GILTRAP AUDI PRESENTS
M TO
SCOTT'S
The Daylight Atheist
MA
& DA S E A S O
N
Joan
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SUPPORTING
PA R T N E R S
2019
B E N E FAC TO RS
MEDIA
PA R T N E R S
MAJOR SUPPORTERS
P R I N C I PA L PA R T N E R
UNIVERSITY PA R T N E R
FUNDERS
PA R T N E R S
FUNDER
P R I N C I PA L
PRESENTING
CORE FUNDER
THANKS TO THE SUPPORTERS OF AUCKLAND THEATRE COMPANY
A fresh approach to ICT managed services
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ATC PATRONS AND SUPPORTING ACTS
GILTRAP AUDI PRESENTS
M TO
SCOTT'S
MA
The Daylight Atheist CAST Danny Moffat — Michael Hurst
CREATIVE Playwright — Tom Scott Director — Colin McColl Set Designer — Rachael Walker Lighting and Sound Designer — Sean Lynch Costume Designer — Elizabeth Whiting
& DA S E A S O
N
Joan CAST Joan — Ginette McDonald Young Joan — Kate McGill
CREATIVE Playwright — Tom Scott Director — Tim Gordon Set Designer — Rachael Walker Lighting and Sound Designer — Sean Lynch Costume Designer — Elizabeth Whiting Motion Graphics Designer — Harley Campbell
PRODUCTION
PRODUCTION
Interim Production Manager — Robert Hunte Company Manager — Elaine Walsh Stage Manager — Lucie Camp Technical Manager — Kevin Greene Technical Operator — Zach Howells Props Master — Ruby Read Set Construction — 2Construct
Interim Production Manager — Robert Hunte Company Manager — Elaine Walsh Stage Manager — Karena Letham Technical Manager — Kevin Greene Technical Operator — Zach Howells Props Master — Ruby Read Set Construction — 2Construct
By arrangement with
AUCKLAND THEATRE COMPANY WOULD LIKE TO THANK THE FOLLOWING FOR THEIR HELP WITH THESE PRODUCTIONS: Samuel Scott and Emma at APRA. Tom Scott’s Ma & Da season presented by Giltrap Audi is the first Auckland Theatre Company mainstage season for 2019 and opened on February 9 at ASB Waterfront Theatre. Both plays are approximately two hours long, including a 20-minute interval. Please remember to switch off all mobile phones and noise-emitting devices. 1
Welcome to
Tom Scott’s Ma and Da season presented by Giltrap Audi. We are very pleased to continue our relationship as a presenting partner of the Auckland Theatre Company in 2019 and are delighted that our two Audi Q2 vehicles are of great assistance. The relationship between our businesses has allowed us to share a combined passion for providing valuable experiences for our customers and we hope you enjoy Tom Scott’s Ma and Da season presented by Giltrap Audi.
Gary Periam General Manager Giltrap Audi
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Audi A5 Sportback. Pure imagination.
Giltrap Audi
150 Great North Road, Grey Lynn, Auckland. (09) 336 5250 www.giltrapaudi.co.nz 3
Colin McColl Artistic Director Director of The Giltrap Audi season of Tom Scott’s The Daylight Atheist
Happy New Year. Welcome to Tom Scott’s Ma & Da season presented by Giltrap Audi. Political commentator and cartoonist Tom Scott has traded the political for the personal as he delves into his past and the lives of both his parents in these brutally honest, fiercely funny and moving portraits of his mother and father. From all accounts, they were both extraordinary individuals. They transcended the disappointments and challenges of their upbringings, their immigration from Ireland to New Zealand and their tough lives in rural Manawatū with resilience, charm and an innate sense of humour. Just as you might experience a play or a movie quite differently from the way the person sitting next to you is experiencing it, the idea of presenting these two plays in tandem allows us to look at two people who shared the same experiences but relate them to others in quite different ways: telling both sides of one story. In The Daylight Atheist, Danny Moffat (Tom’s fictitious name for his father) feels more comfortable spinning a yarn to his mates at the pub than dealing with the demands of family life. He’s from the ‘lost adolescence’ generation who went to war to fight for freedom then resented that they lacked the very freedom they fought for. He feels trapped by his situation: no money and an ever-increasing family. Resentful of authority, he’s smart and well read. But this is mid-century rural New Zealand. Mental health support is 4
practically non-existent. With no outlet for his depressive state, he turns to booze and vicious humour for self-protection (or to assuage the guilt he feels). Danny is the life and soul of the party but unable to deal with the reality of what life has dealt him. It wasn’t all bread and roses for Tom’s Mum either. Joan is a poignant and extremely funny love letter to a mother from an ungrateful son. Joan is a tough and indomitable Cork woman whose gusto and wonderfully wicked sense of humour supported her and her family through hard times. All power to Tom for sharing these stories so unflinchingly – in all their pain and humour. And I’m thrilled that powerhouse actors Michael Hurst, Ginette McDonald and Kate McGill have taken on the challenge of these roles for our ASB Waterfront Theatre season. Thanks, too, to my co-director Tim Gordon and our stellar creative team: Rachael Walker (set design), Elizabeth Whiting (costume design), Sean Lynch (lighting and sound design) and Harley Campbell (motion graphic design) and our stage managers Lucie Camp and Karena Letham. I’d also like to acknowledge former ATC Artistic Director Simon Prast and actor Stuart Devenie for their work on the premiere production of The Daylight Atheist in 2002, and Circa Theatre, Wellington, which premiered Joan in January last year. We’ve had a great time bringing Tom Scott’s Ma and Da to life. I know you’ll enjoy meeting them.
