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PRINCIPAL FUNDERS
Thanks to the supporters of Auckland Theatre Company
PRESENTING PARTNERS
Adapted by Eleanor Bishop, with the cast. Original poetry by Hadassah Grace.
CREATIVE Playwright — George Bernard Shaw Director — Eleanor Bishop Set and Costume Designer — Tracy Grant Lord Lighting Designer — Jennifer Lal Sound Designer — Te Aihe Butler
MAJOR SUPPORTERS
FUNDER
CORE FUNDER
UNIVERSITY PARTNER
CAST Mrs Kitty Warren — Jennifer Ward-Lealand Sir George Crofts — Stephen Lovatt Rev. Samual Gardner — Cameron Rhodes Vivie Warren — Karin McCracken Frank Gardner — Jack Buchanan Praed — Tawanda Manyimo Liz — Hadassah Grace
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AUCKLAND THEATRE COMPANY WOULD LIKE TO THANK THE FOLLOWING FOR THEIR HELP WITH THIS PRODUCTION: Troy Caltaux – Image Centre Group, our friends from Vodafone NZ and John Keane.
SUPPORTING PARTNERS 2018 BENEFACTORS
PRODUCTION Production Manager — Joel Crook Company Manager (Maternity Cover) — Eliza Josephson-Rutter Stage Manager — Ruth Love Assistant Stage Manager — Gina Heidekruger Technical Manager — Nik Janiurek Design Coordinator — Rachael Walker Lighting Operator — Zach Howells Sound Operator — Philip Jones Flytechs — Jamie Blackburn and Nik Janiurek Props Master — Amy Snape Wardrobe Supervisor — Mary Poor Set Construction — 2Construct
Contains strong language, sexual themes and strobe lighting.
ATC PATRONS AND SUPPORTING ACTS
The MiNDFOOD season of Mrs Warren’s Profession is the fourth Auckland Theatre Company mainstage production for 2017/18 and opened on May 3 at ASB Waterfront Theatre. The production is approximately two hours long and includes a 20-minute interval. Please remember to switch off all mobile phones and noise-emitting devices.
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COMMUNIT Y � CULTURE � HEALTH � BEAUT Y � ST YLE DÉCOR � TR AVEL � FO OD � DRINK � NET WORK
WELCOME TO THE MiNDFOOD SEASON OF MRS WARREN’S PROFESSION
IS PROUD TO BE AN AUCKLAND THEATRE COMPANY MEDIA PARTNER FOR 2018
We are delighted to be associated with Auckland Theatre Company as a media partner for 2018. It’s exciting to witness Artistic Director Colin McColl and the ATC team create provocative theatre experiences that showcase the incredible range of talent we have in this country. We are proud to be a part of this journey, bringing theatre to life in such a beautiful, state-of-the-art building. MiNDFOOD is all about smart thinking and we have featured Jennifer Ward-Lealand within the pages of our magazine over the years. It seems fitting that MiNDFOOD is the proud sponsor and partner in this production where Ward-Lealand’s extraordinary talent will be showcased. I am excited to see her feature in the MiNDFOOD season of Mrs Warren’s Profession: another impressive character, I’m sure, and one we will celebrate and talk about. Isn’t that what going to the theatre is all about? We are transported to another realm for a moment of time and become part of something very special. There is nothing quite like going out and having a great night at the theatre. It is smart thinking indeed, much like MiNDFOOD and Auckland Theatre Company. Enjoy!
Michael McHugh MiNDFOOD Editor-in-Chief
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Welcome from MiNDFOOD
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Artistic Director Colin McColl
GEORGE BERNARD SHAW was an irresistible force in early 20th-century British playwrighting with works like Major Barbara, Saint Joan, Heartbreak House and Pygmalion (later to be the basis for the musical My Fair Lady). Shaw has been much neglected on New Zealand theatre stages. In fact, Auckland Theatre Company has never presented one of his plays. However, Eleanor Bishop is pulling Mr Shaw back into the zeitgeist with this refreshing adaptation of Mrs Warren’s Profession, the notorious seriocomedy about women, work, economics and timeless mother-daughter tensions. It was written in 1893 (banned from the public stage in Britain until 1925) and the 1905 Broadway production opened to a storm of controversy; the police were called in and all the actors arrested! Eleanor herself is no stranger to provocation. Last year, for ATC’s HERE & NOW Festival, she fearlessly shook up the iconic New Zealand drama, Greg McGee’s Foreskin’s Lament, to challenge off-field rugby culture and assumptions about the Chiefs’ stripper incident. As one of the founders of The PlayGround Collective, Eleanor has racked up an impressive reputation for innovative, edgy theatre that has been winning accolades and prizes nationally and internationally. Her production of Body Double recently played to sell-out audiences during the Auckland Arts Festival. She is definitely one of the bright hopes for the future of New Zealand theatre and it’s a great pleasure to have her with us at ATC, directing her first mainstage work for us. She’s assembled a stellar cast of actors, headed by Jennifer Ward-Lealand in the titular role, and a firstrate creative design team to realise her vision. Huge thanks to them all and good luck for a provocative and sparkling season of this great play. Enjoy!
