G I LT R A P A U D I S E A S O N O F
RENDERED BY STUART HOAR
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G I LT R A P A U D I S E A S O N O F
RENDERED BY STUART HOAR CAST Miranda — Anna Jullienne Jeremy Smith — Fasitua Amosa Major Aria — Nicola Kawana Taylor Grey — Edwin Wright Travis — Simon London Zuleikha Hlaif — Ban Abdul CREATIVE Playwright — Stuart Hoar Director — Katie Wolfe Set Designer — John Verryt Lighting and Sound Designer — Sean Lynch Costume Designer — Fiona Nichols Video and Graphics Designer — Harley Campbell PRODUCTION Production Manager — Joel Crook Company Manager — Elaine Walsh Stage Manager — Natasha Hoyland Intern Assistant Stage Manager — Nicole Alexander Technical Manager — Kevin Greene Lighting and AV Operator — Zach Howells AV Supplier/Programmer — Simon Barker Sound Operator — Dave McSmith Props Master — Ruby Read Armourer – Gunner Ashford On-site Armourer – Martin Bath Set Construction — Rollercoaster CREATIVE LEARNING Teaching Artists – Rita Stone and Ella Gilbert By arrangement with
AUCKLAND THEATRE COMPANY WOULD LIKE TO THANK THE FOLLOWING FOR THEIR HELP WITH THIS PRODUCTION: Mike Walden from Fisher & Paykel, Mitre 10 Mount Wellington, Chris Stewart, Andrew Foster, Luanne Gordon, Rob Mokaraka, Kate Elliott, Selwyn Muru, Colin Moy, Arthur Meek and Marcus Amosa. Rendered by Stuart Hoar was developed with the assistance of Auckland Theatre Company, Auckland, New Zealand. The Giltrap Audi season of Rendered is the seventh Auckland Theatre Company mainstage production for 2017/18 and opened on September 20 at ASB Waterfront Theatre. The production is approximately 80 minutes long without an interval. Please remember to switch off all mobile phones and noise-emitting devices. Auckland Theatre Company wishes to recognise the passing of committed ATC Patron Gilli Sutton. We will forever appreciate her persisting passion for making theatre accessible for all audiences to enjoy.
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Welcome to the Giltrap Audi season of Rendered. For years, Giltrap Audi and Auckland Theatre Company have been united in their commitment to delivering products we’re proud of. The relationship between our businesses has allowed us to share a combined passion for providing valuable experiences for our customers and the Giltrap Audi season of Rendered is no exception. With a stellar cast under Katie Wolfe’s direction, the Giltrap Audi season of Rendered has become another example of the care that both Giltrap Audi and Auckland Theatre Company have put into fostering this artistically vibrant city of ours. The work we do with Auckland Theatre Company alongside our other sponsorship partners, Shine and the New Zealand Breakers, has allowed us to meaningfully contribute to Auckland’s artistic, social, and athletic communities. We hope you enjoy the performance.
Giltrap Audi
150 Great North Road, Grey Lynn, Auckland. (09) 336 5250 www.giltrapaudi.co.nz
Artistic Director Colin McColl
OVER THE YEARS there have been many examples of the power of theatre to deal succinctly with complicated subjects. And what could be a more confusing and complex subject than the continuing wars in the Middle East. Well, that’s how it often seems to the average New Zealander, tucked away from them in the relative safety of our South Pacific islands. It’s an intrepid playwright who takes on the job of unravelling it for us, who finds some clarity in explaining the chaos. But Stuart Hoar has proved time and time again that he’s up for the task. His seminal play Squatter used the devices of music hall and melodrama in a hugely entertaining way to reveal the extent of land-grabbing in colonial Canterbury. His recent play Bright Star aims to reinstate New Zealander Beatrice Tinsley’s rightful, pivotal role in advances in cosmic science. Now, with Rendered he addresses our relationship as New Zealanders with Middle East conflict, both on a personal and political level. It’s our great pleasure to be presenting the world premiere of this thrilling uncompromising work as Auckland Theatre Company’s contribution to NZ Theatre Month. Huge thanks to Stuart, to our Literary Manager Philippa Campbell, to Director Katie Wolfe and her creative team and to our stellar cast of performers for bringing this work so vibrantly alive on stage.
