Dance work Tender is the Night has its own stark charm, writes Dione Joseph.

Arranged is the perfect palate cleanser after the grubbiness of MAFS.

Auckland Arts Festival could not have wished for a more festive finale.

Us/Them is about tragedy, yet jet black humour ensures you'll continue to think about it.

Terrace House, Japanese reality franchise is a surprisingly difficult show to describe.

The Far Side of the Moon still appealing to audiences, 20 years after it first played.

Silo Theatre's Body Double gives a feminist take on sex and desire, says Janet McAllister.

Bringing together a number of Kiwi musical talents, The New King is a rewarding listen.

Stone Temple Pilots are best when they're weird. But their new album isn't weird enough.

David Fa'auliuli Mamea's one-woman play is a charming chamber production.

The Real Housewife is trumpeting a bid for super-stardom with a flute, writes Alex Casey.

The bros are buffed and ready for magic with a little help from Les Mills.

His talent can't be confined or defined, writes Greg Bruce.

A circus like no other where the contrast between town and country vividly comes alive.

Jack Charles, a drug addict for 40 years and a prisoner for 20 of those, argues his case.

Avant-garde ensemble From Scratch take fans on a trip to savour, writes William Dart.

Atlanta rapper Lil Yachty's follow-up to Teenage Emotions shows some growing pains.

Soccer Mommy's debut album balances both strength and fragility.

Choreographer Michael Parmenter's long-dreamed of Orpheus is sublime, says Raewyn Whyte.

Theatremaker Ahi Karunaharan delivers seven fine stories in seven sips, says Dione Joseph.

Auckland Arts Festival seeks shows to appeal to young audiences; Junk was an absolute gem.

Classiest of boy bands shows how pop anthems become secular anthems, writes William Dart

Putting George Orwell's dystopia onstage is a way to skewer our era of alternative facts.

In the open-air Silo Park, people were mostly subdued.

Bless the Child reminds us we're part of a society with responsibilities to one another.

The Piano: the ballet doesn't hit all the right notes but is an intriguing proposition.

Car Seat Headrest's re-imagining of an old album is pure indie-rock excellence.

There have been nine Moby records since Play. Here's why you should listen to the tenth.

Have things changed in Andrew WK's world? Not really. He still likes a good party.

Our reviewers reflect on what they saw during the second and final week of Auckland Fringe