RED SPEEDO
By Lucas Hnath
ON STAGE Vol. 3 No.7. October 2017
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Artistic Director Colin McColl
LUCAS HNATH is a name that keeps popping up everywhere on American theatre websites. Like Brandon Jacob-Jenkins, Annie Baker and Sarah Ruhl, he’s one of a new generation of American playwrighting talent whose
after deserting them 15 years earlier). As you’ll see in this production, Hnath’s plays move beyond slice-ofAmerican-life naturalism; he is a stylist, and Red Speedo is a critique of a Trumpian winner-takes-all world. It questions the cost
“Red Speedo is a critique of a Trumpian winner-takes-all world. It questions the cost of morality and how far we would go to get what we want.” work is commanding attention with hit plays like The Christians, A Public Reading Of An Unproduced Screenplay About The Death Of Walt Disney (a personal favourite of mine) – and the recent Broadway success A Doll’s House, Part 2 (where Nora returns to her husband and children
of morality and how far we would go to get what we want. The muscular language, the machine-gun-fire dialogue, shot through with ironic humour, plus the deeply flawed and engaging characters, make Red Speedo a unique and rewarding theatre experience.
We’re all thrilled that Benjamin Henson has taken up the challenge to direct Red Speedo. After a long association with ATC’s Creative Learning programme and as a Directing Intern in our ENGINE ROOM project, where he assistant directed many productions, he finally gets to take the helm of Red Speedo. He’s ably assisted by a great creative team: Set and Costume Designer John Parker, Lighting Designer Rachel Marlow, Sound Designer Eden Mulholland and AV Designer Simon Barker. Huge thanks to them all, and to our stellar cast, Ryan Carter, Chelsie Preston Crayford, Scott Wills and Wesley Dowdell. Take a deep breath and plunge in for 90 minutes of exhilarating theatre!
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CAST Ray — Ryan Carter Lydia — Chelsie Preston Crayford Peter — Wesley Dowdell Coach — Scott Wills CREATIVE Director — Benjamin Henson Set & Costume Designer — John Parker Sound Designer — Eden Mulholland Lighting Designer — Rachel Marlow Video Designer — Simon Barker PRODUCTION Production Manager — Robert Hunte Company Manager (Maternity Cover) — Eliza Josephson-Rutter Technical Manager — Kevin Greene Stage Manager — Chanelle Muirhead Technical Operator — Zach Howells Props Master — Amy Snape Stunt Choreographer — The New Zealand Stunt School Make-up Effects — The Magic Brush Set Construction — 2Construct ATC Production Intern — Nathanaël Ruestchmann Red Speedo had its New York Premiere at New York Theatre Workshop Jim Nicola, Artistic Director / Jeremy Blocker, Managing Director, in 2016 Red Speedo was originally produced by The Studio Theatre, Washington DC (David Muse, Artistic Director / Keith Alan Baker, Managing Director), in September 2013 AUCKLAND THEATRE COMPANY WOULD LIKE TO THANK THE FOLLOWING FOR THEIR HELP WITH THIS PRODUCTION: YMCA Cameron Pools Mount Roskill, The Cut Hairdressers, Sam & Olivia at The Magic Brush, Michele Hine, Kirstie O’Sullivan, Dane Grant, and Dayna Grant. Red Speedo is the first Auckland Theatre Company mainbill production for 2017/18 and opened on November 2nd at ASB Waterfront Theatre. The production is approximately 90 minutes without interval. Please remember to switch off all mobile phones and noise-emitting devices. 2
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Winning. Number one. Being first. by Benjamin Henson
AND SO UNRAVELS the inner drive of the damaged and bruised competitors discovered in the darkly comic Red Speedo: a play that barely looks back once the starting klaxon sounds. In the spirit of being number one, we have a New Zealand premiere of Lucas
Raised in Orlando, Florida on a diet of what he calls sickening American artificiality, Hnath writes works that lampoon our perceptions of the All American Dream – often presenting devious arguments or posing barbed questions that
“When do dreams mutate into delusions? Has the modern world set our moral compass awhirl?” Hnath’s blistering voice. He is fast becoming one of America’s most important writers, garnering global attention. Melbourne will be presenting Hnath’s Broadway hit, A Doll’s House, Part 2, next year – but don’t worry, we won; we beat them; we bring you this outstanding work first.