Photo credit: Brad Fisher
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Artistic Director’s Note
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Director Katie Wolfe
BEING PART OF a creative team to bring to the stage a new New Zealand work is undoubtedly one of the aspects of directing I enjoy the most. Ngā mihi ki a Staurt Hoar. Ngā mihi ki ATC. Mā te huruhuru ka rere te manu. Stuart Hoar’s new work Rendered is a challenging and timely reminder that maybe the theatre is a great place to take a step back (or a step closer) to observe the harsh, perplexing and contemporary world of geo military politics. And likewise, watching two people fall in love will always be compelling. It's the most common thing in the world. Islam, christianity, global military power, poetry and love get to show their swagger with fanatics at the helm. The rehearsal room has been high octane stuff with all of us trying to personalise and make real what is actually happening in our world today. I think I have discovered that maybe I am a little bit of a Candide... I see the best of all possible worlds. I was in awe of the actors and their process’ as they built these fraught and extreme environments. Ngā mihi ki a John Verryt - to all the designers and production crew. Thank you to ATC for supporting this new work and bringing together an inspiring team.
Photo credit: Brad Fisher
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Director’s Note
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Design Notes
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Playwright Stuart Hoar
KIA ORA. I began writing Rendered a few years ago as I wanted to write a play about contemporary geopolitics, and where New Zealand fitted in as a player in that world. As well I was fascinated by the story of a New Zealander who had surfaced in Raqqa, a Moslem convert who was there supporting the Caliphate – while it existed. My play brings these two stories together, it’s set right now, it’s about contemporary New Zealanders, and it’s about how all we New Zealanders now live in a 21st century world of continuous low level warfare. I would like to thank Colin McColl, Philippa Campbell and Lester McGrath for their faith in the play and to Katie, the cast and all the crew in bringing this play to life,– and also my thanks to all the support from people at Auckland Theatre Company, it was amazing to see so many people there at the first reading of the play. Ka nui te mihi, ka nui te aroha ki a koutou katoa.
Photo credit: Brad Fisher
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Playwright’s Note
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Design Notes
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FASITUA AMOSA
ANNA JULLIENNE
NICOLA KAWANA
CAST ANNA JULLIENNE
Miranda Anna Jullienne’s previous appearances for Auckland Theatre Company include playing the lead in Anne Boleyn, the frustrated doctor's wife in In The Next Room (or The Vibrator Play), the meddling journalist Joanna in Enlightenment and the stunning Roly Poly Bird in The Twits, adding to a long list of credits, including Death of a Salesman, The Vagina Monologues and A View from a Bridge. Interspersed amongst these shows, she has found time to work in television, including all three seasons of the awardwinning Australian drama 800 Words as well as Harry, The Blue Rose, Underbelly NZ: Land of the Long Green Cloud and Shortland Street. FASITUA AMOSA
Jeremy Smith Fasitua Amosa has been an actor for 17 years. Since graduating from the School of Performing and Screen Arts at UNITEC, in 2002, Fasitua has appeared on numerous television shows and has become a regular face in Auckland’s theatre scene, having worked frequently for all the major theatre companies. He’s also a very busy voice-over guy so if you haven’t seen him, you’ve probably heard him on radio advertisements or on Auckland’s train network. In 2017 he directed a hugely successful season of Katori Hall’s Laurence Olivier award-winning play The Mountaintop. This year, he directed Still Life with Chickens for Auckland Theatre Company. To see more of him, check out the murder mystery thriller Alibi on TVNZ OnDemand. NICOLA KAWANA
Major Aria Born and raised in Taranaki, Nicola Kawana first trained as an actor with the then Taranaki Youth Theatre. She then headed to Wellington where she made her professional debut in Hone Tuwhare’s In the Wilderness Without a Hat in 1989. Nicola trained at Toi Whakaari: New Zealand Drama School and has worked in theatre, film and television. Theatre credits include Mo & Jess Kill Susie, Les Parents Terribles, Home Fires, Woman Far Walking, Blood Wedding, The Motor Camp, The Fix, Awatea, A Doll’s House, The Vultures and, most recently, Under the Mountain. Television and film credits include Jackson’s Wharf, Shortland Street, The Man Who Lost His Head, Eruption, Fresh Meat and Monkey. After a lifelong love of gardening and studying horticulture, Nicola works as a garden writer, gardener and presenter on the TVNZ 1 show, Whānau Living. Nicola is a member of Equity New Zealand and is a UNICEF Global Parent. EDWIN WRIGHT
Taylor Grey Since graduating from the University of Otago’s Allen Hall Theatre in 1999, Edwin Wright has been fortunate enough to work with some of New Zealand’s leading practitioners of theatre, film and television. Theatre highlights include Take Me Out, Unidentified Human Remains and the True Nature of Love, Rabbit, Arcadia, Richard III, The Boys in the Band and Manifesto 2083.