No great wine ever came from a spreadsheet. One of the luxuries of being familyowned means everything we do is for the good of what’s in the glass. Our wine is far more important than how many zeros are on our balance sheet. So open a bottle of Villa Maria and experience what passion and dedication taste like.
George, Founder, Owner
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Tim Gordon Director of The Giltrap Audi season of Tom Scott’s Joan
Joan is a play for anyone who has ever
had a mother. I remember, when preparing for our own mum’s funeral – as a family – we had to decide, as many mourners do, what photo should be on her order of service. Should it be the Facebook photo of Mum’s worn but twinkly face with thin, white halo hair, the woman who had raised six boys and buried a husband and a son, or should it be the sepia photo of the young graduate from Teachers’ College - yet to teach generations of new entrants – long curly hair cascading over her high, smooth forehead, full of hope and possibility? After all, both were our Mum. It is intriguing to think of what would have taken place if the younger woman could have met the older woman. In Joan, this question is explored. Tom Scott unfolds the story of his mother, Joan, through a constant conversation between his aged mother, wounded, disappointed and cynical, and her younger self: optimistic, hopeful and open to all life has to offer. 6
The play switches and jumps through time as the old lady’s memories press in, triggered by colours, sounds and smells. She glimpses the people, places and loved ones of the past, and reflects on the hurts, pain and joy. By the end we have travelled the arc of Joan’s life from a humble, but magical and mystical, childhood in Southern Ireland between the two World Wars, to raising six children in gruelling, reduced circumstances in small-town New Zealand with an angry, alcoholic husband. In the end, Joan finds a measure of qualified peace and contentment in a genteel retirement home in Hawke’s Bay. Joan, like all of us, is the sum of the people who impacted her life and their expectations, the social milieu in which she found herself, those imposed values, and her response to love and loss. Thanks to the Scott family for sharing their mum with us. Joan is more than a celebration of the resilience of one wonderful mother and grandmother. Joan holds a little of everyone’s mum.
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8
Tom Scott Playwright
It was a sunny summer Sunday afternoon. We had visitors. We only ever had visitors on Sunday afternoons. That’s when families went out for Sunday drives or parents went into master bedrooms telling their children it was ‘quiet time’ and a heavy, suffocating silence descended up and down Kimbolton Road as bored kids played listlessly while their mothers and fathers rooted as quietly as possible at the far end of the house. Not at our place. The verandah was packed with singlet-wearing men, who had been in the RNZAF with my father, drinking flagon beer. Their wives in print frocks sipped sherry; some of them had come to New Zealand on the same boat with my mother, my twin sister Sue and me. Scottish, Irish, Cockney and Yorkshire accents Morris-danced and jigged in a happy babble. On the lawn, children wobbled about on stilts or raced around on bikes in competitions made up on the spot. Inevitably, there were collisions, abrasions, accusations and sobs. My father’s caustic, broken-glass Ulster tones blasted out. There is no such thing as a bad parent. There are only bad children. It was a thrill hearing him make other parents laugh. It gave him such power and appeal. When mum arrived with tea and biscuits on a tray, he said he would be ‘mother’ and poured from a great height – amazingly spilling nary a drop. What does that remind of ye of, girls, a yellow fluid, hot and steaming,
emerging from a tube with a droop in it? The wives giggled. Mum pretended to be amused as well. Isn’t he wicked, girls? Isn’t he wicked? Pay him no mind! This gave the wives permission to laugh openly. Observing this, it occurred to me that my mother and father were different from everyone else’s parents. People were hugely amused by both of them. There was a raw, sometimes cerebral, sometimes cruel edge to my father’s humour – which made him fascinating and dangerous. Mum’s comedy was kinder, accidental and unintentional - which made her immensely endearing. Neighbours calling in to see her one morning found her snoozing on a couch: hardly surprising when she did laundry for six kids and a husband who spread slag and sprayed 245T for a living in a wood-fired copper. Rather than disturb her, they returned a few hours later telling her that they had found her fast asleep earlier. Mum found this hard to believe. I was not sleeping. And if I was, I didn’t know I was… They were the only parents I ever had. It wasn’t always much fun but I feel blessed now to have been brought into this world by them. I hope you find them entertaining as well. Opposite page, clockwise from top left: Tom Scott Sr, Joan Scott and children, Joan Scott, Tom Scott Sr with children, Tom Scott Jr and Sue, Tom Scott Jr and friends, Tom Scott Jr with Michael and Sally. 9
