I received a shout-out from Landfall literary journal in their review of Bonsai: Best small stories from Aotearoa New Zealand, which I have a story in.
"Colloquial and casually brutal dialogue is deployed to devastating effect by Kathryn van Beek in ‘Women’s studies’. Working as a cleaner in ‘Femme Fatale’ to finance her university studies, van Beek’s protagonist vacuums as unobtrusively as possible around the workers and clients. In the process she witnesses scenes that are sometimes shocking in their strangeness."
You can read the full review here.
On the Conditions and Possibilities of HIllary Clinton taking me as her Young Lover
by Arthur Meek and Geoff Pinfield
directed by Geoff Pinfield
Arts Festival of Dunedin 2016
Richard Meros, BA, gives us a PowerPoint presentation on the conditions and possibilities of Hillary Clinton taking him as her young lover in the hope that our support will boost his chances of amorous congress with the US presidential candidate.
Read the full review on Theatreview.
Adapted and directed by Keith Scott
The Globe Theatre, Dunedin
In our times of terrorism and Trump, Mary Stuart – a play about the entwined fortunes of two global powerhouses – could hardly be more relevant.
Like all good plays, Mary Stuart leaves us with questions. When public opinion can turn on a dime, what weight should it have, and on what matters? Is integrity worth more than personal safety? And why is it sometimes so hard to do the right thing?
Read the full review on Theatreview.
Not in Our Neighbourhood
Written and Directed by Jamie McCaskill
Presented by Tikapa Productions in association with Te Whāriki Manawahine O Hauraki
Fortune Theatre, 13 September 2016
Yesterday evening I stepped over the threshold of Dunedin's Fortune Theatre for the first time, where I was treated to an outstanding performance from Kali Kopae. Kopae is like a graceful tornado as she twists and turns from broken, sexy, tyrannical, nurturing and powerful. At times her performance is like dance or like song. Watching Kopae in action is the theatrical equivalent of watching an Olympic gymnastics routine: controlled, exquisite, exhilarating.
Read the full review on Theatreview.
Seafog, with Lachie Hayes and Paul Winders
The Crown, Dunedin
29 April 2016
Built in 1862, Dunedin’s Crown Hotel is a colourful venue where pool sharks and beatniks rub shoulders with retirees and students. A key part of the development of the local music scene and a thriving creative hub during the 80s and 90s, it was a fitting venue for a show that was both a tribute to and an evolution of Dunedin’s iconic indie sound.
Read the full review on The 13th Floor.
I recently moved to Dunedin and I wasn't sure if I'd have many reviewing opportunities down here. I had my first opportunity to review a Dunedin show on Friday, and it was fabulous!
Two Intimate Operas: Opera Otago at Olvestone
Dearest Maurice, composed and directed by John Drummond
The telephone, Composed by Menotti and directed by Claire Barton
You walk up the box hedge-edged drive, past tall walls rendered in Moeraki gravel and trimmed with Oamaru stone, past delicate leadlight windows. An elegant woman in black greets you at the door and leads you into the warm reception room before ushering you down a grand hall, past the internal telephone system and into the drawing room. Welcome to an evening of intimate opera at Olveston historic home, surrounded by fine art and all the trappings of Edwardian luxury.
Read the full review at Theatreview.
This review originally appeared on Theatreview.
Guys and Dolls
Q Theatre, Auckland
31 October 2015
Directed by Raymond Hawthorne
Guys and Dolls, which first premiered in 1950, is based on short stories written by Damon Runyon in the 1920s and 30s. Runyon’s New York heaves with gamblers, holy-rollers, law enforcers and ladies of the night, who all coexist on the city’s dirty streets.
The stage lights come up to reveal a smoky New York haze hanging over the luxe set of plush red carpet and sparkling red lettering. Throughout the evening the set transforms from a streetscape to a Christian mission HQ to an underground gambling lair, sometimes ingeniously connected by manholes and ladders, and always delighting with thoughtful period touches.
Costume and set designer Tracy Grant Lord’s eye for detail doesn’t stop there. The stage is filled with gorgeous cast members decked out in equally gorgeous clothes. The women mince about in glamorous swing coats, and the men prance in high-waisted trousers, suspenders and trilby hats. Even the sensible shoe-wearing Save-A-Soul Mission brothers and sisters look fetching in their tailored red uniforms.
We’re introduced to big talking gambler Nathan Detroit (Shane Cortese) and his long-suffering fiancé Miss Adelaide (Sophia Hawthorne) – a nightclub performer with a psychosomatic cold. Nathan’s in a spot of bother – he needs to find somewhere to hold his illegal gambling game, but he doesn’t have the money to pay the venue. In order to raise some funds he bets fellow gambler Sky Masterton (Roy Snow) that he won’t be able to get Sister Sarah Brown (Rachel O’Connell) from the Mission to go on a date. Sky accepts the challenge, and so begins a chain of events that will change everyone’s lives for the worse – or the better – depending whether you think love’s a curse or a blessing.
Every aspect of the production is top notch, from the flawless live band through to the charming choreography. Special mention must go to the two numbers from the ‘Hot Box’ cabaret, A Bushel and a Peck and Take Back Your Mink, knowingly kitsch song and dance routines that provide a hilarious insight into the cheesecake culture of the era. The doe-eyed Sophia Hawthorne shines during both songs, and also showcases her comedy chops on Adelaide’s Lament.
As pious Sister Sarah, Rachel O’Connell embodies a different kind of woman, and sings I’ll Know and If I Were A Bell with a delicious feminine soprano that calls to mind Julie Andrews and Doris Day. Rachel takes Sarah from uptight do-gooder, to devil-may-care drunk, to man-eater with ease.
Roy Snow announces his lady-killer intentions with the line “Do you take sinners here?” before going on to woo the audience with the sweet I’ve Never Been in Love Before. He takes a different tack with Luck Be a Lady, where he sings as though his soul’s on the line.
Shane Cortese hits the jackpot as loveable rogue Nathan, who tries to keep everyone happy most of the time but ends up in trouble all of the time. His dashing and dastardly qualities are particularly evident as he battles it out with his fiancé on the touching and funny Sue Me.
The other cast members bring everything from angelic harmonies to slapstick comedy to exotic dancing into the mix. Andrew Grainger, as Nicely-Nicely Johnson, leads the company in a knock-out version of Sit Down, You’re Rockin’ The Boat, and the cheeky ‘Hot Box girls’ raise the temperature to boiling as they strip convention and shed their inhibitions.
When you see the name ‘Raymond Hawthorne’ on a poster you know you’re in for a good show, and Guys and Dolls is another triumph from the acclaimed director. It’s bold, sassy and thoroughly entertaining. It’s the perfect night out for anyone who’s ever been in love – or thought about it.
Up the sweeping steps and between the crumbling pillars of the once-grand Mercury Theatre, a beautiful haze of existential angst awaits. Shayne Carter is preparing to unleash his one man blues explosion, and a string quartet is about to usher SJD’s latest album, Saint John Divine, up into the heavens.
Read the full review on the 13th Floor.
Kathryn is the author of short story collection Pet, and the winner of the Mindfood Short Story Competition and the Headland Short Story Prize.