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Giltrap Audi season of Rendered
EDWIN WRIGHT
SIMON LONDON
BAN ABDUL
Recent screen credits include Slow West, Turbo Kid, Erebus: Operation Overdue, In Dark Places, Mistress Mercy and the yet-to-be-released Straight Forward and Guns Akimbo. The Giltrap Audi season of Rendered is his eighth production with Auckland Theatre Company – previous productions being Black Confetti, The Pōhutukawa Tree, The Crucible, End of the Rainbow, Play 2.03, The Glass Menagerie and The Good Soul of Szechuan. SIMON LONDON
Travis Simon London has established a wide-ranging career, acting in theatre, film and television in Australia, New Zealand and the UK. He has worked extensively in theatre: recent Australian work including the critically acclaimed The Pride and Remembering Pirates with Darlinghurst Theatre Company, Taking Steps for the Ensemble Theatre and The Judas Kiss with Red Line Productions. This year, he toured with GWB Entertainment and State Theatre Company of South Australia’s production of 1984 here for the Auckland Arts Festival and then on to Singapore for its International Festival of Arts. New Zealand theatrical highlights include When the Rain Stops Falling, The Pride and The Boys in the Band with Silo Theatre; The Duchess of Malfi and The Gift with Auckland Theatre Company; Romeo and Juliet with Downstage; The Beauty Queen of Leenane and Three Sisters with The Court Theatre; and the national tour of Disco Pigs with A Different Light. Simon was co-creator of The Generation of Z, which enjoyed two successful New Zealand seasons and subsequently toured to the Edinburgh Festival and London. Simon’s feature films include The Hobbit: The Desolation of Smaug, The Hobbit: Battle of the Five Armies, My Wedding and Other Secrets and Shock Room. In television, Simon has most recently been seen in Love Child, Doctor Doctor and Wonderland. Further screen credits include The Cult, The Bill, Legend of the Seeker, Go Girls, Shortland Street and telefeatures Bliss and Waitangi – What Really Happened?
BAN ABDUL
Zuleikha Hlaif After graduating from NASDA (National Academy of Singing and Dramatic Art) in 2002, Ban Abdul’s vibrant and varied career started with the New Zealand production of Disco Pigs. That subsequently landed her a role in Downstage Theatre’s Top Girls, directed by Colin McColl in 2003, which gained her a nomination for Most Promising Female Newcomer at the Chapman Tripp Theatre Awards that year. From musicals to performance art and everything in between, Ban’s most notable stage appearances include Duck, Baghdad, Baby! and Wait Until Dark. Her film credits feature Eagle vs Shark, Avatar and Put Your Hands Together, Please as well as Jane and the Dragon as a motion capture artist. Ban is honoured to be making her Auckland Theatre Company debut (as Zuleikha) with the fine and incredible cast, crew and director of the Giltrap Audi season of Rendered, in its world premiere season.