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Artistic Director’s Notes
Director Eleanor Bishop
THE SEED of this production came from BOYS, an adaptation of Foreskin’s Lament, by Greg McGee, I wrote and co-directed with Julia Croft for Auckland Theatre Company’s HERE & NOW Festival last year. Media reporting on the assault of a stripper by members of the Chiefs rugby team formed a section of the piece and, in the course of my research, I read some of Hadassah Grace’s eloquent writing on the Chiefs and her own experiences as a stripper. I had debated prostitution law reform as a highschool debater and was proud that New Zealand decriminalised sex work in 2003. In 2015, Amnesty International announced its support for the decriminalisation of sex work and prominent feminists such as Lena Dunham came forward to oppose the proposal. Gloria Steinem reiterated her comments that sex work was ‘commercialised rape’. I am drawn to investigate the thorny issues within contemporary feminism and the treatment of sex work remains one today, despite clear evidence that decriminalisation makes sex workers safer and reduces stigma. In New Zealand, even though sex work has been descriminalised, it can still be seen as morally suspect or problematic. Workers still suffer from high levels of stigma as the media discussion of street-based sex workers in South Auckland and Christchurch will attest. In this production, I wanted to examine sex work and the questions it raises for all of us about women, work, the body, capitalism, consent, agency and ‘respectability’. In working on this piece, my affection for George Bernard Shaw has only grown. I am continually startled that he wrote this progressive and prescient play more than a hundred years ago. My deepest thanks and respect to the sex workers with whom I spoke, who shared with me their experiences and opinions, and allowed me to test the limits of my knowledge and ideas in their company. Thank you to the academics who shared their research with me: Lynzi Armstrong and Gwyn Easterbrook-Smith of Victoria University, and Carisa Showden and Pani Farvid of The University of Auckland. Thank you to the design and production team for the opportunity to work on this scale, and to the cast for working so hard with me on bringing this play into the present day and for giving so much of themselves to this work. Thank you to Colin McColl and Philippa Campbell for supporting me through this entire process, particularly with the adaptation. FOR MORE, CHECK OUT: Sex work is integral to the feminist movement Tilly Lawless, TED Talk Instagram: @Jaqthestripper New Zealand Prostitutes Collective nzpc.org.nz Zoë Lawton #metoo blog, law in New Zealand zoelawton.com/metoo-blog.html Director’s Notes
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JENNIFER WARD-LEALAND
STEPHEN LOVATT
CAMERON RHODES
KARIN MCCRACKEN
JACK BUCHANAN
CAST JENNIFER WARD-LEALAND TE ATAMIRA Mrs Kitty Warren
Since training at Auckland’s influential Theatre Corporate, Jennifer Ward-Lealand has worked extensively in theatre, film, television, musical theatre and radio for more than 35 years. Jennifer was a founding board member of Watershed Theatre and a co-founder of The Actors’ Program. She is currently President of Equity New Zealand and Patron of Q Theatre, and serves as a trust board member of Arts Regional Trust and The New Zealand Actors Benevolent Fund. In the 2007 New Year’s Honours List, she was named an Officer of the New Zealand Order of Merit for services to theatre and the community. For Auckland Theatre Company, her work includes Twelfth Night, Le Sud, August: Osage County, The Heretic and Lysistrata. For Silo Theatre, she has performed in The Goat, That Face, Berlin, Brel (Metro magazine’s #1 Cultural Experience 2012) and The Book of Everything (Best Ensemble and Excellence Awards, Auckland Theatre Awards 2015). Jennifer tours her Marlene Dietrich Cabaret, Falling in Love Again, throughout New Zealand and Australia. Jennifer’s film work includes The Footstep Man, Desperate Remedies, The Ugly, Fracture and the new New Zealand feature film Vermilion (releasing in September 2018). Television and web series include Full Frontal, Xena: Warrior Princess, Hercules: The Legendary Journeys, Duggan, Auckland Daze, The Almighty Johnsons, Awkward Love, High Road, Friday Night Bites, The Ring Inz II and Dirty Laundry. STEPHEN LOVATT Sir George Crofts
Stephen Lovatt has performed in theatre, radio, television and cinema throughout New Zealand, Australia, Canada and the US over the last 30 years. Television credits include Top of the Lake, Hope and Wire, Ash vs Evil Dead 2 and Spartacus: Gods of the Arena. Stephen has recently finished playing Pompeii in the Roman Empire II for Stephen David Productions and was on New Zealand television playing Detective Sergeant Don Allan in Screentime’s Resolve. Previous work for Auckland Theatre Company includes Billy Elliot the Musical, Fallen Angels, Enlightenment and Rupert, with particular highlights being King James in Anne Boleyn and Colonel Malone in Once On Chunuk Bair. Other theatre highlights include When the Rain Stops Falling, Tom Stoppard’s The Real Thing, Angels in America and The Only Child produced by Silo Theatre. Recently, Stephen starred in Rob Tappert’s 2017 sell-out season of Pleasuredome and has just finished playing the titular role in Macbeth for the Pop-Up Globe Auckland. Stephen was awarded Excellence in Performance at the 2014 Auckland Theatre Awards for his work throughout that year.
