It’s time for the best ofs, my favourite plays of 2013 and since not many other people will mention them, a nod to the designers who did good.
The Road That Wasn’t There – Trick of the Light Theatre Company
From the depths of Central Otago (actually Wellington) The Road That Wasn’t There was perhaps the most magical piece of work I saw this year. It was an adventure down a paper road, intriguing, magical and beautifully crafted. It was absolutely captivating.
Wicked was my most anticipated show of 2013 and it did not disappoint. I would dare to say that the Australasian tour gives Idina Menzel and Kristen Chenoweth a good run for their money and even today the songs are deeply embedded as ear worms in my brain.
Choosing a favourite from this years Silo offerings was a mare. So I chose two. In Midsummer I cried for joy. In Hui I cried in mourning. Both were the total package – cast, set, lighting, sound.
Pitchfork Disney – The Moving Theatre Company
When it comes to set design, The Pitchfork Disney has no competition. It also featured one of the best entrances this year and was hugely captivating.
White Rabbit, Red Rabbit – the play that once you’ve seen it, you can never see it in the same way ever again. You can’t be in it either. D’oh.
Live Live Cinema – experience film broken down into pieces, a riveting display of all the components of film played out on stage.
The Pitchfork Disney – Daniel Williams
As mentioned earlier this show had no competition for set. They completely transformed the Loft at Q and made it into a creepy derelict flat and it was perfect.
Chicago – Sean Lynch
I wasn’t that impressed by some of the technical aspects of Chicago but lighting designer Sean Lynch made up for it and more. The set was uninspiring to say the least, the costuming ill fitting but Sean’s lighting was wowing.
Live Live Cinema – Leon Radojkovic
You get a bit of a head start in this category when you’ve got live foley happening on stage along with Leon Radojkovic and his band. If you get the chance to experience this, do it.
It was inevitable that I would grow up with a deep appreciation for theatre. Amongst my earliest memories are playing at The Green in Hamilton where Slip of the Tongue would rehearse and playing with discarded nail gun shells as The Meteor was born in Hamilton. But it wasn’t until Silo Theatre put on The Women in 2004 that a true love for attending theatre emerged. I saw The Women four, five maybe even more times and since that time I have held a deep appreciation and admiration for everything that Silo does. Shane was at the helm for this whole period and over this time I can say that there was only ever one play that I didn’t like (Happy Days by Thomas Beckett , I’m sure you’ll understand).
Under Shane’s direction a clear Silo brand emerged, shiny, slick and with quite a few rom com’s. It became a theatre company that you can depend on to consistently produce great pieces of theatre; challenging, emotional works that would make you feel something. As I’ve told many people, if you want to introduce yourself to the theatre, do it with Silo.
So thank you Shane, for all the complimentary tickets, for all the great laughs and cries, for consistently feeding my theatre soul with great great works.
On that note, a huge round of congratulations should be awarded to Sophie Roberts, Silo’s new Artistic Director. Sophie is one of my favourite directors in Auckland and I can think of no one better to take over from Shane. #TEAMSOPHIE