Un­holy Ghosts

The Tribune (NZ) - - THEATRE -

By Cam­pion De­cent NewZealand pre­miere sea­son Di­rected by Con­rad New­port Cen­tre­point Theatre Septem­ber 19 – Oc­to­ber 17

ver­sions of sim­i­lar in­ci­dents, depend­ing on just who is telling the story. As the play pro­gresses, both par­ents phys­i­cally de­gen­er­ate. The fa­ther is also di­ag­nosed with can­cer. There is some fine phys­i­cal act­ing.

The son gives his ghosts a happy after­life. It’s a symp­tom of the love he has for them in spite of all the bitchy nas­ti­ness. At its heart, de­spite its bleak and deeply black hu­mour, Un­holy Ghosts is a play about love.

On a bare stage, the pro­duc­tion is well served by three re­volv­ing pan­els dressed to suit each scene, and makes quite the im­pact for the fi­nale.

Un­holy Ghosts is well worth the ex­pe­ri­ence. This is quite a priv­iledge. Bites is the pre­miere of the top eight plays from the Play­wrights As­so­ci­a­tion of New Zealand’s 10-minute play writ­ing com­pe­ti­tion.

Per­formed by mem­bers of the city’s Skin Theatre com­pany, the open­ing plays are skit-based while the sec­ond four fo­cus more on char­ac­ter, mood and story.

Ef­fec­tivly staged with the min­i­mum of set and props, and fea­tur­ing some of the re­gion’s best per­form­ers, Bites is a bit like en­joy­ing the va­ri­ety of a cho­co­late sam­pler.

The most ef­fec­tive pair­ing are Maree Gib­son and Mark Kilsby in two plays where they play hus­band and wife – For­get Me Not when it be­comes ap­par­ent the hus­band has Alzheimer’s, and Be­hind The Teacup which ex­plores loss of a long-term part­ner.

Han­nah Pratt and Phil White also make a fine fist of a World War 2 era re­al­tion­ship in Sen­ti­man­tal Jour­ney.

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