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MiNDFOOD season of Mrs Warren’s Profession
CAMERON RHODES Rev. Samuel Gardner
The MiNDFOOD season of Mrs Warren’s Profession is Cameron Rhodes’ 18th production with Auckland Theatre Company. Other ATC shows include The Good Soul of Szechuan, Mary Stuart, The Importance of Being Earnest and She Stoops to Conquer as an actor, and The Ladykillers and Once on Chunuk Bair as a co-director. Over a 30-year career, Cameron has performed with New Zealand’s major theatre companies and toured extensively throughout New Zealand, Australia, the UK and Germany. His screen work includes The New Legends of Monkey for Netflix, and Rake, Home and Away and Blue Murder for Australian TV. His feature films include Housebound and Mr. Pip. Cameron is excited to be performing at ATC’s new waterfront home for the first time and to work with this exciting new interpretation of a Shaw classic. Cameron is a graduate of Toi Whakaari: New Zealand Drama School, a founding board member of The Actors’ Program and a Vice-President of Equity New Zealand. KARIN MCCRACKEN Vivie Warren
Karin McCracken is an actor and theatre-maker. She is a creator of and performer in the recurring It’s A Trial! (Barbarian Productions and Binge Culture Collective), which won Most Original Production at the Wellington Theatre Awards in 2016. In 2017, Karin performed the one-woman show Jane Doe, created by Eleanor Bishop, in seasons at Q Theatre and, later, at the Edinburgh Festival Fringe. Karin was a co-creator and performer in Body Double, shown at the Auckland Arts Festival 2018, co-presented by Silo Theatre. Karin was awarded Most Promising Newcomer at the 2017 Wellington Theatre Awards for her work in Wine Lips and Body Double. JACK BUCHANAN Frank Gardner
Since graduating from Toi Whakaari: New Zealand Drama School in 2013, Jack Buchanan has performed in numerous professional theatre productions all over the country. The MiNDFOOD season of Mrs Warren’s Profession is his third show with Auckland Theatre Company, following Peer Gynt [recycled] and When Sun & Moon Collide in 2017. Jack has also appeared on Auckland stages in Don Juan at Q Theatre, and Santa Claus, Mating In Captivity and Ranterstantrum at the Basement. Last year he wrote and starred in the satirical web series Flat Race 2017, which was picked up by TVNZ and received more than 100k views. In 2015, he was nominated for Most Promising Newcomer and Best Supporting Actor at the Wellington Theatre Awards. When he isn’t performing, Jack loves playing his guitar, politics, cooking a mean risotto and watching the cricket.
Cast
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New Zealand’s Most Awarded Winery
TAWANDA MANYIMO
HADASSAH GRACE
TAWANDA MANYIMO Praed
Tawanda Manyimo was born and raised in Zimbabwe, moved to New Zealand at the age of 22 and now resides in Auckland. An instinctive love of performance led him to the nearest amateur theatre and he was immediately cast in The Full Monty. In 2011, he graduated with a Bachelor of Performing Arts in Acting from Toi Whakaari: New Zealand Drama School. He has played various theatrical roles including Oberon in A Midsummer Night’s Dream (Palmerston North Summer Shakespeare, 2010), King Ferdinand in Love’s Labour’s Lost (Toi Whakaari: New Zealand Drama School, Graduation Show), The Herald in Marat/ Sade (Toi Whakaari: New Zealand Drama School) and Alioune in Belleville (Silo Theatre). Tawanda’s film credits include Slow West starring Michael Fassbender, The Rover, directed by David Michôd, Ghost in the Shell, starring Scarlet Johansson, and soon-to-be-released The Meg, starring Jason Statham. Tawanda is also a musician and plays guitar and percussion instruments.