MICHAEL HURST
Cast THE DAYLIGHT ATHEIST MICHAEL HURST Danny Moffat In a career spanning more than 40 years, Michael Hurst has worked as both actor and director across theatre, film and television. Major roles include Hamlet, Macbeth, Mozart, Mark Rothko in Red by John Logan, Ko-ko in Gilbert and Sullivan’s The Mikado, Macheath in Bertolt Brecht’s The Threepenny Opera and, most recently with Auckland Theatre Company, Salieri in Peter Shaffer’s Amadeus (2017). Michael has directed many acclaimed productions, including Chicago, Lysistrata (his own adaptation), Hamlet, Macbeth, King Lear, Twelfth Night, Cabaret, Brel, The Threepenny Opera, Pleasuredome and The Changeling. In 2018, he toured New Zealand with his solo show No Holds Bard, and performed the role of The Poet in An Iliad by Lisa Peterson and Dennis O’Hare, which was recognised as the performance of the year at the annual Dunedin Theatre Awards. Internationally renowned for his performance as Iolaus in the long- running US television series Hercules: The Legendary Journeys, Michael has also directed a number of television
GINETTE McDONALD
KATE McGILL
TOM SCOTT’S MA & DA SEASON PRESENTED BY GILTRAP AUDI dramas, including Westside, The Almighty Johnsons, Spartacus, 800 Words and Legend of the Seeker. He has just completed shooting The Dead Lands for AMC, a series based on the New Zealand feature film of the same name. Michael is an Officer of the New Zealand Order of Merit, a New Zealand Arts Laureate and a proud member of Equity New Zealand.
JOAN GINETTE McDONALD Joan Ginette McDonald’s career began as a teenager on the boards of Downstage Theatre. She devised the Kiwi comedy icon Lyn of Tawa in the early ‘70s, followed by a five-year acting stint in the UK. As an actress, director and producer, she has done an enormous amount of theatre, television and radio in New Zealand, England and Scotland and has won numerous awards for acting, television-producing and public speaking. In 2007, she was awarded the Officer of the New Zealand Order of Merit for services to entertainment. Ginette is the mother of Kate McGill. KATE McGILL Young Joan
Kate McGill is a graduate of Toi Whakaari: New Zealand Drama School with a Bachelor of Performing Arts (Acting). Since graduating, Kate has worked extensively as an actor, in casting and as a director in theatre, television and film. In 2010, she worked with the prestigious New York company Tectonic Theater Project in the USA; this contributed towards the development of several verbatim works within New Zealand, including Munted, The Laramie Project: 10 Years Later, Job, and Weave. In 2015, Kate was the artistic director intern at Red Leap Theatre, flexing some new muscles, quite literally, and developing work. Kate is the co-creator/performer of comedy pop-musical Album Party which toured Wellington and Auckland between 2016 and 2017. Kate recently finished a successful season of Weave – Yarns with New Zealanders at Basement Theatre and BATS Theatre, which was followed by a sell-out season of Tom Scott’s Joan at Circa Theatre. Screen credits include: Liza in The Brokenwood Mysteries Season 2, Sarah in Girl vs Boy Season 1, Selina in Home by Christmas. Kate’s last foray with Auckland Theatre Company was in The Haka Party Incident for The Navigators season; she is very pleased to be reprising her role as the younger Joan with ATC. 11
In rehearsal
Photo credit: Brad Fisher
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TOM SCOTT
COLIN McCOLL
TIM GORDON
Creative TOM SCOTT Playwright (The Daylight Atheist and Joan) In the late 1960s, Tom Scott studied Veterinary Science at university; he hated it. He graduated with a degree in physiology and briefly taught biology before ending up writing and illustrating a weekly satirical column on politics in the magazine with the largest circulation in the country, The New Zealand Listener. He has been columnist of the year twice and cartoonist of the year six times. In 2007, he was one of 17 editorial cartoonists from around the world invited to a ‘Cartoonists for Peace’ conference in Rome sponsored by the UN and the Italian government. Two of his cartoons are part of the permanent collection at the Caen Memorial Museum, Centre for History and Peace in Normandy. He also writes for stage, television and screen. Writing highlights include animated feature film Footrot Flats, which won a New Zealand Film and Television Award for best script, film Separation City, telefeature Rage, telefeature The Kick, six-part drama series Hillary and best-selling memoir Drawn Out.