Cast
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IN REHEARSAL
Photo credits: Brad Fisher
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STUART HOAR
KATIE WOLFE
JOHN VERRYT
CREATIVE STUART HOAR
Playwright Stuart Hoar has been writing plays for many years now. He was Playwright in Residence at the Mercury Theatre (1988/89) and was awarded the Bruce Mason Playwriting Award in 1988. In 1990 he was Literary Fellow at the University of Auckland and, in 1993, he was the Robert Burns Fellow at the University of Otago. In 1998, his novel The Hard Light was published by Penguin NZ. In 2000, he was Writer in Residence at the University of Canterbury and Meridian Energy Katherine Mansfield Fellow for 2007. His radio play The Big Melt was Radio New Zealand’s World Play for 2010. His play Bright Star was produced in London in 2010 and has just finished a season in Auckland. The musical The Great Art War, written with composer Philip Norman, was premiered by The Court Theatre in 2013 and his stage play Pasefika won the Adam New Zealand Play Award 2010 and was produced by Circa Theatre in 2014. KATIE WOLFE (Ngāti Mutunga, Ngāti Tama)
Director Katie Wolfe is well known to audiences throughout New Zealand for her work on stage and screen. More recently, she has focused her talents on directing, most notably for the acclaimed short film This is Her, and the telefeature Nights in the Gardens of Spain, adapted from Witi Ihimaera’s novel and International Film Festival hit Waru. Following on from her production of The Women for Silo Theatre, she has put her energy behind productions of a number of new New Zealand plays including Luncheon, The Mooncake and the Kumara and Anahera. Katie premiered The Haka Party Incident in Auckland Theatre Company’s The Navigators season late last year. JOHN VERRYT
Set Designer John Verryt began designing for performance in 1979, training at Theatre Corporate and Mercury Theatre. John works regularly, as a freelancer, for many of New Zealand’s foremost performing arts companies, including Auckland Theatre Company, Silo Theatre, Indian Ink, Red Leap Theatre, The Large Group, Nightsong, NZ Opera, Douglas Wright Dance, Michael Parmenter, Malia Johnston, Atamira Dance, Okareka Dance and Black Grace Dance companies. Recent Auckland Theatre Company shows designed by John include Once on Chunuk Bair, Jesus Christ Superstar and Rupert.
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Giltrap Audi season of Rendered
SEAN LYNCH
FIONA NICHOLS
HARLEY CAMPBELL
SEAN LYNCH
Lighting and Sound Designer 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 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, A Streetcar Named Desire and Hir. FIONA NICHOLS
Costume Designer Fiona Nichols has worked on a wide variety of theatre, film and television productions over the past 20 years. She recently designed Mrs Krishnan’s Party for Indian Ink Theatre Company and the short film 21 Points. HARLEY CAMPBELL
Video and Graphics Designer 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 believes that god is in the detail and applies a meticulous, considered approach to every project, to the extent that some describe him as a little obsessive. The Giltrap Audi season of Rendered marks Harley’s first foray into the world of theatre and he has thoroughly enjoyed transferring his experience and passion into this exciting new domain.
Creative
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SCENE BY JAMES: WHY NEW ZEALAND THEATRE MONTH MATTERS [September is for Theatre]
by Dr James Wenley
“I just want us, as an industry, to take more pride in what we do and be proud of what we have – because it’s astonishing.” – Roger Hall
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Giltrap Audi season of Rendered
Scene from Auckland Theatre Company production of The End of the Golden Weather by Bruce Mason, 2011. Photo credit: Michael Smith.
