Rajendra Prasanna comes from generations of Indian master musicians. On Tuesday, thanks to him and his three colleagues, a rapt audience fell under the spell of a music in which time itself seemed almost to stand still.

Martha Wainwright describes her look as "ageless" - she is poised on the stage dressed like a school-girl with hair all wispy like her grandmother's.

Maguy Marin's landmark work, celebrating 30 feted years of continuous performance, begins with the sculptured forms of its ten dancers, posed in dusty alabaster-like desertion.

They may have swept us away with Handel and Purcell last week, but Lautten Compagney's Tuesday cocktail of Merula and Glass was altogether less enticing.

Teatro de Los Andes, based in Bolivia, offered to stage their "earthquake play" here instead of La Odisea, but were turned down for logistical reasons.

If you are looking for a show that is funny and uplifting, it is unlikely that you would settle on something that has interminable and suicide in its title.

The stage is dark with just the faint gleam of drum kit, sita, cello, violin and four seated musicians.

After creating a sensation at the previous Auckland Arts Festival, the creators of The Arrival have returned with an exquisitely crafted rhapsody of image and movement-based theatre.

Programme of tasty morsels served with wonderful flair

French dancer-choreographer Rachid Ouramdane's multimedia performance reviewed by Raewyn White

Bernadette Rae talks to the man many consider the guru of New Zealand dance, master choreographer Douglas Wright.

Heroes don't come much kookier than Xerxes. He may be the King of Persia but he opens Handel's opera by extolling the beauties of a plane tree; a man who, as one character comments, "is aroused by a rough trunk."