pertinaciously tap the shoulder of issues America seems unwilling to face: when do dreams mutate into delusions? Has the modern world set our moral compass awhirl? Can respect for others survive the narcissism of the selfie age? What is cheating in a world of haves and have-
nots? These concerns and countless more have here been perspicaciously encapsulated by Hnath within the high-pressure world of competitive sport. Here the exceptional creative team and actors embrace this bloodthirsty world as teetering on a treacherous edge – poolside – like a vertiginous precipice. Cynically, it is little surprise for us to discover our real-life super heroes and valiant role models are guzzling chemicals and hormone potions in astonishing numbers in order to win - plying themselves with oddsbeating performance enhancers in order to appease crushing expectations that are as much ours as their own. Doping in professional sport is rife: controls and tests are superficially strict but 5
“If we’re not terrifi own demons, then definitely should b we choose to repr in practice inept; many of our beloved sportspeople are finding their bodies irreversibly altered. Nor is the problem a new one. Even glancing past Ancient Greek Olympians devouring bull’s testicles for strength, we see that HCG (Hormone Chorionic Gonadotropin) has been banned by the International Olympic Committee since 1987. Extracted from the urine of pregnant women, HCG boosts testosterone levels and is most commonly used by sportspeople to mask irregular spikes in hormones caused by steroid use when tested. Much to the delight of East Germany in the early 60s,
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many of these steroid and hormone enhancers can be compressed into pill form, allowing their government to slip them alongside vitamin supplements routinely handed out to school children in order to cultivate a proud and galvanised republic of sports machines wheeled out to trounce pathetically un-enhanced international competitors who foolishly believed they could win through discipline and training. Ramifications of the country’s prolific coercive administration of – largely experimental – hormone cocktails became apparent not only in the 1989
unraveling of the state, but in the keeling over of key sports personalities with early onset cancers and in having more than one female athlete transforming into a man. But at least they had (briefly) held aloft a hefty collection of medals. More recent doping scandals have been seen in Russia’s rocky relationship with the Olympics, under the constant threat of being banned from participation, a discussion continuing even now, exposed in Bryan Fogel’s Netflix documentary ‘Icarus’. Sadly, we’ve also seen the felling of international idols like Lance Armstrong and Brian Cushing.
ied by our n we most be of those resent us...” And so, getting ahead no matter what leads us to the globally nervous here and now. Competition will always be entangled with commerce, breeding common maxims like “Winning at all costs,” and “It pays to be a winner.” The pinnacle of such pursuit is to bring home gold. Though first presented in 2014 in New York, Hnath’s devilishly velocious play is unnervingly prophetic of what we’re seeing play out on the world stage since the Toupee’d-Tyrant showed up to run the free world. Keep an eye on that Ray – our leading character – he may not be all he seems. He might be read as a symbol of
lost and reactionary middleAmerica, or, as his imposing and coiled sea serpent tattoo may suggest, he may be a fractured reminder of something far darker. The beast within us is by no means a new subject for dramatic art, but as the world creaks uncomfortably as America charges ahead, we may just need reminding once more that, if we’re not terrified by our own demons, then we most definitely should be of those we choose to represent us; we choose to rally for; of what lies beneath those we choose to lead.
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In rehearsal.