NEW ZEALAND theatre history can be divided into two distinct periods: Before Roger Hall (BRH) and After Roger Hall (ARH). In the year 0 ARH (that’s 1976 in our usual calendar), Roger Hall’s Glide Time – a close-to-home satire of the Wellington public service – debuted and was a smash hit for Circa Theatre. Roger Hall’s play (together with Joseph Musaphia’s Mothers and Fathers the previous year) marked a distinct turning point in the commercial acceptance of home-grown theatre. New Zealanders were laughing at “themselves” and could now “support local drama without any sense of ‘cultural cringe’”.(1) Ian Gordon wrote about his experience watching Glide Time for the first time with “an audience delighted to see themselves on the stage, recognising that Roger had them to a T, and responding delightedly to every line”.(2) Hall’s plays arrived at a time when New Zealand was reformulating its conception of itself following Britain officially joining the European Economic Community – his work was characterised as a distinctly new, popular and representative type of local play, dramatising a uniquely New Zealand point of view. That is not to say that theatre began in 0 ARH. In the years before Roger Hall, this country had a creatively rich (if not always financially lucrative) range of theatrical activity. From the late ’40s literary figures like Allen Curnow, James K Baxter and Frank Sargeson were experimenting with theatre. Stella Jones had her play The Tree (1957) produced in the UK and subsequently toured across the North Island. Bruce Mason was writing epic state-of-the nation plays, but ended up going the DIY route with his solo tours of The End of the Golden Weather. Robert Lord had his plays produced in the early ’70s before leaving for America. Meanwhile, now legendary alternative collectivist companies like Amamus Theatre, Living Theatre, Theatre Action and Red Mole were taking politically charged work to the people. But New Zealand theatre was never the same again post-Hall. Hall became our most commercially successful playwright. His Footrot Flats: The Musical
SCENE BY JAMES: Why New Zealand Theatre Month Matters
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Scene from Auckland Theatre Company production of That Bloody Woman by Luke Di Somma and Gregory Cooper, 2016. Photo credit: Michael Smith.
(1983, with collaborators A.K. Grant and Philip Norman) was a smash on both sides of the Tasman (and has clocked up 150 productions according to the author). Middle Age Spread (1977) was performed in London’s West End in 1979, starring Richard Briers and Paul Eddington. Hall’s plays, reflecting a particularly Pākehā sensibility, have been a sure bet with companies and societies across the country and across the decades. Auckland Theatre Company most recently produced Last Legs in 2017. In 2015, Hall became the first playwright to be recognised in the Prime Minister’s Awards for Literary Achievement. Hall’s mainstream populism has seen him unfairly maligned by some critics – his dramatic body of work represents a substantial cultural history over more than four decades. Now, Roger Hall is using his mana to champion the concept of a New Zealand Theatre Month. He told Stuff that “although we have an amazing theatre scene, by and large, the public is not aware of it… just doesn’t loom large in the national conscience because it tends to be everything fighting their local corner – and fighting to stay alive in cases. I just want us, as an industry, to take more pride in what we do and be proud of what we have – because it’s astonishing.” Theatre in 42 ARH looks very different from the way it did when Glide Time appeared. Although a number of professional regional theatres had emerged (of those number, the likes of the Mercury, Downstage and, most recently, Fortune Theatre have not survived), back then, cultural cringe was a very real concern. A prevailing view was that New Zealand audiences did not want to see New Zealand work: local plays were devalued, overseas plays were what people wanted. Hall says that “my standard joke is, in my day, you had to put the words ‘New Zealand Play’ on a poster like a government health warning because people were very nervous, self-conscious and not sure what they were getting.” A theatre month allows us to consider the way that we value theatre in Aotearoa, seeing it as a core part of our society and culture. In 2017 Creative New Zealand found that 80% of New Zealanders had
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Giltrap Audi season of Rendered
Scene from Auckland Theatre Company production of Last Legs by Roger Hall, 2017. Photo credit: Michael Smith.