“THANKS TO my utterly unique parents and my brilliant brothers and sisters who shared them with me, Averil who encouraged me to keep going when I was lost writing The Daylight Atheist and to Simon Prast for assuring me I had arrived safely when he read the first draft.” COLIN McCOLL Director (The Daylight Atheist) Colin McColl has directed for the Norwegian National Theatre and the Dutch National Theatre, and has led New Zealand and Australian theatre companies. He is the only New Zealand director to be invited to present his work (Hedda Gabler) at the official Edinburgh Festival. The production played to great acclaim and also was presented at other festivals around the world. Colin has won Best Director at the Chapman Tripp Theatre Awards several times – including for his Circa Theatre production of A Doll’s House. In 2015, Colin directed Emily Perkins’ new version of Ibsen’s A Doll’s House for Auckland Theatre Company. He has directed nearly 50 productions for Auckland Theatre Company. His opera-directing credits include Quartet (New Zealand International Arts Festival 2004), La Bohème
(Wellington City Opera), The Italian Girl in Algiers, The Marriage of Figaro and The Prodigal Child (New Zealand Opera). In 2009, he remounted his production of The Italian Girl in Algiers for the Scottish Opera. In November 2007, Colin became a New Zealand Arts Laureate and was named an Officer of the New Zealand Order of Merit in June 2010. TIM GORDON Director (Joan) Tim Gordon has been involved in theatre as a performer, an actor, an actors’ agent, a producer, a director, a writer, an administrator and a communications coach. As a screen actor, Tim’s highlights include grieving fathers, numerous police officers and even an All Blacks coach. He is an experienced stage actor and Chapman Tripp Theatre Awards nominee. As one of the original founders and artistic directors of The Improvisors, a corporate theatre company which provides unique training and entertainment services to businesses, he has worked extensively over the past 28 years in the government and corporate sectors. He directed the premiere season of Joan at Circa Theatre this time last year. 13
Creative RACHAEL WALKER Set Designer (The Daylight Atheist and Joan) With a passion for theatrical set and prop design, Rachael Walker has spent the past 18 years amassing more than 100 projects as a professional designer. She has collaborated with New Zealand Opera, Silo Theatre, The New Zealand Dance Company, The Court Theatre, Tim Bray Productions, Auckland Arts Festival, NZ International Comedy Festival, Unitec School of Performing and Screen Arts, Auckland Philharmonia Orchestra, Canterbury Opera, The Actors’ Program and many, many independent production companies. For Auckland Theatre Company, her works include Under the Mountain, Last Legs, Nell Gwynn, Venus in Fur, That Bloody Woman, You Can Always Hand Them Back, Lysistrata, The Ladykillers, The Lollywitch of Mumuland, Other Desert Cities, Polly Hood in 14
Mumuland, Anne Boleyn, Kings of the Gym, The Gift, In the Next Room (or The Vibrator Play), Calendar Girls, God of Carnage, Who Needs Sleep Anyway?, End of the Rainbow, The Tutor, The Bach, The Vagina Monologues, Play 2 and Play 2.03. She won Excellence at the Auckland Theatre Awards in 2017 for Nell Gwynn, in 2016 for ATC/The Court Theatre’s production of That Bloody Woman and in 2014 for Silo Theatre’s production of Angels in America. Rachael was the 2008 URBIS Best Stage Designer. SEAN LYNCH Lighting and Sound Designer (The Daylight Atheist and Joan) Sean Lynch has been working in New Zealand professional theatre for more than 30 years. He is a musician, actor and lighting and sound designer. Previous sound designs include Havoc in the Garden, Flintlock Musket, Yours Truly, I Love You Bro, Tribes, The Pitchfork
RACHAEL WALKER
Disney, The Heretic, Polo and Hir. Previous lighting designs include Brel, Speaking in Tongues, Chicago, Angels in America, Belleville, A Streetcar Named Desire, Once on Chunuk Bair, Jesus Christ Superstar, Hudson & Halls Live!, The Book of Everything, Live Live Cinema’s Little Shop of Horrors and Rendered. ELIZABETH WHITING Costume Designer (The Daylight Atheist and Joan) Elizabeth Whiting has designed costumes for New Zealand Opera, Auckland Theatre Company, Silo Theatre, The Court Theatre, Red Leap Theatre, Okareka Dance Company, Black Grace, Douglas Wright Dance Company, Michael Parmenter, Atamira Dance Company, Shona McCullagh, Royal New Zealand Ballet, Pop-Up Theatre London for the Edinburgh International Festival and The World of WearableArt core show in Wellington for six years.
