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The Magic Flute (Image: Iko Freese).
The Magic Flute (Image: Iko Freese).

PartnersFebruary 12, 2019

The absolutely must-see shows at the Auckland Arts Festival 2019

The Magic Flute (Image: Iko Freese).
The Magic Flute (Image: Iko Freese).

Auckland Arts Festival is rolling around again and there’s so much to choose from this year. Sam Brooks picks the six shows everyone will be talking about – the ones you’ll kick yourself for missing.

Festival time can be stressful, especially once you pick up that pretty brochure with dozens of shows to choose from across countless artforms. Do you see the local kids show that’s been here a hundred times, do you see the internationally acclaimed French dance show or do you try and hustle as many free events as is possible?

Unless you’re an absolute culture nerd-slash-snob like me, you’re probably not going to know what to see. Thankfully, that’s why I exist. These six shows are the clichéd ‘hot tickets’. These are the shows that you’ll see, brag about seeing, and make everybody jealous because they didn’t see them themselves. Most importantly, these are the shows you’ll think of when it comes to the end of the year and you’re trying to remember what the heck you did that was worthwhile in 2019. It was this. You saw these shows, and it was worthwhile.

Wild Dogs Under My Skirt

Wild Dogs Under My Skirt (Image: Matt Grace).

I had the fortune to see Wild Dogs Under My Skirt a few years ago at the Māngere Arts Centre, and was so overwhelmed that I found myself unable to even write a review of it. It dislodged something inside me that I didn’t even realise was there – the subsumption of one culture into another, and all the private, personal, sometimes self-made aggressions that occur within that subsumption. Formed from a series of poems told by an all-female cast of six world-class Pasifika actors, the show confirmed Tusiata Avia’s place as one of our most important poets and Anapela Polata’ivao as one of theatre’s foremost firebrands.

Since then, the show has won awards nationwide, and it’s kind of a no-brainer for Auckland Arts Festival to programme this year. Wild Dogs Under My Skirt is a forward-thinking and deeply meaningful piece of theatre that aims to challenge those who need to be challenged, and comfort those who need to be comforted – those who need to be heard, who need to be seen. It was one of the best pieces of theatre I saw in 2016, and with Polata’ivao taking the stage in this production as a performer as well, it promises to be one of the must-sees of 2019 as well.

The Magic Flute

(Image: Iko Freese)

Look, I’m a culture editor. I’m going to tell you something no other culture editor is going to tell you, because I’m not afraid to admit my own limitations and proclivity for the lower brow: opera can be really goddamn hard to watch. Of all the artforms available to us, it’s one of the least accessible. You need to train yourself to watch opera, and you also have to train yourself to save enough to buy what are usually very expensive tickets.

So take this into account when I say that this production of The Magic Flute is as accessible an entry point into the opera as you’re ever going to get.

Not only does this production come from the world-acclaimed opera company Komische Oper Berlin (and trust me, being a world-acclaimed opera company means you’ve met a very high bar), it’s made in conjunction with British theatre group 1927 who are famous on the cabaret circuit for their genre-blending mix of animation and performance. The result: a fun, irreverent opera that moves the form forward.

This is opera that wants you to enjoy it. So if you have yet to go to an opera but have even the slightest interest in the form, this is the right one to cut your teeth on.

Also, The Magic Flute is the opera with the aria with the super high-note, and if you’ve never seen a world-class soprano hit that high F live, you’re missing out on one of music’s most sublime combinations of artistry and athleticism.

Neko Case

Neko Case (Image: Emily Shur)

I was a wee lad of 15 when I heard Neko Case’s foghorn belt for the first time – on a second-hand copy of her album Blacklisted thatmy mother bought me from Real Groovy – and she hasn’t disappointed me once since. It’s not just her voice, equally capable of featherlight softness and roof-lifting power, but her complete disregard for the dull boundaries of genre. She shifts from folk to country to pop to rock without missing a step, often within the same album. Just take her cover of Aretha Franklin’s ‘Runnin’ Out of Fools’, howling with self-righteous pain, and compare it to ‘I Wish I Was The Moon’ where she sounds like she might be serenading you from your backyard treehouse.

Twenty-one years later her latest album Hell-On is an album-length feminist poem that draws from the likes of Kate McGarrigle and Suzi Quatro at their finest. ‘Halls of Sarah’ is a particular highlight, a love letter to all the Sarahs in our lives – the women who live, the women who sacrifice, the forgotten women who don’t get songs written about them.

All this to say: Neko Case is coming here, she’s bringing her voice, she’s bringing her 25 years of songs, and if you miss the chance to see her live then you’re missing out on not just one of music’s best vocalists, but one of our most vital artists.

The Dreamer

China does great theatre, and, even better, they do great theatre on a massive scale. Like, The Civic scale, you guys. The Dreamer comes from the internationally-acclaimed (you’re seeing that phrase a lot, because Auckland Arts Festival doesn’t fuck around) Shanghai Dramatic Arts Centre in collaboration with British physical theatre legends Gecko. If you want to know what physical theatre is, it combines the most understandable parts of dance with the most visual parts of theatre, and it’s really fun to watch.