Photo credit: Wanda Tambrin
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Cast. RYAN CARTER
CHELSIE PRESTON CRAYFORD
WESLEY DOWDELL DOWDELL
SCOTT WILLS
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RYAN CARTER Ray Ryan Carter has worked across stage and screen in Australia and New Zealand. His recent television credits include lead roles on Nickelodeon’s Power Rangers and on Shortland Street. Stage credits include Oyster, Exchange (ATC’s Young and Hungry), A Month in the Country, Curse of the Starving Class, Macbeth (Actors Centre Australia), Rausch, Sports Play (NIDA), Fragments of I Am and Amongst Ruins (The Old Fitz). Short films include Blue Mist and I Contacted Poison Control. This is Ryan’s first production with Auckland Theatre Company and he is thrilled to be a part of Red Speedo. CHELSIE PRESTON CRAYFORD Lydia Since graduating from Toi Whakaari in 2008 Chelsie has won high praise and numerous awards both here and abroad, taking home an Australian Logie for her work as Tilly Devine in Underbelly Razor and a prestigious AACTA award for her work in the ABC series The Code. She recently starred in Jackie Van Beek’s The Inland Road, cult US series Ash vs Evil Dead, Amazon Prime’s American Playboy, Netflix’s The Legend Of Monkey and has just finished writing/directing her second short film. On stage, Chelsie has starred in Carnival Of Souls staged in Auckland, Perth and Sydney Arts Festivals, Ruben Guthrie and That Face, both directed for Silo Theatre by Shane Bosher, and numerous works at The Basement Theatre including The Vagina Monologues, Dog Sees God and Broken China, which she co-wrote with Sophie Roberts. She most recently played Harper in Angels In America Parts I&II for Silo Theatre. Chelsie got her start at the age of four telling the nation to “Have fun in the water but
do what you oughta!” and is excited to be keeping that message alive 26 years later. WESLEY DOWDELL Peter Wesley’s first introduction to live theatre was at the age of 14 when he was taken along to see Jesus Christ Superstar at the Aotea Centre. From then on in he became fascinated with performing. While at school, he was picked up by Aucklandbased Massive Company, whom he credits with his early acting training and developing his love for performing. His first production with Auckland Theatre Company was the 2014 season of Once On Chunuk Bair. His most recent theatre credits include The Biggest, The Curious Incident of the Dog in the Night-Time and Daffodils. Wesley is most known for his role as Aaron Spiller on Outrageous Fortune, but other TV and film credits include The World’s Fastest Indian, Lovebirds, Coverband, Hillary and Funny Girls. Yet to be released TV and film credits are Roman Empire 2 for Netflix and Kiwi Christmas, set to hit theatres in December. Wesley’s other passion is music, and he can be seen playing in his duo group Jez and Wez. SCOTT WILLS Coach Scott is a graduate of Toi Whakaari NZ Drama School, Wellington. Red Speedo is his third production for Auckland Theatre Company – the first being The Shape of Things by Neil Labute and then last year’s To Kill a Mockingbird as Bob Ewell. Scott has twice won Best Male Actor in a Feature Film at the NZ Film Awards for his roles in Stickmen and Apron Strings. Instagram: @scottdouglaswills. “RED SPEEDO is an exciting play in its modernity; it feels right now.”
Ryan Carter
Chelsie Preston Crayford
Benjamin Henson
Wesley Dowdell
Scot t Wills 11
Creative. Credit: Zack DeZon
LUCAS HNATH
BENJAMIN HENSON
JOHN PARKER
RACHEL MARLOW
EDEN MULHOLLAND
SIMON BARKER
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LUCAS HNATH Playwright Lucas Hnath’s plays include A Doll’s House, Part 2; Hillary and Clinton; Red Speedo; The Christians; A Public Reading of an Unproduced Screenplay About the Death of Walt Disney; Isaac’s Eye; and Death Tax. He has been produced on Broadway at the John Golden Theater, Off-Broadway at New York Theatre Workshop, Playwrights Horizons, Soho Rep, and Ensemble Studio Theatre. His plays have been produced regionally all over the United States with premieres at the Humana Festival of New Plays, Victory Gardens, and South Coast Rep. He has been a resident playwright at New Dramatists since 2011. Awards: Kesselring Prize, Guggenheim Fellowship, Whiting Award, two Steinberg/ATCA New Play Award Citations, Outer Critics Circle Award for Best New Play, and an Obie. BENJAMIN HENSON Director Benjamin trained in Theatre Direction at the Mountview Academy of Theatre Arts, London, while directing productions for the London Fringe and cabaret circuit. Having directed in Germany and France, as well as nine consecutive years at the Edinburgh Festival Fringe, Ben moved to Auckland to continue his career. Under theatre collective Fractious Tash, Ben has received critical acclaim for Earnest, Not Psycho and Titus, the latter remounted for a sell-out season at the Pop-Up Globe 2016. Last year Benjamin was one of two directors engaging in The Engine Room - a fast-tracking initiative between Auckland Theatre Company, New Zealand Opera and The Fortune Theatre. This year Ben featured in Peer Gynt [recycled] for ATC, and directed Twelfth Night for The
Fortune Theatre, and The Effect at Q Theatre. The award-winning production of Last Tapes’ Valerie is currently touring New Zealand, with dates in Australia and Edinburgh confirmed for 2018. JOHN PARKER Set & Costume Designer John Parker is an award-winning set designer with a long history of designing for Auckland Theatre Company. His set designs include Peer Gynt [recycled], Polo, A Shortcut to Happiness, Red, Mary Stuart, Stepping Out, The Importance of Being Earnest, The Wife Who Spoke Japanese in Her Sleep, The 25th Annual Putnam County Spelling Bee, End of The Rainbow, Sweet Charity, Doubt, Mum’s Choir, Taking Off, Equus, Caligula, The Bach, Middle Age Spread, The Rocky Horror Picture Show, Noises Off, Waiting For Godot, Rosencrantz and Guildenstern Are Dead, Into The Woods and The Glass Menagerie. John has also designed for The Louis Vuitton Ball and The America’s Cup Ball, Bendon’s Next to Nothing, Bellsouth Pharaohs, Precious Legacy and Peru: Gold and Sacrifice for the Auckland Museum. John was awarded a Waitakere City Millennium Medal for Services to the Community, and in 2010 he was made an Arts Laureate by the New Zealand Arts Foundation. RACHEL MARLOW Lighting Designer Rachel Marlow works collaboratively to create dynamic production designs and lighting environments. She is thrilled to be working with both Auckland Theatre Company and Benjamin Henson for her first design on the beautiful Waterfront Theatre mainstage. Rachel’s previous lighting designs for ATC are My Own Darling, Sons and Next Big Thing Festivals 2014 and 2015.