No great wine ever came from a spreadsheet. Winemaking is an art, not a numbers game and our winemakers and viticulturists understand this. They pick our grapes based on flavour and ripeness, not on achieving a certain yield. It’s a luxury we have from being family-owned which means everything we do is for the good of what’s in the glass. For us it’s simple: 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.
HADASSAH GRACE Liz
Hadassah Grace is a writer and performer living in Wellington. She has been published by Vice, Nerve, Radio New Zealand and The New Zealand Herald, and her poetry has been featured in many literary journals and anthologies throughout New Zealand and North America. Hadassah has been a lot of people. Just in the last couple of years, she’s been a stripper hiding weed in her shoes, a speech-writer for the future Mayor of Wellington, a producer of sold-out shows and a fundraising consultant for charity. She’s been a singer, an actor, a comedian, a storyteller, a community worker, a teacher, a hipster barista and a hippy with her hands in the dirt. She’s worked in schools, in brothels and on coffee farms. She’s performed to crowds of three and to crowds of 30,000. Hadassah was a featured poet at the Wellington Opera House as part of the award-winning The Menagerie Deluxe. Her debut collection of poems, How to Take Off Your Clothes, is set to be released later this year. The MiNDFOOD season of Mrs Warren’s Profession is her first performance with Auckland Theatre Company.
OPEN ANOTHER WORLD
TM
George, Founder, Owner
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Cast
Rehearsal Photos
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IN REHEARSAL
Photo credit: Brad Fisher
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GEORGE BERNARD SHAW
ELEANOR BISHOP
TRACY GRANT LORD
JENNIFER LAL
TE AIHE BUTLER
CREATIVE GEORGE BERNARD SHAW Playwright
Irish playwright George Bernard Shaw wrote more than 60 plays during his lifetime and was awarded the Nobel Prize in Literature in 1925. Shaw was born on July 26 1856 in Dublin, Ireland. In 1876, he moved to London, where he wrote regularly but struggled financially. In 1895, he became a theatre critic for the Saturday Review and began writing plays of his own. His play Pygmalion was later made into a film twice and the screenplay he wrote for the first version of it won an Oscar. Shaw’s first plays were published in volumes titled Plays Unpleasant (containing Widowers’ Houses, The Philanderer and Mrs Warren’s Profession) and Plays Pleasant (which included Arms and the Man, Candida, The Man of Destiny and You Never Can Tell). The plays were filled with what would become Shaw’s signature wit, accompanied by healthy doses of social criticism. ELEANOR BISHOP Director
Eleanor Bishop is a writer and director creating feminist theatre. She has been described as “one of New Zealand’s most daring, intelligent and political directors” (The Theatre Times). Her works include BOYS (adapted from Greg McGee’s Foreskin’s Lament, co-directed with Julia Croft, Auckland Theatre Company 2017), Body Double (created with Julia Croft and Karin McCracken, BATS STAB Commission 2017, Silo Theatre/Auckland Arts Festival 2018) and Jane Doe (US college touring, Auckland Fringe, Edinburgh Fringe 2017). In 2016, she graduated from Carnegie Mellon University in Pittsburgh, PA, USA, with an MFA in Directing; she studied theatre as a John Wells Fellow and a Fulbright Scholar. She was a co-founder of The PlayGround Collective (with Eli Kent and Robin Kerr) and directed many of their shows including the award-winning The Intricate Art of Actually Caring. TRACY GRANT LORD Set and Costume Designer
Tracy Grant Lord is a leading stage designer of ballet, opera and theatre, based in Auckland and working with all the major Australian and New Zealand performance companies. Her work has toured internationally to critical success and includes Liam Scarlett’s A Midsummer Night’s Dream and both Cinderella and Romeo and Juliet for Royal New Zealand Ballet. The latter received an Olivier Award Nomination for Best New Dance Production in the UK.