either attended an arts event or participated in the arts in the previous 12 months. Is that reflected in our national conversations and media? New Zealand Theatre Month is one avenue by which we can articulate what is already happening, and further help grow attendance by connecting curious audiences with productions (while also being conscious of accessibility and the barriers that prevent this). If we needed any further proof that this view is long dead, Playmarket, New Zealand’s playwrights' agency, recently released an analysis of the programming by our professional theatres in 2017 (producing houses, receiving houses and producing companies funded by CNZ under the Tōtara and Kahikatea models). Playmarket found that companies and audiences love local work: of the 221 staged productions, 79% were New Zealand works. Playmarket’s breakdown gives a picture of the representation on our stages: 14% were Māori works, 11% were Pasifika works, 7% were Asian works and 48% were works by New Zealand Women. Although this data gives only a snapshot of a particular year, the overall trends are notable (while using different data, it can be contrasted to CNZ’s earlier finding that, between 2011 and 2015, only 6% of productions by main centre theatres were of Māori or Pasifika work). What better time, then, for the inaugural New Zealand Theatre Month? Sure, it doesn’t look as though our professional companies need any encouragement to programme local work – they are committed to telling local stories. But having a month for theatre provides an opportunity to harness everything that is going on. When companies are focused on surviving from show to show, there can be little opportunity for telling a national story as an industry. New Zealand theatre-makers produce high-quality and truly remarkable work – it is exactly the right time to celebrate this. REFERENCES (1 Chambers, Colin (ed). Continuum Companion to Twentieth Century Theatre. London: Continuum. 2002, p544 (2) Gordon, Ian. “Foreword” in Middle Age Spread. Roger Hall. Wellington: Price Milburn for Victoria University Press, 1978, p5
SCENE BY JAMES: Why New Zealand Theatre Month Matters
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NEW ZEALAND THEATRE MONTH EVENTS WATCHING PAINT DRY By Anders Falstie-Jensen, with Sean Lynch
25 and 26 September Basement Theatre
Watch Paint Dry. Live! Experience just how much happens when nothing seems to be happening at all. Join solo performer and lighting designer Sean Lynch on a journey across the plains of time to the far reaches of your mind. Following a successful run at the Herald Theatre earlier this year, Watching Paint Dry returns for a brief two-performance season at The Basement.
TUHI TIKA – PLAYWRIGHT WĀNANGA MASTERCLASS FOR MĀORI PLAYWRIGHTS
23 September The Cellar, Corban Estate Arts Centre
Tuhi Tika is back by popular demand. Whether you are a beginner or midcareer playwright, Te Pou Theatre offers you the opportunity to participate in a two-day Māori playwrights’ masterclass. Entry is free but it is essential to book your place in this masterclass.
LITTLE TOWN LIARS By Joshua Hopton-Stewart
19 – 22 September Westpoint Performing Arts Centre
Little Town Liars is a fast-paced comedy musical created by New Zealand composer and director Joshua Hopton-Stewart. It was first performed as part of the 2013 New Zealand Fringe Festival to a sell-out crowd at BATS Theatre in Wellington, where it was selected as a Pick of the Fringe and won the award for Best Ensemble.
SEE MORE AT THEATREMONTH.NZ 20
Giltrap Audi season of Rendered
WHAT’S ON AT ASB WATERFRONT THEATRE OCTOBER OH WHAT A NIGHT! October 9 “The Boys Are Back” for their fourth New Zealand tour this October! Returning from Las Vegas, and incredible sold-out concerts around the world, Oh What A Night! is the kind of evening that has toes tapping to the infectious songs of Frankie Valli and The Four Seasons.
NOVEMBER Black Grace presents
THE GUERRILLA COLLECTION Dance by Neil Ieremia
2 – 4 November FREE FESTIVAL The Guerrilla Collection, a festival of 30-minute movement pieces, explores the future of Auckland city through a uniquely Pacific lens. This festival unites Pacific artists from across multiple disciplines in creating fresh and engaging Pacific art.
Auckland Theatre Company ASB season of
SHORTLAND STREET – THE MUSICAL Music and lyrics by Guy Langford Book by Guy Langford with Simon Bennett By arrangement with South Pacific Pictures
From November 14 Indulge your guilty pleasure with an unforgettable night out of side-splitting laughs and ’90s throwbacks. Relive the cliffhanger storylines injected with gutbusting musical numbers including Not in Guatemala Now and The Five Wives of Doctor Warner.
