Sam Brooks

Kaituhi Tūtahi | Contributing Writer

Sam is an award-winning playwright, journalist and lip-sync artist. His award-winning plays include Wine Lips, Queen and Riding in Cars with (Mostly Straight) Boys, which was published by Playmarket NZ Play Series . His writing has been published by NZ Herald, Metro, The Spinoff and The Wireless.

Everything By: Sam Brooks


Tumble turn: A Review of Red Speedo

Director Ben Henson's bold Auckland Theatre Company mainstage debut opened last Thursday. Sam Brooks reviews.


Stripped Back: A Review of Cock

Sam Brooks reviews Cock, a co-presentation between Silo Theatre and Auckland Live.


Paper Shrine: A Review of Amadeus

Sam Brooks reviews Auckland Theatre Company's production of Amadeus


"You're six years old. Mum's in hospital. Dad says she's done something stupid. She finds it hard to be happy." The premise of Every Brilliant Thing is deceptively simple, but Sam Brooks finds it profoundly, and deeply affecting.


The Auckland Fringe Festival 2017: Week Two


Welcome to Our House: A Review of FEMSLICK

FEMSLICK, is one of those rare works where we are well and truly welcomed into the house of the makers. The show is the vision of the artist Akashi Fisiinaua and brought to us by FAFSWAG, an arts collective based in South Auckland that celebrates queer brown bodies, contemporary art and cultural restoration.


Apart from that unfortunate Pop-Up Globe.


Sam Brooks on how a German absurdist comedy unravels our unstable relationship to change, and reveals more about the New Zealand psyche than we realise.


Review: Call of the Sparrows

Call of the Sparrows has all the hallmarks of a debut full-length play, with all the strengths and flaws implied by that label, writes Sam Brooks.


Review: Vanilla Miraka

Sam Brooks reviews Vanilla Miraka, the new show from Hayley Sproull that dovetails two difficult, and deeply personal, processes in a form-defying solo show.


Review: Hook-Up Boys

Sam Brooks reviews Hook-Up Boys, a new collection of vignettes at The Basement that lacks in diversity and variety in its form just as much as in its content.


Review: Medea

Silo Theatre's brilliant production of Kate Mulvany and Anne-Louise Sarks' Medea shifts the focus of this classical Greek story to the children and digs into truths upsetting and relevant.


Review: That Bloody Woman

A rock musical about our country’s most famous suffragette continues The Auckland Theatre Company’s string of successful musicals. That Bloody Woman’s tremendous cast and energetic production more than make up for the flaws of the book.


Review: Dido and Aeneas: Recomposed

The first opera performed at The Basement Theatre aims for deconstruction, but a lack of accessibility prevents an understanding of what Dido and Aeneas: Recomposed is deconstructing in the first place.


Review: To Kill A Mockingbird

Auckland Theatre Company's production of To Kill A Mockingbird has the strong bones of the original, but a dated adaptation struggles to flesh the novel out to its true potential.


"To define Otherness you must know what Other is." We talked to theatre-maker Alice Canton about what drives her to make work and her experiences as both a biracial person and a biracial theatre-maker, and how this informs the world of White/Other.


Interview: Alex Ellis on Miss Jean Batten

Miss Jean Batten is a new play that revolves around the tempestuous life and record-breaking achievements of New Zealand-born aviatrix Jean Batten. We talked to performer and co-producer Alex Ellis about what drew her to Batten and why New Zealanders should be more proud of her.


Review: The Wholehearted

The Wholehearted covers a breadth of experiences but lacks the depth to fully communicate their meaning.


Review: Titus

A critically-acclaimed and darkly comic adaptation of Titus Andronicus returns for a season at the Pop-Up Globe - and you can’t afford to miss it.


Review: Waves

Waves offers two experiences - one enhanced with the programme, and one that takes place without it - and that’s not necessarily a good thing.


Review: The James Plays

The James Plays - the grand, seven-hour trilogy of performances currently on at the Auckland Arts Festival - are less Game of Thrones, more Downton Abbey, writes Sam Brooks.


Review: Tar Baby

Sam Brooks reviews Desiree Burch's Tar Baby - an important, hilarious and angry show about race and our role in it.


Sam Brooks interviews Julia Croft about her feminist theatre show If There's Not Dancing At The Revolution, I'm Not Coming


Review: Polo

Sam Brooks reviews ATCs' new show Polo


Review: Puzzy


Review: Hudson & Halls Live!

Sam Brooks on Silo Theatre's Hudson & Halls Live!, an original commission that dips into the lives of two iconic TV personalities from the 80s.


Loose Canons: Sam Brooks


Review: Not Psycho

Sam Brooks review Fractious Tash's Not Psycho.


Sam Brooks reviews Bullet Heart Club's The Deliberate Disappearance of My Friend, Jack Hartnett

Internet Histories21.06.15

I'm Feeling Lucky: The Forum

Sam Brooks on the SimRTK forums


Review: Enlightenment

Right play, wrong time, wrong place? Sam Brooks on ATC's new production.


Sam Brooks reviews Fallout: The Sinking of the Rainbow Warrior


Review: No More Dancing In The Good Room

Sam Brooks reviews Chris Parker's No More Dancing in The Good Room


Sam Brooks talks about how to bring creativity into bringing spectacle to the stage in Singin' in the Rain.


Review: This is Our Youth

Sam Brooks reviews This Is Our Youth at The Basement


Review: Ushers

Sam Brooks reviews ect's Ushers


On The Book of Everything

Sam Brooks on The Book of Everything, Silo Theatre's first production for 2015


Sam Brooks on how the Best Actress award still puts baby in a corner.


Review: Girl on a Corner

Sam Brooks reviews Girl on a Corner by Victor Rodger


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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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