This miniature portrait of a girl running away from her troubled mother evokes a lot of short words. Red Leap Theatre's Dust Pilgrim opens in a bleak desert dystopia.

As the cast go about their work it is clear that Hamlet is in the hands of seasoned professionals deeply committed to their craft and passionate in their engagement with Shakespeare’s language.

Death and the Maiden steers away from specific political considerations and takes on the more difficult issue of how to respond to the dehumanising effects of sanctioned cruelty.

There are many different forms of Enlightenment and in the hands of award-winning British playwright Shelagh Stephenson it becomes a cool, sophisticated piece of theatre.

William dart writes: Director Lindy Hume described Rossini as a genius who didn't muck around. Nor has she with her vivid take on his 1817 fairytale La Cenerentola.

Australian director Lindy Hume has had fun reworking New Zealand Opera's La Cenerentola from the production that was first aired by Queensland Opera two years ago.

It's worth being reminded, by this semi-fictionalised oral history, how unbelievably insolent and sordid "Underwatergate" was.

Long before Lolcats became a thing, Andrew Lloyd Webber brought our feline friends to the forefront of popular culture with his record-breaking musical Cats.

The Thrilling Adventure Hour takes a little longer than that. It's actually about 80 to 85 minutes on stage, says Ben Blacker, laughing.

The publicity photos shock. George Henare, an avuncular gentleman with a twinkle in his eye, is bound, gagged and has a gun to his head held by a determined but nevertheless vulnerable-looking and slightly built Tatiana Hotere.

Learning lines, frumpy clothes, and getting naked … Kiwi fashion queen Denise L’Estrange-Corbet talks to Suzanne McFadden about her very revealing stage debut.

Emily Perkins' A Doll's House is to Henrik Ibsen's original what Clueless is to Jane Austen's Emma: it's a wonderfully assured adaptation, writes Janet McAllister.

Actor Peter Elliott shares eclectic details of his ‘funny old life’, including his worries and nerves - and a tale about an awful actress.

One of New Zealand's most talented clowns makes magic out of nothing, alone in his spotlight, tights and singlet, Janet McAllister writes.

With Singin' in the Rain splashing down in Auckland next week, Lydia Jenkin talks to the show's leading man.

The opening stage is set with a tall scarlet banner which flows, bloodlike, from the rafters and bears the names, of relatives of the company one suspects, lost to the savageries of war.

William Shakespeare's famous Globe theatre is heading to Auckland next year, as the world marks 400 years since the playwright's death.

Thomas Monckton is forging an international reputation with a style that has acrobatics, clowning and mime bouncing off each other in a wildly imaginative piece of absurdist comedy.