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MiNDFOOD season of Mrs Warren’s Profession
Tracy is a Winston Churchill Fellow and has a Bachelor of Spatial Design degree, and her work has been shown at both the Prague Quadrennial and World Stage Design exhibitions. Career highlights include two Helpmann Award Nominations for Sydney Theatre Company’s production of In the Next Room, or the vibrator play and Melbourne Theatre Company’s production of The Importance of Being Earnest. Recent projects include costume designs for Michael Parmenter’s dance opera OrphEus for The New Zealand Dance Company, The Barber of Seville for Seattle Opera and Billy Elliot the Musical, Auckland Theatre Company’s inaugural production at ASB Waterfront Theatre. In 2018, Tracy is designing A Doll’s House, Part 2 for Melbourne Theatre Company, Twelfth Night for Queensland Theatre and a new commission of Tchaikovsky for Tulsa Ballet. JENNIFER LAL Lighting Designer
Jennifer Lal has been the recipient of many lighting design awards at the Chapman Tripp/Wellington Theatre Awards. She has worked and toured extensively around the country and overseas with a variety of shows. Previously for Auckland Theatre Company, she has lit The Bellbird, Wheeler’s Luck, Fallen Angels and When Sun & Moon Collide. Currently, she is designing the lights for New Zealand Opera’s new production of La bohème and consolidating the international touring of Tikapa Productions’ Not In Our Neighbourhood. TE AIHE BUTLER Sound Designer
Te Aihe Butler is a self-confessed audiophile from Titahi Bay, Wellington. In 2014, he graduated with a Diploma in Entertainment Technology from Toi Whakaari: New Zealand Drama School, spending most of his time since then designing sound and composing music for theatre and contemporary dance. He has worked on a range of productions so far in 2018, most recently designing for Tawata Productions’ Bless the Child and Silo Theatre’s Body Double, both at Q Theatre as parts of Auckland Arts Festival 2018.
Creative
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THE STIGMA OF SEX WORK COMES WITH A HIGH COST by Zahra Zsuzsanna Stardust
Although sex workers around the world lobby for decriminalisation, sex work law remains controversial. This is the final article in a series exploring sex work and regulatory reform.
STIGMA is a mark of disgrace, a social discrediting, or a spoiled identity. For sex workers, legal, cultural and social discourse is characterised by “prurience, titillation, outrage and disgust”. Narratives of sex work as undesirable and sex workers as disposable victims are heavily steeped in our cultural imagination. We need only think of the differential media treatment of the murders of Jill Meagher and Tracy Connelly to learn that sex workers’ lives are deemed less valuable. Or the Courier Mail’s reporting on the horrific murder and dismembering of Mayang Prasyeto (ruled “offensive” and “gratuitous” by the Press Council), and Mia Freedman’s infamous comments on ABC’s Q&A that: “No little girl grows up wanting to be a sex worker, thank heavens.” Examining the individual and institutional treatment of sex workers reveals how sexuality is organised and stratified, and how certain kinds of intimacies are rewarded or punished. It exposes the ways in which the state “has a sexual agenda” and demands mechanisms for accountability and redress.
SYSTEMIC DISCRIMINATION Research has uncovered discrimination against sex workers in access to goods and services, housing and accommodation, employment opportunities and justice. Sex workers report having their Airbnb accounts suspended, their PayPal accounts closed down, and being banned from advertising. Both the Salvation Army and Family Protection Society have publicly apologised to sex workers for further stigmatising sex work in their fundraising campaigns.
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MiNDFOOD season of Mrs Warren’s Profession
The stigma of sex work comes with a high cost
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Stigma is compounded for sex workers who work for survival, use illicit drugs, are trans or genderdiverse, Aboriginal or Torres Strait Islander, migrants or culturally and linguistically diverse, are parents, or work on the street. These communities experience disproportionate levels of policing, harassment and criminalisation. Sex workers living with HIV have been incarcerated, despite no evidence they have transmitted HIV or engaged in unsafe practices. Discrimination is not an isolated experience. A New Zealand teacher who posed for Australian Penthouse was deregistered. In the US, a woman was charged with conduct “unbecoming a teacher” for merely writing about her prior sex work experience. Not only do anti-discrimination protections for sex workers remain inconsistent and inadequate, but in 2012, Queensland anti-discrimination legislation was amended to deliberately permit discrimination against sex workers in providing accommodation.
LEGALLY COMPLICIT Stigma manifests in policy and regulatory frameworks that criminalise or licence sex work, require sex workers to have mandatory medical testing or permanent registration on police or government databases, prohibit sex work from being visible from churches and hospitals, and local council policies that treat brothels as “outlaws”. Stigma puts sex workers at risk. Criminal and licensing laws create opportunities for violence where sex workers have to choose between safety and legality. Mere knowledge of someone’s sex work can be used against them by abusive partners, as blackmail or suggesting they are unfit parents in custody cases. Stigma is socially isolating. It reduces the options for sex workers to turn to for support and is recognised as a critical barrier to accessing health care, human rights, and justice.