SEAN LYNCH
ELIZABETH WHITING
In 2010, she won the Chapman Tripp Theatre Award for Costume Design for The Arrival (Red Leap Theatre). She represented New Zealand at the Prague Quadrennial of Performance Design and Space in 2003 with her costumes for Falstaff and, again, in 2007, with a team of designers who created the exhibition Blow. Her designs for The Marriage of Figaro have been presented in Seattle, and her costume designs for Tosca in Perth had a great reception. Recently, Elizabeth has designed costumes for Uncle Vanya (The Court Theatre), Kororāreka: The Ballad of Maggie Flynn (Red Leap Theatre), Kiss the Sky (The New Zealand Dance Company), Blonde Poison (Plumb Productions) and Nell Gwynn (ATC). Her costume designs were seen in the successfully remounted productions of Hudson & Halls Live! and The Mooncake and the Kūmara. In 2018, she designed La Bohème for New Zealand Opera, The Cherry
HARLEY CAMPBELL
Orchard and Shortland Street – The Musical for ATC and Here Lies Love for Silo Theatre. HARLEY CAMPBELL Motion Graphics Designer (Joan) Over the course of his 10-year career as a designer and motion graphics artist, Harley Campbell has produced graphics and visual effects for a range of different projects, including short films, commercials and music videos. He has also worked extensively in the events and experiential industry, bringing his creative vision to large-scale conferences, awards shows and interactive multimedia performances. Harley’s first foray into the world of theatre was for the 2018 ATC production of Rendered. He has thoroughly enjoyed transferring his experience and passion into this exciting new domain and is especially excited to be invited back for the Giltrap Audi season of Tom Scott’s Joan. 15
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The ‘Fifties’ Tom Scott talked to Max Cryer about small-town life in the 1950s… a lifestyle which gradually evolved towards the paternal fireworks of the following decade – Tom’s concept of The Daylight Atheist.
by Max Cryer
In 1949, Tom Scott (aged two), his mother and twin sister left London to join Tom’s father – a member of the Royal Air Force who had been posted to New Zealand. The family found that living on the outskirts of Feilding was very different from the thatched cottage in Ireland where Joan Scott had been raised, or life in the bustle of London where the children were born.