Her production design work with Ben includes Fractious Tash’s The Effect, Not Psycho, and Earnest, Opera Studio’s Orestes, and Last Tape’s Valerie. This year Rachel has designed lighting for Nightsong – Spirit House, Red Leap – Kororareka and Trick of The Light – The Road That Wasn’t There. Her company Filament Eleven 11 also created Dissension Ascending, a light exhibition and production design for White_Mess – Other {Chinese} at Q Theatre.
and music festivals, along with numerous awards ceremonies and theatrical productions. Having worked in the creative video scene for over 15 years, Simon now has a team of digital creatives producing some of the most experimental live video in the country. Recent works include the critically acclaimed 20th anniversary retrospective Siva for Black Grace, the independent production Between 2 Waves, and ATC’s production The Glass Menagerie.
EDEN MULHOLLAND Sound Designer Eden is one of New Zealand’s most respected and prolific composers for theatre, film and contemporary dance. He has worked on many ATC shows for over a decade with favourites like The Navigators: Moon, August: Osage County, The Importance of Being Earnest, She Stoops to Conquer, The ThirtyNine Steps, and The Pillowman. Recently Eden performed live at the State Theatre in Western Australia for The Zone, choreographed by Raewyn Hill to rapturous reviews: Orchids by Sarah Foster for Tempo 2017 and Moon by Malia Johnston also for ATC. Eden has also collaborated with Michael Parmenter, Maria Dabrowska, Craig Bary, Ross McCormack, NZ Dance Company, Okareka Dance Company, Atamira Dance Company, Touch Compass, Footnote Dance Company, and Claire O’Neill. Eden’s music is licensed all over the world on TV, Film and cinema and Eden is the founder of fauxitalic.com. Check out www.edenmulholland.com SIMON BARKER Video Designer Simon runs the successful creative video production company Lotech Media, specialising in production for many of Aotearoa’s largest art 13
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A too-belated apology from Suzann Pettersen confessed she had: “Put the single match and the point that could be earned ahead of sportsmanship and the game of golf itself.� 16
Sport’s moral decline plumbed new depths with Pettersen debacle. by Doug Gillon | Sports Writer
SOMEWHERE, ONE MIGHT LIKE TO IMAGINE, a line in the sand marks the ultimate limit of sport’s moral decline: a boundary competitors will not cross, an ethical imperative. But let’s not bet upon it. Defining such a frontier is problematic, for this is less about the laws or rules of sport, but relates more to spirit and ethos. Some
professional competitors can find no place for fairness, integrity, or respect. They’re driven by an amoral notion that ethical codes are somehow suspended in the arena. Consider the furore over a tiddler of a putt not conceded at the Solheim Cup. Alison Lee picked up her ball, losing the hole and then the match. All
Suzann Pettersen of Norway in action during the 2016 Honda LPGA Thailand at Siam Country Club on February 25, 2016 in Chon Buri, Thailand. Editorial credit: BUGNUT23 / Shutterstock.com 17
“We are engulfed by a win mentality in which there It makes our lives the po absolutely within the rules, yet a drive and a No.2 iron out with the spirit of the game. Don’t get mad, get even. An inspired USA rallied to deny Europe the trophy. I was unsurprised to feel justice had been done. A too-belated apology from Suzann Pettersen confessed she had: “Put the single match and the point that could be earned ahead of sportsmanship and the game of golf itself.” Amen. One prefers the contrast of a bygone age: Jack Nicklaus conceding a more missable putt in 1969 to Tony Jacklin, which might have handed the Ryder Cup to the USA. Yet Nicklaus was reviled by countrymen for having done so. I applaud no-quarter competition founded on respect, but fear I may
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have graduated to “old fart” status in feeling the principle of sport (especially professional sport) for the game’s sake is almost an anachronism. We are engulfed by a winat-all-costs mentality in which there is no honour. It makes our lives the poorer. We could fill many columns with a catalogue of infamy without even specifying instances of gamesmanship (legal) or doping (illegal). There are two types of bad sportsmanship – spontaneous, opportunist shamefulness: like the Solheim incident, Diego Maradona’s “Hand of God” against England in the 1986 World Cup, boxer Mike Tyson biting off a chunk of Evander Holyfield’s ear, Michael Schumacher deliberately taking out Damon Hill in