GLOBAL SUPPORT FOR DESTIGMATISING SEX WORK Former UN secretary-general Ban Ki-moon says discrimination against sex workers “must change”. And former Australian High Court judge Michael Kirby says human rights for sex workers are a matter of “public morality”. The UN Program on HIV/AIDS and the UN Population Fund insist upon universal rights and access to justice for sex workers. Eliminating the negative impact of stigma and discrimination against sex workers remains an objective of Australia’s national strategies tackling HIV, viral hepatitis, and sexually transmitted infections. Protecting sex workers from discrimination falls within Australia’s international human rights obligations. 16
MiNDFOOD season of Mrs Warren’s Profession
Despite this, there is no national system in place to assess and monitor experiences of stigma among sex workers in Australia. Without these mechanisms, we cannot effectively implement strategies to reduce stigma.
STIGMA REDUCTION Reducing stigma requires not only legal and policy change, but cultural change. There are obvious first steps: decriminalisation of sex work, anti-discrimination protections, and funding for peer-driven rights-based sex worker organisations. But these steps alone are not enough. Researching and monitoring the prevalence, manifestations and implications of stigma is crucial to developing strategies to reduce its impact. UNSW’s Centre for Social Research in Health in partnership with Scarlet Alliance, is currently conducting qualitative focus groups on sex work stigma in Australia. This pilot project will inform the future development of a national quantitative survey instrument that can be used annually to measure sex work stigma in Australia. The development of national stigma indicators will allow for concrete targets to be set to reduce stigma. This data can be used as a foundation for stigma reduction interventions, such as media audit tools or regulatory guidelines.
EMOTIONAL COSTS OF STIGMA Sex workers continue to mobilise, engage and fight against stigma. The hashtags #rightsnotrescue and #facesofprostitution are examples of the diverse human faces behind sex work. But one of the most insidious consequences of stigma is its ability to curtail the capacity of sex workers to fight for basic human rights. Both external and internalised stigma impacts the mental health and emotional resilience of sex workers to engage in advocacy, organising and activism. Stigma feels heavy. Stigma is exhausting. Stigma is grieving the death of another community member and friend. The sheer weight of stigma is an intergenerational burden passed on and held by sex workers. The greatest travesty is that stigma directs sex workers’ energies to the reactive work of responding to sensationalist headlines or political expediency and diverts it from peer education, community building and world-making – the very generative work that allows us to survive and thrive. Read the rest of the articles in this series here: theconversation.com/au/topics/sex-work-series-41416 Zahra Zsuzsanna Stardust PhD Candidate, Arts/Media & Law, UNSW This article was originally published on The Conversation. Read the original article here: theconversation.com/ the-stigma-of-sex-work-comes-with-a-high-cost-79657
The stigma of sex work comes with a high cost
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The ASB Waterfront Theatre complex offers a number of versatile event spaces perfect for your next function or event. With state-of-the-art in-house staging and production facilities as well as on-site catering, ASB Waterfront Theatre is Auckland’s newest premier function venue. For event enquiries, please email: events@atc.co.nz or visit asbwaterfronttheatre.co.nz
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MONDAY – FRIDAY: 8AM – 2PM PRE-SHOW DINING: TWO HOURS BEFORE EVERY PERFORMANCE PHONE 09 632 1962
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MiNDFOOD season of Mrs Warren’s Profession
ASB Waterfront Theatre
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WHAT’S ON AT ASB WATERFRONT THEATRE MAY Techweek presents
TECHWEEK’18 OFFICIAL OPENING May 21 The annual festival of New Zealand innovation Techweek, is back for a third year and, this time, it opens with a bang at ASB Waterfront Theatre. Hear from New Zealand thought leaders and innovators as they discuss the role Aotearoa has in harnessing new technologies to create a better world for future generations.
RehabTime Live presents
TRENT SHELTON May 27 Come to an unforgettable experience with Trent Shelton as he takes you on a journey to becoming the best you. New Zealand, I hope you’re ready for some RehabTime!
JUNE Diva Productions presents
Kensington Swan season of
THE TOPP TWINS 60TH BIRTHDAY CONCERT
THE CHERRY ORCHARD
June 2 New Zealand’s irrepressible, wellloved twin sisters, Jools and Lynda Topp, invite you to join them in a special performance for one night only, to celebrate their 60 years on the planet, 40 years performing and a combined century-plus of comedy, politics, music and mirth.
From June 12 Anton Chekhov remains one of the world’s greatest and most compassionate playwrights. His final masterpiece, The Cherry Orchard, is a tragicomedy: a laughter-through-tears tale told by sad clowns and self-made men. Though it premiered in prerevolution Russia, its prophetic passion and intimations of the social upheaval to come have a striking resonance for modern audiences in times of change. Bask in the timely and timeless brilliance of this immortal theatre classic.