Tom describes Feilding in the 1950s and ‘60s in two words - “unspeakably dreary”. Its population then was just under 6,000, and life was in the rhythms of 1950s’ New Zealand. There was a Post Office Savings Bank, an agricultural college, a community centre, a Masonic Lodge, two movie theatres (referred to as “the flicks”) and a mid-town pie cart “which did a roaring trade”. Close
631343636 – Photo of customers of the Porirua Tavern drinking inside the pub on the last day of six o’clock closing, October 1967. 17
by was a small aerodrome (Feilding had had an enthusiastic aero club since the 1930s) and a railway station serving six trains a day. Parked cars were often not locked – only the super-cautious locked them – with an actual key. And there were no seat belts or traffic lights. Telegrams were usually delivered… often on a bike... and every phone in New Zealand was connected by wire to every other phone. “Heroes were distant creatures,” Tom remembers – “Ed Hillary stepped on the top of Everest, Peter Snell won gold medals, Bob Charles won the British
. .. there was a remaining residual doubt that seemed to look askance at married women becoming working women. Open… and introduced the new ‘action gusset’ for armpits. But, in Feilding, you could fire a canon down the main street during rush hour and, if you hit anyone you’d be doing them a favour.” Alcohol was sold in bars up to 6pm – often to Scott senior, who, with the help of alcohol, was gradually leaning towards the ‘daylight atheist’ image which Tom created of him. “My father would often say that life in New Zealand didn’t just pass you by – it crossed to the other side of the street when you saw it coming.” 18
Before signs of the Common Market, New Zealand was sometimes referred to as a ‘food basket for Britain’ and the 1950s were considered prosperous (… though this ‘prosperity’ didn’t necessarily trickle down to everyone). Clothing and associated items would be sold at the haberdashery, and the word ‘metric’ had not yet been heard fabric was sold in yards, feet and inches. In the 1950, New Zealand did its household shopping at the grocer, then bought fruit and veg from the greengrocer, meat from the butcher and fish from the fish shop, with milk, ice creams, eggs and newspapers from the dairy. All were paid for with pounds, shillings and pence. Supermarkets and dollars came much later. Tom Scott recalls that his mother was unfamiliar with some of the local produce and customs. When she was asked to a ‘Ladies a plate’ function – “she took an empty plate”. And, when given a gift of whitebait, “she used a razor blade to try and gut each one and remove the little black eyes”. Like most housewives, her home ‘washing’ was done by boiling the clothes in a copper. Men went to a barber… and most typified Peter Cape’s famous 1960 line: “Got a real Kiwi haircut – a bit off the top, and short back and sides.” Brylcreem was the favoured dressing – and men’s hair was nearly always given a parting. Nobody ever knew why. It was just - a custom. Television was more than a decade into the future. But radio brought effervescent Aunt Daisy into every New Zealand home every weekday morning, with her incredible 200 words a minute – every word crystal clear – and with a catchy enthusiasm which couldn’t
be faulted. In the evenings, her popularity was matched by Selwyn Toogood’s radio quiz – It’s in The Bag. The powerful influence of fashion applied, even in domestic context; Tom Scott’s mother, wanting to ‘update’ her kitchen, glued imitation Formica onto a tabletop of beautiful, genuine kauri. Tom transferred the real-life incident into Danny Moffat, The Daylight Atheist, publicly scorning his ‘dingbat wife’. In the 1950s, post-war social and professional perceptions of women were undergoing some changes. Even Princess Elizabeth was photographed wearing trousers working with the women’s Auxiliary Territorial Service. And, when the war was over, increasing numbers of women started to wear various forms of trousers… always called ‘slacks’. Post-war, the concept of ‘women going to work’ was not yet entirely acceptable. There were approved areas of female employment: nursing, school teaching and in womenswear shops, and, sometimes, in offices and as toll call operators. But there was a remaining residual doubt that seemed to look askance at married women becoming working women.
A sheep in a barber’s shop, Wellington. Evening post (Newspaper. 1865-2002): Photographic negatives and prints of the Evening Post newspaper. Ref: EP/1959/1740-F. Alexander Turnbull Library, Wellington, New Zealand. Women working in a garment factory. Ref: WA-24539-F. Alexander Turnbull Library, Wellington, New Zealand. Aunt Daisy, also known as Maud Ruby Basham. Ref: 1/2-046733-F. Alexander Turnbull Library, Wellington, New Zealand. 19
The male of the species retained some imagery of New Zealand’s earlier ‘settler’ days – to which men had made an effective major contribution. The ‘farmer’ and ‘controlling nature’ and ‘rural strength’ images, even though being of rural aspect, remained in some way in urban imagery. Men were expected to be able to take care of everything and be able to fix anything with fencing wire. They were also expected to have a kind of modesty – being ‘pushy’ didn’t go down well. Tom Scott’s mother announced she was going to get a job in a shirtmaking factory. This didn’t figure in the ‘usually approved’ avenues for women’s employment – especially for those who were mothers. The six Scott children pleaded with her not “to go to work” – which would deflect embarrassment on them – even by schoolmates. But she did – and was able to buy her first Hoovermatic washing machine. Discord within a marriage attracted from others even more pronounced discomfort – a stigma attending any woman who had been part of a ‘broken
home’ – or, worse, divorced. She was called a ‘divorcee’. But curiously there was not (and still is not) a male equivalent word to describe a divorced man! The decade following the rather straight-laced 1950s, slowly brought radical changes to the New Zealand lifestyle. Apart from superficial alterations in currency, measurement and retail diversity - there were gradual influences altering lifestyles and attitudes. For instance, there was the introduction of television, and the rising attention to a New Zealand singer called Johnny Devlin – presenting an exotic sound known as ‘rock’. And there was the development of a ‘social network’ (which hadn’t existed in the 1950s) for people or families in distress… Plus - the perception of employment suitability was gradually turned upside down. A female Prime Minister? Governor-general? Editor? Managing Director? Inconceivable in the 1950s. Fifty years later – didn’t cause a blink.