the final race of the 1994 F1 championship, and Australian captain Greg Chappell instructing his brother, Trevor, to deliver the final ball of a oneday match under-arm, making it impossible for New Zealand to score the winning runs. Again within the rules, but counter to the spirit. Then there’s sledging: footballers taking a dive or feigning injury, batsmen who don’t walk, covert fouls. The second type is more calculated – premeditated and planned: tanking (throwing matches), illegal betting, tampering with equipment, faking qualifications or ages, even injuring rivals, like Tonya Harding who was famously convicted of conspiracy to injure 1994 Olympic skating rival Nancy Kerrigan.
n-at-all-costs e is no honour. oorer.� Front cover of People Weekly magazine. January 24, 1994.
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Yet I can’t help finding the tale of US jockey Sylvester Carmouche almost laughable. On a misty day in Louisiana he rode 23-1 Landing Officer to victory, hiding in the mist and re-emerging to win by 24 lengths. Stewards
ridiculous rewards appear to distort sport’s moral compass and encourage cheating, doping, and unsporting conduct. Contractual obligations do not help. The drive for win bonuses, and impact of defeat on sponsorship
“Contractual obligations do not help. The drive for win bonuses, and impact of defeat on sponsorship and TV rights revenue is constant.”
were not amused. He was banned for 10 years. A great deal of what causes offence is not simply money. The sporting labourer is worthy of his hire, but increasingly
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and TV rights revenue is constant. Andy Murray is between a rock and a hard place while deliberating whether to take a break before the Davis Cup final or fulfil
mandatory obligations to the ATP World Tour finals – possibly worth more than £1m. But he could face a year’s suspension from the ATP Tour if he ducks the final in order to prepare for the Davis Cup. It’s tempting here, as a requiem for lost values, to quote Henry Newbolt’s Vitai Lampada, The Torch of Life: And it’s not for the sake of a ribboned coat, Or the selfish hope of a season’s fame, But his captain’s hand on his shoulder smote “Play up! play up! and play the game!” However, this poem does not just applaud the notion of the game for the game’s sake. It commends a life philosophy, giving a commendable deeper meaning to sport.
Don’t despair. Examples of selflessness remain: English yachtsman Pete Goss had a chance of winning the Vendee Globe round-the-world race until he picked up a mayday call in the southern ocean. A French rival was wrecked, but Goss sailed to the rescue in hurricane-force winds. He was awarded the Legion of Honour. After defending Olympic 200m champion Shawn Crawford finished fourth in 2008, the second and third runners were disqualified for leaving their lanes. Crawford was promoted to silver but gave his medal to disqualified rival Churandy Martina with a note: “I want you to have this, because I believe it’s rightfully yours.” Calling a foul or shot on oneself (snooker and golf) is not unusual. Or in fencing. Judy Guinness was about to win Olympic foil
gold in 1932 when she called two hits against herself which had escaped the notice of judges. Encouragingly, the habit of returning a ball, say after a throw-in, is not dead in football. One especially recalls Arsenal manager Arsene Wenger being so disgusted at the way Marc Overmars had scored after Sheffield United had put the ball out of play because of an injury that he had their FA Cup tie replayed. And former Celtic player Paolo di Canio. He was no altar-boy, but his refusal to score for West Ham in an open goal with Everton goalkeeper Paul Gerrard writhing, redeemed earlier transgressions. We pray such examples help keep erosion of that fragile line in the sand at bay. http://www.heraldscotland.com/ sport/13776817.Sport_s_moral_decline_ plumbed_new_depths_with_Pettersen_ debacle/#
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What’s on at the ASB Waterfront Theatre. November
February The Amici Trust presents
Sister Act
A Divine Musical Comedy
25 November – 16 December Sister Act tells the hilarious story of Deloris Van Cartier, a wannabe diva whose life takes a surprising turn when she witnesses a crime and the cops hide her in the last place anyone would think to look – a convent! Under the suspicious watch of the Mother Superior, using her unique disco moves and singing talent to inspire the choir, Deloris breathes new life into the church and community but in doing so, blows her cover. Gloriously funny and sparkling tribute to the universal power of friendship, Sister Act is a reason to rejoice!