Topp Twins image design by Lesley Fowler and Jemma Cheer, supplied by Te Manawa, original image from the Simon Grigg collection.
AUGUST
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by Anton Chekhov
SEPTEMBER
ASB season of
Giltrap Audi season of
FILTHY BUSINESS
RENDERED
by Ryan Craig
by Stuart Hoar
From August 14 East London, 1968. Yetta Solomon is the quintessential refugee who survived the un-survivable. Having built a mini-empire out of nothing, she takes no prisoners and suffers no fools. Hysterically funny and historically fascinating, Filthy Business is a towering tribute to the entrepreneurial outsiders who have become the beating heart of every modern society.
From September 18 In an unnamed Middle Eastern desert, Major Aria and her mercenary accomplice are on a secret mission to meet up with a New Zealander who’s defected to ISIS with his Arab wife. Meanwhile, at the Auckland Writers Festival, kindergarten teacher Miranda receives an offer she can’t refuse from a charming American visitor. Soon these six lives are inextricably entwined in a worldwide web of intrigue, danger and espionage.
MiNDFOOD season of Mrs Warren’s Profession
What’s On at ASB Waterfront Theatre
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AUCKLAND THEATRE COMPANY ON TOUR! After a sell-out season at the 2018 Auckland Arts Festival, Still Life with Chickens has hit the road and is touring Aotearoa. Performing at Centrepoint Theatre in Palmerston North during April, this funny, heart-warming show will arrive at Circa Theatre in Wellington at the start of May and will be seen later in the year at Taupo’s annual Winter Festival.
Still Life with Chickens by D.F. Mamea
8 May – 2 June Circa Theatre, Wellington
12 July Taupo Winter Festival
MYTHMAKERS: AGE-OLD TALES TOLD LIVE At Auckland Theatre Company, we want every child in Auckland to experience unforgettable theatre each year they are in school. So, we’re heading into classrooms and school halls with Mythmakers – short plays inspired by the traditional stories and legends of Aotearoa, the Pacific and the world. More than 20,000 children have seen a Mythmakers show and we’re on the road again for 2018.
The Eel and Sina By Jono Soo-Choon Directed by Gaby Solomona
A new twist on the ancient Polynesian story, from the naughty eel’s point of view! Does Eel have what it takes to sweep Sina off her big taro feet? Or will Sina make like a coconut and split? Told in English and Samoan and featuring traditional Samoan dance, song and comedy. Touring in schools in May. If you are interested in hosting a performance of The Eel and Sina at your school, please contact Nicole Arrow – nicole@atc.co.nz 24
ATC Tour and Mythmakers
ATC Tour and Mythmakers
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ATC SUPPORTING ACTS Auckland Theatre Company relies on the generosity of individual donations from our supporters. A donation to ATC Supporting Acts contributes to the lifeblood of the Company, with essential funds going towards a myriad of projects. These include the staging of productions, facilitating in-school programmes, fostering the potential of young performers and youth audiences, and developing the skills of established theatre practitioners. Contributions to ATC Supporting Acts fall into four categories:
We would like to extend a special thank you to Jane and Jock Ferguson who generously donated their much-loved piano to Auckland Theatre Company. We are extremely grateful to have this beautiful instrument in situ in its new home in our Balmoral studios. “Over many years, Auckland Theatre Company has given us and our family enormous and lasting pleasure, and we have been more than happy to support them by donating a replacement rehearsal piano.” – Jock Ferguson Thank you to our supporters for the many other generous offers of pianos that we received.
• CHEERS $100+ • TAKE A BOW $200+ • CURTAIN CALL $500+ • STANDING OVATION $1000+ All donations have a positive impact on ATC’s delivery of live theatre experiences to diverse audiences across Auckland. * Donations of $200 or greater are recognised on our website and in each show programme.
