recorded music just couldn’t deliver.

The costuming (designed by Tracy Grant Lord and created under Sophie Ham) is excellent and cleverly creative. I appreciate the careful incorporation of elements of Shakespearean dress (as well as the era in which Romeo and Juliet is set) into largely modern costumes, ranging from denim streetwear to glitterball dance gear. A personal fave is semi-goth Romeo’s black jacket and pink shirt, making me hope that collar ruffs and flared cuffs will make a comeback!

The lighting (Matthew Marshall) is flawless, and I particularly appreciate that all characters – not just main characters – are well lit when they are singing. Backlighting and uplighting also enabled us to see all the supporting characters, without stealing the spotlight from the main performers. Video and AV projections (Dave Spark) utilise the simple set design (also Tracy Grant Lord) extremely effectively, creating diverse internal and external scenes in realistic 3D, and incorporate subtle shifts as elements emerge or fade to subtly draw attention elsewhere.

Production-wise, the only glitch is a microphone malfunction early on, but the show restarts with great enthusiasm from the audience and, from then on, not a beat is missed in any element of production.

& Juliet is a genuinely impressive show on every count, receiving an enthusiastic and well-deserved standing ovation at the end. Congratulations to Director, Hamish Mouat, for pulling together so much talent into a smooth, slick and complex production that was truly a magnificent multi-sensory experience. My companion and I both leave both impressed at the talent on the stage, and the very obvious production talent too.

As for Juliet’s ending? You’ll need to see the show yourself to discover that. Hie thee to Christchurch’s Isaac Theatre Royal to see & Juliet – it is lighting up the stage until 13 June.

Images Credit: Hagen Hopkins for & Juliet programme and promotion

Roald Dahl's Charlie and the Chocolate Factory

Tonight my friend and I are amongst a full house of people. Looking around, it’s clear that they are dressed not just for warmth, but for a special night out, so let’s get this spoiler out of the way right now – Showbiz Christchurch’s production of Charlie and the Chocolate Factory (part of the Saunders & Co Season) does indeed deliver that special event in every respect.

I could simply say “this show is tremendous – go and see it” and leave it at that, but the sheer talent – on and off-stage – showcased by this production deserves more effort, so I will do my best.

From the buzzing vibe and candy-styled balloon arch to frame your photos in the foyer, to the stage where the action unfolds, this show has more treats in store than a bag of pick and mix.

First published on Theatreview 24 Apr 2026

The story itself should really need no introduction – you have most likely read Roald Dahl’s book or seen a screen adaptation of some kind, but if you have led a very deprived child – or adulthood, here’s the lowdown:

Chocolatier Willy Wonka arranges a competition in which just five golden tickets are hidden in his Wonka chocolate bars, and the lucky finders will win themselves the chance of a lifetime to visit the world’s most famous, mysterious chocolate factory. We meet the tickets winners – a rather obnoxious set of four children (played by adults) and their parents, plus our hero, Charlie – and then follow their adventures within the factory.

From the moment the curtain goes up we see that this show will be full-on fun. The candy-themed opening routine immediately triggers my craving for liquorice all-sorts, so come prepared!

The costumes have been designed by Stephen Robertson, who is also this show’s director, and created by a team under Linda Harris. They are absolutely stunning, featuring bright colours, themed styles for different character groups, and effervescent embellishments. Completing the transformations begun by costuming are the makeup and wig team who manage to make perfectly ‘normal’ looking adults into children, geriatrics, oompah loompahs and cartoonish characters.

The action is framed by concentric golden arches (these being of the ‘W’ variety, however). Scenes are staged both on vibrant physical sets (designed by Harold Moot) and via immersive AV projections (Dave Spark), seamlessly integrating human interactions against the larger background of the factory interiors, cityscape and wider universe. The lighting (Grant Robertson) is the perfect complement to both live action and the AV, moving from performer spotlight to rainbow immersion as the action, tone and music change.

I am very appreciative of the clear, sharp sound (Ben Rentoul) which means that I can hear every word spoken or sung, and the orchestra, under Richard Marrett’s expert direction, complements and never overwhelms the actors. I almost physically feel the swell of the orchestra during the bigger numbers, such as the end of ‘Pure Imagination’, where the combination of music and voice (including accompanying vocal ensemble), literally makes my heart feel full.

Shout-out to Glen Harris and Gemma Kearney for their superb choreography, which extends far beyond dance numbers to the carefully choreographed movement of characters constantly in movement round each other.