March
1984
In association with Auckland Arts Festival Auckland Theatre Company presents
by George Orwell, a new adaptation created by Robert Icke and Duncan Macmillan
Still Life With Chickens
9 — 25 March Big Brother is always watching. Set in a world where an invasive government keeps a malevolently watchful eye on its citizens, this radical and much-lauded staging explores surveillance, identity and why Orwell’s vision of the future is as relevant now as ever. Orwell’s fiction has become our reality. 22
March
by D.F. Mamea
17 — 24 March | ASB Cube A beautiful, beguiling and very funny play about loneliness and the resilience of communities. Mama’s proud of her flourishing veggie garden. So when she discovers a stray chicken enjoying her greens, her first instinct is to reach for the spade. But what starts as an all out war develops into a grudging friendship.
ASB season of
Under the Mountain
by Maurice Gee, adapted by Pip Hall
From February 7 Rachel and Theo are twins. Apart from having red hair, there’s nothing remarkable about them, except their psychic powers. Enter a theatrical world of wonder, full of mystery, magic and master storytelling. This is a must-see event suitable for everyone eight years and older.
May
Auckland Theatre Company presents
Mrs Warren’s Profession by George Bernard Shaw
From 1 May When Vivie discovers that her expensive education was funded by her mother’s earnings from a string of brothels, Vivie’s thoroughly modern worldview is thrown into tumult. Join Mrs Warren for a liberating evening of smart comedy, social commentary and sophisticated scandal.
FROM FEBRUARY 7
ASB season of
UNDER THE MOUNTAIN by Maurice Gee, adapted by Pip Hall
Auckland Arts Festival and GWB Entertainment in association with Auckland Theatre Company and State Theatre Company of South Australia present the Headlong, Nottingham Playhouse and Almeida Theatre production of
“This Compelling Incarnation of Orwell’s Dystopia makes you gasp.” Sydney Morning Herald
“A chilling, ingenious 101 minutes.” The Times (UK)
9 – 25 March
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AUCKLAND THEATRE COMPANY ARTISTIC DIRECTOR Colin McColl CHIEF EXECUTIVE Lester McGrath CHIEF FINANCIAL OFFICER Lee Frew GENERAL MANAGER Linden Tierney CREATIVE DEVELOPMENT Associate Director: Lynne Cardy Literary Manager: Philippa Campbell Youth Arts Co-ordinator (Maternity Cover): Nicole Arrow Mythmakers Co-ordinator: Whetu Silver PRODUCTION & PREMISES Production Manager: Robert Hunte Company Manager (Maternity Cover): Eliza Josephson-Rutter Venue Technical Manager: Josh Bond Venue Technician: Johnny Chen MARKETING & COMMUNICATIONS Marketing & Communications Manager: Natasha Gordon Publicist: Siobhan Waterhouse Junior Publicist: Miryam Jacobi Graphic Designer: Wanda Tambrin Marketing Campaigns Manager: Nicola Brown DEVELOPMENT Development Manager: Emma Burton Sales & Development Co-ordinator: Rosalind Hemmings VISITOR EXPERIENCE Ticketing & Front of House Manager: Gary Barker Food & Beverage Manager: Richard Pepper Front of House Manager: Ralph Corke Ticketing Administrator: Paul Vintner Box Office Co-ordinator: Faith-Ashleigh Wong Specialist Contractor: Geeling Ching FOH Supervisors: Eliot Youmans, Michael Cranney, Cally Castell VENUE SALES Event Manager: Bernadette Norfo Event Supervisor: Romana Trego ADMINISTRATION & FINANCE Senior Accountant: Nick Tregerthan Company Administrator: Jan Pitout 28
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