Tom Scott Jr and
Kate McGill and
Kate McGill
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Joan Scott
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What’s on at the ASB Waterfront Theatre Auckland Arts Festival 2019 presents
Auckland Arts Festival 2019 presents
As It Stands
A Man of Good Hope
By Ross McCormack/Muscle Mouth
Isango Ensemble/Young Vic Based on the book by Jonny Steinberg
8 – 10 March
Bold, breathtaking and bracing, As It Stands is a powerful, awe-inspiring new dance work from New Zealand dance visionary and recently awarded Arts Laureate, Ross McCormack, and his company Muscle Mouth. Technically astonishing and visually arresting, As It Stands unites impressive scale, lighting and soundscapes with McCormack’s renowned choreography into a remarkable work that pushes the limits of virtuosic dance and design.
14 – 18 March
Escaping the ravages of civil war, eight-yearold Asad is a street-smart survivor. Hustling his way from a refugee camp to the shanty towns of Ethiopia, Asad sets his sights on the bright lights of South Africa. But the tough reality of this promised land sends our resilient hero on a whole new, perilous adventure.
Auckland Arts Festival 2019 presents
Lunchbox Theatrical Productions presents
Ulster American
The Mousetrap
By David Ireland
By Agatha Christie
20 – 24 March
2 – 7 April
An actor, a director and a playwright clash with explosive results in this outrageous, gasp-inducing black comedy – winner of the coveted Carol Tambor Best of Edinburgh Award for 2018. The Oscarwinning actor, determined to connect with his Irish roots. The up-and-coming British director who dreams of success. And the Northern Irish playwright, desperate for her voice to be heard.
The West End’s legendary murder mystery drama The Mousetrap is the longest-running show, of any kind, in the world, and is now in its 66th incredible year. Written by the bestselling novelist of all time (creator of Miss Marple and Poirot) and the ‘Queen of Crime’, Dame Agatha Christie, The Mousetrap has kept audiences guessing for six decades.
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At Regal Drycleaners, our goal is to help you feel good, by looking good. You can book a pick-up online with Regal Direct or find us in Newmarket, Ponsonby and Eastridge. We’re coming soon to Takapuna.
PRODUCTION CREDITS: BLUE SKIES written by: I Berlin. Berlin Irving Music Corp. Administered by: Universal Music Publishing. FEILDING CIVIC CENTRE, AORANGI STREET image is used with permission. Stuff/Manawatū Standard.
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MAKE A NIGHT OF IT at Halsey St Kitchen, ASB Waterfront Theatre. Dine from our pre-show summer menu made with fresh, local ingredients.
PRE-SHOW DINING BEFORE EVERY EVENING PERFORMANCE | PHONE (09) 632 1962 27
AUCKLAND THEATRE COMPANY
BOARD OF DIRECTORS
Artistic Director Colin McColl ONZM
Chair: Gordon Moller ONZM Vivien Bridgwater Karen Fistonich Isaac Hikaka Katie Jacobs Derek McCormack Graeme Pinfold We acknowledge The Theatre Foundation Trustees for the philanthropic support provided to Auckland Theatre Company activities.