Holding central focus in the story are the two main characters, Charlie (played tonight by Franklin Domigan) and Willy Wonka (Bryn Monk). Domigan is incredible – at just 11, he is already a seasoned performer, along with his brother, Barnaby (who plays Charlie on other nights, as does Shepherd Brooks). I’ve seen Franklin act before, but this boy can certainly sing! He holds his own against any adult on stage and engagingly brings Charlie to life without ever being over the top.

The Candyman himself is brought to vivid, charming and slightly unhinged life by a wonderful Monk. What fun it must be to play this character, and Monk brings that fun to the fore with an impish, charismatic turn. His Wonka is a little mad and a lot of fun, bringing us in on the jokes and landing punchlines perfectly.

The wider cast of all-singing, all-dancing (and acting, of course) performers is incredible – wonderful voices and impeccable timing. Much of the hilarity is inbuilt into the characters, supported by the superb costuming, props (Christy Lassen) and music, but the actors truly make each part their own, so I won’t play favourites. I simply applaud the level of talent we have in this city, and on this stage.

There are many little surprises here that I won’t spoil for you – let us just say the entrance of the Oompah Loompahs and the exits of Veruca Salt and Violet Beauregarde each receive loud and impromptu cheers, applause and laughs.

The talent on display here – and I don’t just mean the performers or musicians – is absolutely incredible. If you have ever read a book or seen a movie and thought “they can’t do that on a stage”, you’re wrong. I am in awe of the ingenuity and skills of the people here in Christchurch who have brought this show to life. One look inside your programme points out the team of people – many of whom are volunteers – that have worked evenings and weekends to create this show and the effort and commitment shows. Kudos to you all, whether on stage, off stage, behind or under it.

A well-deserved standing ovation closes the performance and, from what I see and hear, everyone, like me, is leaving with smiles across their faces. You’d have to have a heart of stone not to leave this show feeling happy.

There are lessons contained within the story, of course – be kind, follow your heart, do the right things and good things may happen – but really, this show is about happiness. If you need an answer to ‘why this show; why now?’ I’d say, who doesn’t need to have some joy in their life right now? So do yourself a favour – get your own golden ticket asap and take a trip to this breath-taking creation of sugar-fuelled imagination.

Skate or Die

Prepare for some gnarly emotions as the skate-osphere gets real!

Skate or Die delivers lots of laughs in a short 50-minute show. Five female actors – Reylene Rose Hilaga (James); Emma Brittenden (Harry); Caitlin Penhey (TJ); Krystal O’Gorman (Chris) and Millie Hanford (Nate) play the male skater players – a combo of misfit mid-20 – mid-30-year-old emotionally unaware dudes. When it comes to girls, these guys are there for a good time, not a long time – unless that ‘girl’ happens to be their mother, doing their laundry.

Tonight they are logged into their favourite skateboarding video game, ready to play, skate, flip, slide and grind (I really don’t understand what I’m saying ), but instead, they have been fiendishly trapped in the game until they can show some real skill – emotional growth.

What’s on the line isn’t just a top player score; it’s their very lives. If they can show some emotional intelligence they progress to the next level; stay trapped in their immature misogyny and they will be terminated.

Directed by Grace von Huben and written, co-directed and choreographed by Millie Hanford (aka Nate), this show is rough, raw and imbued with wild energy. The antics on stage have the audience laughing raucously from the first scene, and the small performance space in Little Andromeda has a hard time containing the skate moves, dance moves (oh, yes!) and the posturing of these five boys-to-men.

First published on Theatreview on 17 Apr 2026

All five actors are obviously having a lot of fun, and are fully immersed into their characters – from stoner Harry to angry Nate, tall Chris and sex-obsessed TJ, or enthusiastic James. There is a lot of frenetic movement on the stage, skating and otherwise, and a surprisingly impressive musical interlude. These women are great singers, and to make an ABBA song into a headbanger classic is another skill entirely.

The show is a humorous observation of somewhat shady behaviours, but there’s no heavy moralising – a lot of cartoonish humour lands the lessons to be learned. The voiceovers, lighting (excellent work by Vincent Andrew-Scammel) and sheer imagination make this an eclectic and full-speed ride, and one which has the large and appreciative audience in full laughter throughout.

The best way to describe Skate or Die is simply fun; what better way to spend an hour!

Menopause The Musical

It seems that every peri-, post- and midst-menopausal woman (joined by a very few brave men) in Christchurch is at the Town Hall tonight to see Menopause the Musical.

This show, full of humour and re-imagined musical bangers from the ’70s and ’80s, has found a truly appreciative audience, and one which relates 100% to the tales of hormonal woe which unfold with much energy, comedy and superb singing.

The plot is very simple: four menopausal women who don’t know each other meet in the lingerie section of a department store and bond over their shared ‘change of life’ symptoms and frustrations, as well as the inability of the said lingerie to contain any part of their post-menopausal physiques.