The Dreamer is inspired by A Midsummer Night’s Dream – the most fun of the Shakespeares – and Tang Xianzu’s fairytale romance The Peony Pavilion. The show itself is a 65 minute confetti-stuffed glitter-bomb of movement, melodrama, comedy and live music. Basically, The Dreamer is doing the absolute most, and as one of the few shows at The Civic – AKA New Zealand’s Hogwarts – it promises to be a full on five-course meal of a theatre experience.

Ulster American

Lucianne McEvoy, Darrell D’Silva in Ulster American. (Image: Sid Scott)

Sometimes you see a show for the show itself, and sometimes you see a show for the conversations you have in the bar, on the way home, or at work the next day. Ulster American is the rare show that you can see for both.

Ulster American has a simple set-up: There’s the Oscar-winning actor who wants to get back to his Irish roots, the new-but-not-new-enough British actor who wants his first big success, and a Northern Irish playwright who is just as hungry for success as she is to be heard. Put them together in a house, let the drama unfold.

But Ulster American isn’t just your average talky drama – it’s a cutthroat, current-to-the-second satire on the way men treat women and how an older generation needs to realise that the rules of engagement have changed. The ways in which we engage with art, and with each other, are no longer the same. And if you don’t adapt, you die.

Come for the show, hang around for the debate afterwards, is what I’m saying.

A Man of Good Hope

A Man of Good Hope (Image: Keith Pattison)

Look, another collaboration – it’s almost like great art is the result of great collaboration, who would’ve thought – between two internationally acclaimed companies. A Man of Good Hope comes from South African company Isango Ensemble working with the UK’s Young Vic, and tells the story of eight year old Asad escaping the ravages of civil war in Ethiopia and starting his journey towards the metaphorical bright lights, big city of Johannesburg, South Africa. Oh, also, it’s a musical.

A Man of Good Hope arrives here fresh from rave-review runs in both London and New York, you know, those small theatre hamlets. It goes further than the often empty feelings of uplift and inspiration to dig into this globally important and deeply personal tale. Theatre that does that is rare, musical theatre that does that is even rarer; grab your chance to see it while you can.

This content was created in paid partnership with the Auckland Arts Festival. Learn more about our partnerships here

Keep going!
Love your beer, and it will love you back (Getty Images).
Love your beer, and it will love you back (Getty Images).

PartnersFebruary 11, 2019

How to treat your beer with the respect it deserves

Love your beer, and it will love you back (Getty Images).
Love your beer, and it will love you back (Getty Images).

Two beer experts share their tips for making the most of your brew, from how to store your bottles to the best kind of glasses to use.

Too many of us aren’t treating our beer with the love, care and attention it deserves. It starts with the lack of respect we often have for beer, a belief it’s an inferior species to other drinks. While we swirl and sniff our pinot noir from a wide-bodied glass to allow the delicate flavours of the lighter red wine to hit the tip of the tongue, we’re far too happy to drink beer straight from the bottle or can – removing all the joy that comes from the nose of the beer, and the majority of its vast flavours.

While we store our wine in a cellar, we’ll let a box of beer sit in the boot of a hot car until it’s thrown in a chilly bin with some ice. And then we drink it too cold, suppressing some of the best flavours the brew has to offer. Pouring beer is also an art; not one to suppress the foam but to release it, setting off the beer’s aromas and creating a textural experience that you can’t get without a good head on your beer.  

So, it’s time to R E S P E C T your beer. And to help you the Spinoff spoke to two passionate beer drinkers (who have a bit of brewing experience too) about how to treat your next beer right. By learning just a few basic tricks and rules around how to serve and store your beer you can reveal a beauty you didn’t know existed.

Treat your beer like food

“Beer is a complex and beautiful drink that often has a range of subtle flavours, aromas and textures that can be enhanced by serving it correctly,” says Natasha O’Brien, Brewing Manager at DB’s Waitemata Brewery. An internationally recognised beer judge, O’Brien is passionate about celebrating and protecting these intricacies.  

“On the other hand, these subtleties can be spoilt if you don’t look after beer and store and serve it in the right way.”

“Here’s to giving your beer the love it deserves.” Natasha O’Brien, brewing manager at DB, proposes a toast to beer (Photo: Supplied)

Treating your beer like food is the first bit of advice from Donald Nelson, who worked at Lion for 37 years, across brewing and technical roles. For one year he was president of the international industry innovation and education body, the Institute of Brewing and Distilling.

“The general things you do with food, you do with your beer: how you store it, have it fresh, how you look after it, you do it the same for beer,” he says.  

In the same way you wouldn’t buy meat weeks before hosting a barbecue, rushing around buying your beer six months before an event because it’s on special is a bad idea, he says. Nelson ideally likes to drink his beer when it’s less than a month old.

