Adam Goodall

Kaituhi Tūtahi | Contributing Writer

Adam is a freelance writer, theatre-maker and legal researcher. He is one of the founding members of the New Zealand Fringe Award-winning theatre company Making Friends Collective and has written, directed and produced shows in Wellington, Dunedin and Feilding. He is bad at video games in his spare time.

Adam is a former Kaiwāwāhi Whakaari | Theatre Editor at The Pantograph Punch.

Everything By: Adam Goodall


Adam Goodall digs into what happens when comedians cross the line.


From millennial writers to the most successful playwright in New Zealand, Adam Goodall digs into the mistakes that Aotearoa playwrights keep making when they write stories about old age for the stage.


In the wake of debates around Amici Productions' 2019 production of Les Misérables - a grand production in which some most of the cast will not be paid - Adam Goodall digs into the uneasy questions and difficult answers around the 70-plus years old tradition of pro-am musical theatre in New Zealand.


Welcome to Terror Lake

Adam Goodall takes a look at Mr. Burns: A Post-Electric Play, a play about The Simpsons but also about a more existential horror.


Adam Goodall investigates the complicated, contentious history of the Pathway to Arts and Cultural Employment programme.


Wellington Theatre Editor Adam Goodall's been a little burnt out this year, but Wellington theatre's made it easy to recharge the batteries. Here's nine reasons why - and one reason why it might become more difficult.


Adam Goodall catches up with two indomitable sisters, award-winning director and playwright Sarah Delahunty and former Green MP Catherine Delahunty, to talk about getting old, getting political, and the value of care.


Clouds And Rain Over Water: A Review of Under

Adam Goodall reviews Under, a "modern day memory play" that involves the audience in one character's act of remembering and takes us on an affecting, if familiar, journey.


Adam Goodall reviews Lucy Marinkovich's dance/theatre/cabaret mash-up Lobsters, a thrilling exploration of identity, love and a lobster telephone that Dalí made one time.


Pass the Goon: A Review of Aunty

Adam Goodall rocks up on to Johanna Cosgrove's Aunty, a hilarious one-woman family reunion, and falls for its flamboyant titular host.


Adam Goodall reviews a new trio of short plays by prolific Palmerston North-based writer Angie Farrow, now at BATS Theatre.


Divine Intervention: A Review of Anahera

Adam Goodall reviews Anahera, a 2016 Adam Award finalist that’s hard to discuss without ruining its most remarkable turns, and hard to praise without some key regrets.


Miria George's latest is a hard-edged sci-fi dystopia about a New Zealand starved of water; Adam Goodall digs into its important, impatient broadcast.


Tepid Bath: A Review of The Swimmer

Adam Goodall reviews The Swimmer, a high-strung psychodrama from seasoned Chilean writer-director Manuel Saez.


Centrepoint Theatre's latest Open Stage production tackles a classic tale of children killing each other on an island. Adam Goodall reports from the frontlines.


Adam Goodall attends the opening night of White Man Behind A Desk Live, watches Andrew Little get torn apart and considers what the show gains - and loses - in the move from YouTube to Circa.


Adam Goodall reviews Annabel Wilson’s No Science To Goodbye and finds a play that never reaches the boil.


Little Dog Barking Theatre Company adapts Mem Fox and Julie Vivas' beloved picture book for early childhood audiences. Former early child Adam Goodall considers its warmth, its sadness and the way it talks to children.


In Dave Armstrong's Anzac Eve, four millennials sit on top of Anzac Cove, arguing about Anzac Day and the myths that form its foundation. As the show embarks on a New Zealand tour, Adam Goodall tries to figure out what it wants to say.


Nothing like a good old criticism stoush. Last week a reviewer from Wellington’s Regional News, Madelaine Empson, sparked fury when she viewed a play at Circa theatre and refused to publish a review.


Adam Goodall reviews Te Rākau Theatre's The Undertow, a staggering eight-hour drama that holds New Zealand's colonial past, present and future up to the light.


Adam Goodall takes stock of the triumphs, the anxieties and the must-do-betters of Wellington theatre in 2016.


There's Booze in the Blender

Adam Goodall stumbles on an unexpected series of videos in a neglected corner of YouTube … and goes digging into the Lonely Web to find their creator.


Review: Fred is Cold

Adam Goodall reviews Fred is Cold, a play about depression, grief and a talking refrigerator, at BATS Theatre.


Review: Central

Dave Armstrong, one of our country's most popular and respected playwrights, takes aim at New Zealand's rampant inequality and our inability to take care of the environment in his latest play. But has he bitten off more than he can chew? Adam Goodall reviews Central, now playing at Circa Theatre.


Review: The Fence

Adam Goodall reviews The Fence, a quiet and quietly affecting blend of coming-of-age drama and ghost story premiering at BATS Theatre.


Review: Hold Me

Adam Goodall reviews Hold Me, the twisty and ambitious new play from Emily Duncan, at BATS Theatre.


Review: No Post on Sunday

Adam Goodall reviews the latest collaboration between Everybody Cool Lives Here and Active Youth Wellington, the absurd and perceptive No Post on Sunday.


For the last 22 years, the Young & Hungry Festival of New Theatre has been giving young actors, designers and playwrights the opportunity to cut their teeth as professional theatre-makers. Adam Goodall takes a look at the latest season and the Young and Hungry institution.


In 2006, Mīria George’s dystopian play 'and what remains' asked Wellington theatre audiences, “If Māori left the country, would you even care?” The response they got was not what they expected. Adam Goodall collects and shares the story of the play and the rifts in New Zealand that it’s been exposing for a decade.


Review: The Vultures

Adam Goodall reviews the centrepiece of this year's Kia Mau Festival, Mīria George's darkly funny satire The Vultures.


Review: The Elephant Thief

Adam Goodall reviews Indian Ink's seventh play, a vivid prediction of our ruined future that's dragged down by unfocussed storytelling.


On Site: An Interview with Cherie Jacobson

For the last three and a half years, Cherie Jacobson has been Programme Manager at BATS Theatre, the person behind the wheel of this Wellington theatre's creative identity. After overseeing one of the most significant periods of transition in the young theatre's life, Jacobson sat down with us to talk about the past, present and future of BATS Theatre.


Review: The Devil's Half-Acre

Adam Goodall reviews Trick of the Light's The Devil's Half-Acre, a dive into the grimy, corroded soul of turn-of-the-century Dunedin.


Review: Spring Awakening

Adam Goodall reviews Spring Awakening at BATs Theatre


Ten Moments in Wellington Theatre 2015


Ten Plays We Loved in 2015: Wellington Edition


Review: Dead Men's Wars

Adam Goodall reviews Dead Men's Wars


Review: The Angry Brigade


Review: The Bookbinder

Adam Goodall reviews Trick of the Light's The Bookbinder.


Review: Scene

Adam Goodall reviews LGBT documentary theatre piece Scene.


A Private History of Jonny Potts' Loose

Booze, Iggy Pop, Whangarei and Jonny Potts


Review: Don Juan

Adam Goodall reviews A Slightly Isolated Dog's Don Juan.


Review: Two Mortals

Adam Goodall reviews Two Mortals


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The Pantograph Punch publishes urgent and vital cultural commentary by the most exciting new voices in Aotearoa.

The Pantograph Punch publishes urgent and vital cultural commentary by the most exciting new voices in Aotearoa.

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