TO MAKE A DONATION: A donation to ATC Supporting Acts can be made online or at the box office when purchasing individual or subscription season tickets, by contacting the Development team on 09 309 0390 or by emailing emma@atc.co.nz. Whatever the nature of your support, we are always glad to hear from you. Thank you,
Emma & Rosalind
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ATC Supporting Acts
ATC Supporting Acts
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THE CHARTWELL TRUST LOU & IRIS FISHER CHARITABLE TRUST PUB CHARITY SIR JOHN LOGAN CAMPBELL RESIDUARY ESTATE
SILVER PARTNERS
TRUSTS AND FOUNDATIONS
PROJECT FUNDERS
GOLD PARTNERS
PLATINUM PARTNERS
PROJECT PARTNERS
MAJOR FUNDERS
FOUNDING CORPORATE PARTNERS
FOUNDATION PARTNERS
T H A N KS TO T H E S U P P O R T E R S O F
SKYCITY AUCKLAND COMMUNITY TRUST
FOUNDING BENEFACTORS, PATRONS AND DONORS
AUCKLAND THEATRE COMPANY Artistic Director Colin McColl ONZM Chief Executive Lester McGrath General Manager Linden Tierney Mana Whenua Cultural Advisor Herewini Easton Creative Development Associate Director: Lynne Cardy Literary Manager: Philippa Campbell Youth Arts Coordinator: Nicole Arrow Production and Premises Production Manager: Joel Crook Company Manager (Maternity Cover): Eliza Josephson-Rutter Venue Technical Manager: Josh Bond Venue Technician: Johnny Chen Technician: Zach Howells Marketing and Communications Marketing and Communications Manager: Natasha Gordon Publicist: Siobhan Waterhouse Junior Publicist: Miryam Jacobi Graphic Designer: Wanda Tambrin Graphic Designer (Leave Cover): Claire Flynn Marketing Campaigns Manager: Nicola Brown Digital Marketing Coordinator: Brad Fisher Development Development Manager: Emma Burton Sales and Development Coordinator: Rosalind Hemmings Visitor Experience Ticketing and Front of House Manager: Gary Barker
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Food and Beverage Manager: Richard Pepper Front of House Manager: Ralph Corke Ticketing Administrator: Paul Vintner Ticketing Executive: Melissa Handley Specialist Contractor: Geeling Ching FOH Supervisors: Cally Castell, Eliot Youmans Venue Sales Event Manager: Bernadette Norfo Event Supervisor: Romana Trego Administration and Finance Finance Manager: Kerry Tomlin Senior Accountant: Nick Tregerthan Company Administrator: Jan Pitout Senior Accounts Administrator: Michelle Speir Administration Assistant: Jade McCann BOARD OF DIRECTORS Chair: Gordon Moller ONZM Jonathan Bielski Vivien Bridgwater Karen Fistonich Isaac Hikaka Katie Jacobs Scott Kerse Derek McCormack We acknowledge The Theatre Foundation Trustees for the philanthropic support provided to Auckland Theatre Company activities. 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
Supporters of ASB Waterfront Theatre
ATC PATRONS Margot and Alastair Acland Margaret Anderson John Barnett Betsy and Michael Benjamin Greg Blanchard and Carol Weaver Michelle Boag Adrian Burr and Peter Tatham Julie and Brian Cadzow Paul and Barbie Cook Roger and Maryanne Dickie Kim and Annette Ellis Trevor and Jan Farmer Stephen and Virginia Fisher Cameron Fleming Michael Friedlander Dame Jenny Gibbs Michael and Stephanie Gowan Ross and Josephine Green Stuart Grieve and Antonia Fisher Sue Haigh Rod and Penelope Hansen Allyson and Paul Harvey Anne and Peter Hinton Michael and Dame Rosie Horton Rod and Julie Inglis Sally and Peter Jackson Robert Johnston and Stella McDonald Len and Heather Jury Brian and Jan Keene Ross and Paulette Laidlaw Margot and Paul Leigh Sir Chris and Dayle Lady Mace Peter Macky and Yuri Opeshko Jackie and Phillip Mills Michael Moore and Andrew Gelonese Christine and Derek Nolan Denver and Prue Olde Heather Pascual Barby Pensabene Hon. Dame Judith Potter Maria Renhart Robyn and Malcolm Reynolds Fran and Geoff Ricketts
Mark and Catherine Sandelin Mike Smith and Dale d’Rose Philippa Smith-Lambert and Chris Lambert Joanne Smout and Janmarie Thompson Gilli Sutton Lady Tait Julie and Russell Tills Kit Toogood and Pip Muir Simon Vannini and Anita Killeen Susan and Gavin Walker Sir James Wallace Ian Webster and Jianni Felpas Dona and Gavin White Fran Wyborn Annemarie Yannaghas ATC 2017/18 SUPPORTING ACTS Our Standing Ovation Supporters Sandy and Alan Bulmer Rob Nicoll Matthew Olde and Jacqui Cormack Brian and Pam Stevenson Scott and Louise Wallace Our Take A Bow Supporters Shane Compton Lex Forrest Nick and Steph Francis Sandra Greenfield Rosemary Langham Caroline List Jocelyn Lowe Mike and Debbie Whale 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
Auckland Theatre Company
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CHEKHOV’S FINAL MASTERPIECE
season of
From JUNE 12
0800 ATC TIX (282 849) atc.co.nz 30