What's On at ASB Waterfront Theatre
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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: • APPLAUSE $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 Supporting Acts can be made at atc.co.nz/support or at the Box Office when purchasing tickets. Alternatively, you can contact the Development team at 09 309 0390 or simon@atc.co.nz. Whatever the nature of your support, we are always glad to hear from you. Thank you
Emma & Simon 22
ATC Supporting Acts
MAKE A NIGHT OF IT at Halsey St Kitchen, ASB Waterfront Theatre. Dine from our pre-show spring menu made with fresh, local ingredients.
PRE-SHOW DINING BEFORE EVERY PERFORMANCE (EXCLUDING MATINEES) | PHONE (09) 632 1962
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ATC Group Booking and Mythmakers
JOIN A THEATRE CLUB Want to share the theatre love? Become a theatre hero by introducing your friends to the stage. When our 2019 subscription is released (all will be revealed in October!), you can sign your friends up to all subscription plays as a group of six or more with our Theatre Club package. That way, you will save money, never miss a play and share a year of great theatre with friends.
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. Touring in schools: 29 Oct – 16 Nov.
Icarus The Boy Who Flew too Close to the Sun Written and directed by Benjamin Henson Everyone in Room 12 is excited to be on school camp: everyone except Icarus. He is locked up in a maze with a man-eating minotaur and his Dad is stuck there too! Will Icarus’ bad temper keep him locked in the labyrinth forever or will he listen to his friends and join his father’s brave escape plan? Object animation, live music, comedy and song bring this classic Greek myth alive for children aged 8+. If you are interested in hosting a performance of Icarus at your school, please contact Nicole Arrow – nicole@atc.co.nz
ATC Group Booking and Mythmakers
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PRODUCTION SUPPLIERS
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BEAUTY AND PRODUCT SPONSORS
OFFICIAL MAKE-UP SPONSOR M.A.C cosmetics offers a large selection of make-up, skin-care products and nail-care items. Visit Smith & Caughey’s or one of the M.A.C stores: St Lukes, Britomart or Botany Downs.
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Suppliers and Sponsors
Your next event in the spotlight
AWT MICE ADVERT
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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TRUSTS AND FOUNDATIONS
PROJECT FUNDERS
PROJECT PARTNERS
MAJOR FUNDERS
FOUNDATION PARTNERS
T H A N KS TO T H E S U P P O R T E R S O F
THE CHARTWELL TRUST LOU & IRIS FISHER CHARITABLE TRUST PUB CHARITY SIR JOHN LOGAN CAMPBELL RESIDUARY ESTATE SKYCITY AUCKLAND COMMUNITY TRUST
FOUNDING BENEFACTORS, PATRONS AND DONORS
AUCKLAND THEATRE COMPANY Artistic Director Colin McColl ONZM Chief Executive Lester McGrath Mana Whenua Cultural Advisor Herewini Easton Creative Development Associate Director: Lynne Cardy Literary Manager: Philippa Campbell Youth Arts Coordinator: Nicole Arrow Creative New Zealand Pasifika Intern: Leki Jackson Bourke Production and Premises Production Manager: Joel Crook Company Manager: Elaine Walsh Venue Technical Manager: Josh Bond Venue Technician: Johnny Chen Technician: Zach Howells Marketing and Communications Marketing and Communications Manager: Natasha Gordon Publicists: Siobhan Waterhouse and Vanessa Preston 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 Supervisors: Cally Castell, Eliot Youmans
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Development and Venue Sales Development Manager: Emma Burton Development Coordinator: Simon Tate Events and Sales Manager: Bernadette Norfo 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 BOARD OF DIRECTORS Chair: Gordon Moller ONZM Jonathan Bielski Vivien Bridgwater Karen Fistonich Isaac Hikaka Katie Jacobs Scott Kerse Derek McCormack Graeme Pinfold 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
FOUNDING CORPORATE PARTNERS PLATINUM PARTNERS GOLD PARTNERS SILVER PARTNERS
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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“TOTALLY ROCKED MY SOCKS OFF!”
“ICONIC… SUPER FUNNY... I LOVED IT!”
“PURE, UNADULTERATED JOY.”
From NOVEMBER 14