As beer gets older its flavour and texture start to decline. It loses its freshness, its sharpness and vibrance. Breweries go to great effort to prevent the impacts of the environment on beer, but it’s a fragile, delicate beverage and is prone to oxidation and vulnerable to the sun. Both will negatively impact the full sensory experience of the beverage and can add an array of unflattering flavour characteristics.

“If you pour a glass of Steinlager Classic into a clear glass and leave it in the sun for 20 minutes, and pour a fresh to compare, the smell is quite distinctly different,” says Nelson.  

“Sun strike can bring out the “skunky” flavours. If you are aware of light strike you can smell it across the room.”

Again, think about food when looking after your beer, and store it somewhere that keeps it fresh.

“I would always suggest storing beer in a fridge, or a cool dark place. Light and heat are the enemies of beer, negatively transforming the flavours and appearance,” says O’Brien.

Now your beer’s flavour is safely protected from oxygen and sunlight it’s time to serve it right.

A glass half full

To get the full experience of a beer’s flavour it needs to be from a glass. Drinking from a can or bottle, while convenient, physically restricts your ability to enjoy a beer’s full flavour profile: most of which comes from its nose. Food tastes different when your nose is blocked, sometimes it tastes like nothing at all. Drinking beer straight from the bottle is like eating with a blocked nose. When you drink from a glass your nose enters the vessel itself giving you access to the full flavour experience.  

“The vast majority of the 250-plus active flavour ingredients you smell. There’s only four or five you taste on your tongue,” says Nelson.  

“If you’re there to taste, using your smell gives you the optimum. That’s why I always use a glass. If you’re using a can or a bottle your nose is taken out of the equation.”

Donald Nelson and a perfectly poured beer (Image: Tina Tiller).

A head start

Not only does a glass give you access to a beer’s full flavours, but it allows you to release the full potential of the beverage – the head. The foamy topping is essential to the drink’s texture and is also an important layer of protection for the liquid against the elements.  

“A good head on a beer is really important” says O’Brien. “The head locks in the CO2, keeping the beer fresher for longer. Once oxygen connects with the beer it will start losing flavour, carbonation and temperature.”

Getting a good head starts with having a good glass – and special washing detergent. Most household detergents are “foam negative” and this causes the head to collapse. While pubs use specific detergent and machines to ensure the glasses will harness the head, at home you’ll need to find a dishwashing detergent that doesn’t destroy your beer’s foam.

“I wash my glasses in a domestic dishwasher and use a detergent that isn’t strongly foam negative. If the mischievous residents of my house wash my beer glasses in the sink, I will take them and put them in the dishwasher,” says Nelson.

The next step is the pour. You don’t need to fill the glass in one pour, keep topping it up from the bottle or can, refreshing the head, and keeping the liquid protected from sun strike (brown glass, followed by green glass, keeps out the sun much better than clear). Tip the beer from a 45-degree angle and don’t be shy, you want a strong pour and hard contact with the glass to create the head. O’Brien aims for a two-finger width layer of foam, and Nelson describes a centimetre as “conservative”.

Where is that drink taking you? Higher places if you do it right

Once it’s in your glass (with a nice head), you can start the taste experience. The first thing O’Brien does with her beer is analyse its colour.

“Within the liquid, I look for a bright colour, take notice of the clarity and observe the carbonation,” she says.

A beer should be examined for colour, smell, texture and flavour (Getty Images).

As Nelson drinks his beer, he constantly swirls the beverage, a motion that releases the flavours. He then dips his nose in the glass and takes a long sniff. He’s looking for the malt flavours, how much yeast is present, and hop notes. Then when he takes a sip he breathes in at the same time – like a less exaggerated version of a wine taster’s slurp – to release the volatiles.

“You’ll find the malt flavours at the front, bitterness at the back. It comes late, 30 seconds after your sip is the peak perception of flavour. You’ll be left with bitterness cleaning the palate, a dry sensation in the mouth,” he says.  

Don’t forget to think about the texture too. O’Brien is looking for several tactile qualities from her beer.

“When I take a sip, I not only think about the flavours (like how the malt balances with the bitterness of hops), but also the ‘mouth feel’ and the carbonation,” she says.

Beer diplomacy 

German Chancellor Angela Merkel welcomes US President Barack Obama before the G7 summit at Castle Elmau with a wheat beer (Photo by A.v.Stocki/ullstein bild via Getty Images). 

Humans have been drinking beer for 5000 years and it’s always been a social drink that brought people together. Donald Nelson likes to argue that homo sapiens used yeast to make beer before bread. Another fact Nelson is fond of is that one of the first things written down on clay tablets was a recipe for beer. He tells me about its original form as a communal drink resembling a runny porridge. It was a fermented cereal, and everyone sat around with straws and drank from the same bowl.

This communal part of beer is still essential to its place in New Zealand’s culture. A good yarn makes a beer better every time.

“The number of times I’ve solved the world’s problems of a few jars at the pub is innumerable,” says Nelson.  

Seeing as there appear to be a few outstanding global issues now is the perfect time for a beer. Just make sure you do it with the respect it deserves.

This content was created in paid partnership with the Brewers Association. Learn more about our partnerships here.