First published on Theatreview on 4 Apr 2026

Across changing rooms, bathrooms, fashion departments and the store cafeteria, they share their experiences of the havoc menopause is wreaking on their bodies, emotions, minds and lives in general.

Well-known songs are strung together around this simple plot line, and for any woman who’s post/menopausal at this stage in their life (i.e. the entire audience), most of the songs are familiar, although their lyrics are hilariously adapted. These reflect the various symptoms and ravages of menopause, conveying hot flushes, night sweats, memory losses, mood swings, the evils of gravity on the human body, and weight gain, not to mention changes in attitude towards sex, food, people, and general bullshit! In fact, I had not actually realised the impacts of menopause were so many until they were spotlighted in song. I feel both vindicated and stunned that we even survive all of this.

Our four menopausal heroines are played by Akina Edmonds, Ali Harper, Petrina Chisholm and Sarah Kelly, and they are each excellent. They possess great comic timing and impressive, expressive voices, and it is a joy when they really open up and let their vocal power loose.

The combination of relatable premise, multi-talented performers and quickfire comedy is a winner. There are many hilarious lines – I find the description of one’s hourglass figure devolving into a glass of water particularly relevant! – and this oestrogen-lite audience absolutely loves it.

As mature women coming to terms with radical changes that leave them unrecognisable to even themselves, Menopause the Musical humorously shows us women battling to stay sane, relevant, awake, attractive, fit for public consumption and still look after adult children and aging parents. I am left a little in awe of women, and wondering “how the hell do we do all that?!”

Overall, Menopause the Musical is best described as a fun show that talks – and sings – about a topic that is often unspoken of, or spoken of in hushed voices. It brings menopause onto the stage, douses it in glitter and lets it all hang out (much like a menopausal woman in a G-string #gravitybites)

Thank you, Menopause the Musical, for showing us how incredible we women are via this energetic celebration of sisterhood and female empowerment.

Feeling Afraid as if Something Terrible is Going to Happen

Are you ready for real intimacy? Because Feeling Afraid As If Something Terrible Is Going To Happen delivers it, on all scores.

The theatre seating style that Director/Producer Tim Bain has opted for is more comedy club and less theatre show – it’s very up close and personal, which aligns perfectly with both the content of this show and our performer/character/narrator’s career choice – stand-up comedian. If you are sitting at the cabaret-style tables at front (as we are), you will see right into the eyes of the performer (Trubie-Dylan Smith), and he will look right into yours as he shares very intimate details of his romantic and sexual exploits, and budding new relationship.

First published on Theatreview, 21 Mar 2026

This seating style makes you as an audience member feel a little vulnerable but, after all, that’s what this show is about – laying bare and sharing aloud the often unsaid, unseen thoughts in our heads, and I personally love the edginess of the intimacy we are invited to share. But if that’s not for you, sit upstairs, otherwise you will be involved because yes, there is some audience interaction!

You need to be a courageous and confident actor to pull this off this 70-minute interaction smoothly and successfully. There can be no avoiding your audience’s expressions – seeing up close if they are laughing, engaged or a little shocked by some of the more edgy content. Fortunately, Smith is that courageous, confident and thoroughly charming actor. For 70 minutes, it is entirely up to him to tell the story, create scenes and provide the characters integral to the story of his character – the unnamed ‘performer’. As a seasoned actor and long-time Court Jester, he masterfully connects with the audience and rolls with their feedback, both requested and unsolicited, as he draws you into his world, landing punchlines and building suspense.

The format of the show is very much like a comedy standup show, with only Smith – the performer – on stage. The ‘performer’ is a 36-year-old comedian who is about to kill his boyfriend, so the show blurb tells us. He shares details of past romantic/sexual encounters, glimpses of his family life and jokes from his standup routine. He is very concerned not only with how he sees himself, but how he believes others see him; how he sees others is, of course, a direct reflection of these unreliable and perhaps untrue views of himself. While our own life experiences may differ from his, the profound insecurities, self-doubt and instinct towards self-sabotage that lurk in our heads as we evolve into adulthood are familiar to many of us, if feedback from the audience is any gauge.

The staging is simple and minimal, with Smith backed by the most minimal of props. This enables the lighting (Giles Tanner, also overseeing Sound) to be used to full effect to help tell the story, delineating changes of mood and scene, such as when lines are from the performer’s standup routine, when he is relaying past conversations, or when he is in the ‘now’, talking directly to us, the audience to his life.

Under Bain’s direction and Stage Manger Haydon Dickie’s oversight this is a smooth operation, and perhaps a deceptively simple show, but there can only be one star, and Smith shines brightly.