Madeleine De Young

Kaituhi Tūtahi | Contributing Writer

Madeleine de Young (Ngāti Kapumanawawhiti) is a writer, digital media consultant and festival producer based between Auckland and Ōtaki. Her passion is for indigenous storytelling across theatre and film. Occasionally this spills into rants on twitter which turn into articles elsewhere. She currently produces the Māoriland Film Festival, an international indigenous film festival held each March in Ōtaki.

Everything By: Madeleine De Young


The Unheard Scream: A Review of Windigo

Returning to her grandmother’s home in the Lac Seul Reserve in northwestern Ontario, Canadian choreographer of mixed Oji-Cree and settler heritage Lara Kramer confronts a latent war lurking under the surface. Madeleine De Young reviews.


Silo Theatre's latest production sets Prokofiev's Peter and the Wolf in a magical miniature Auckland. Madeleine de Young reviews.


Shoshanna McCallum and Donna Brookbanks have returned their two-hander to the Basement Theatre. Madeleine de Young navigates the light and the dark.


Fresh Mourning: A Review of Poropiti

Madeleine de Young reviews a new interdisciplinary work from Tola Newbery and Mara TK.


We All Have A Story: A Review of Weave

A veritable tapestry of New Zealand stories, Madeleine de Young finds a relevance and urgency within Weave.​


A Gateway: A Review of Magdalena of Mangere

A show that's a glimpse into a suburb that is known more for its role as a gateway to the country than it is for the people who occupy it. Madeleine de Young finds a messy warmth in Magdalena of Māngere.


The Hot Brown Honeys are fierce and with the music booming and a middle finger raised, they are here to make noise and to re-educate the patriarchal, colonial masses. Madeleine De Young reviews Hot Brown Honey.


Tending the Vines: A Review of deVINE

deVINE, a new play by RECollective is the story of two sisters; Bobby and Blair, chalk and cheese, as they reunite at the deVine whānau vineyard on the back of an emergency. Madeleine de Young reviews deVINE, a play about a family's reaction and response to mental illness in their own backyard.


Pacific Futures

After two Pōneke seasons, Tāmaki audiences can now experience Hone Kouka’s The Beautiful Ones. Madeleine de Young reviews the show and discovers a dynamic, joyful mihi to the future.


Review: The White Guitar

The Conch’s The White Guitar is an exposé on the land of milk and honey, of a dream that has long been lost - if it ever existed. In this autobiographical work, the Luafutu family share their story of Aotearoa, the land of racism, gangs and drugs.


Review: Hine

Dancing in the spaces between divinity and reality, Hine aims to reclaim the sacredness of mana wahine. Its programme evokes lofty dreams, but a mishmash of concepts fails to deliver that experience to the audience.


Review: The Offensive Nipple Show

The Offensive Nipple Show riffs off the nauseating culture of misogyny with a show that is unapologetically nude and outrageously hilarious.


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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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