Interim General Manager Anna Cameron Creative Development Associate Director: Lynne Cardy Literary Manager: Philippa Campbell Youth Arts Coordinator: Nicole Arrow Production and Premises Interim Production Manager: Robert Hunte Company Manager: Elaine Walsh Venue Technical Manager: Josh Bond Venue Technician: Johnny Chen Marketing and Communications Marketing and Communications Manager: Natasha Gordon Publicists: Siobhan Waterhouse, Vanessa Preston and Miryam Jacobi Graphic Designer: Wanda Tambrin Marketing Campaigns Manager: Nicola Brown Digital Marketing Coordinator: Brad Fisher Visitor Experience Ticketing and Front of House Manager: Gary Barker Food and Beverage Manager: Richard Pepper Front of House Manager: Ralph Corke Ticketing Administrator: Joni Nelson Ticketing Executive: Melissa Handley FoH Supervisor: Eliot Youmans Subscriptions Assistant: Anna Thomas Development and Venue Sales Development Manager: Emma Burton Development Coordinator: Simon Tate Events and Sales Manager: Tracey Rowe Event Coordinator: Romana Trego Business Development Manager: Geeling Ching Administration and Finance Finance Manager: Kerry Tomlin Senior Accountant: Nick Tregerthan Senior Accounts Administrator: Michelle Speir Company Administrator: Jan Pitout Administration Coordinator: Jade McCann Executive Administrator: Natasha Pearce Mana Whenua Cultural Advisor Herewini Easton
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CONTACT ATC 487 Dominion Road, Mt Eden PO Box 96002 Balmoral, Auckland 1342 P: 09 309 0390 F: 09 309 0391 atc@atc.co.nz atc.co.nz ATC PATRONS Margot and Alastair Acland Margaret Anderson John Barnett Michelle Boag Peter Tatham and Adrian Burr Paul and Barbie Cook Roger and Maryanne Dickie Guy and Nicole Domett Kim and Annette Ellis Trevor and Jan Farmer Stephen and Virginia Fisher Stuart Grieve and Antonia Fisher Cameron Fleming Rob Nicholson and Ruth Foreman Michael Friedlander Dame Jenny Gibbs Michael and Stephanie Gowan Ross and Josephine Green Sue Haigh Rod and Penelope Hansen Catherine and Michael Hapgood Allyson and Paul Harvey Jessica Miles and Isaac Hikaka Anne and Peter Hinton Ros and Greg Hinton Michael and Dame Rosie Horton Rod and Julie Inglis Sally and Peter Jackson Len and Heather Jury Simon Vannini and Anita Killeen Ross and Paulette Laidlaw Philippa Smith-Lambert and Chris Lambert Margot and Paul Leigh Sir Chris and Lady Dayle Mace Robert Johnston and Stella McDonald Jackie and Phillip Mills Andrew Gelonese and Michael Moore Christine and Derek Nolan
Denver and Prue Olde Peter Macky and Yuri Opeshko Heather Pascual Barby Pensabene Hon. Dame Judith Potter Maria Renhart Robyn and Malcolm Reynolds Fran and Geoff Ricketts Mark and Catherine Sandelin Dale Dâ&#x20AC;&#x2122;Rose and Mike Smith Janmarie Thompson and Joanna Smout Lady Tait Julie and Russell Tills Pip Muir and Kit Toogood Susan and Gavin Walker Sir James Wallace Greg Blanchard and Carol Weaver Ian Webster Dona and Gavin White Fran Wyborn Annemarie Yannaghas ATC 2018/19 SUPPORTING ACTS Standing Ovation Brian and Pam Stevenson Matthew Olde and Jacqui Cormack Sandy and Alan Bulmer Scott and Louise Wallace Curtain Call Anonymous Take A Bow Paul and Bev Le Grice Sandra Greenfield Marianne Willison Nicola Jeffares Ian Forrest Mindy Levene Rosemary Langham Terry Hibbit Louise Mountfort Shane Compton Applause Selwyn Bennet Geoff Dalbeth Bernard Kendall Claire Abel John and Barbara Lindsay Lyndell Simmonds Don and Lyn Jaine ATC welcomes Supporting Acts donations throughout the year. CONTACT BOX OFFICE ASB Waterfront Theatre 138 Halsey Street, Wynyard Quarter Subscriber Hotline: 09 309 3395 General Box Office: 0800 ATC TIX (282 849) boxoffice@atc.co.nz
GOLD PARTNERS
THE CHARTWELL TRUST LOU & IRIS FISHER CHARITABLE TRUST PUB CHARITY
SILVER PARTNERS
TRUSTS AND FOUNDATIONS
PROJECT FUNDERS
PROJECT PARTNERS
PLATINUM PARTNERS
MAJOR FUNDERS
FOUNDING CORPORATE PARTNERS
FOUNDATION PARTNERS
THANKS TO THE SUPPORTERS OF THE
SIR JOHN LOGAN CAMPBELL RESIDUARY ESTATE SKYCITY AUCKLAND COMMUNITY TRUST
FOUNDING BENEFACTORS, PATRONS AND DONORS 29
“BIG-HEARTED” SYDNEY MORNING HERALD
16 MARCH – 6 APRIL Q THEATRE, 305 QUEEN ST. BOOK: 09 309 9771 / atc.co.nz BY ARRANGEMENT WITH:
I N A S S O C I AT I O N W I T H :
P R I N C I PA L F U N D E R S :