drama* on the waterfront

Esencia del Flamenco

noreply@blogger.com (Circa Theatre) — Mon, 30 Jan 2012 01:55:00 +0000

Jill Tanner-Lloyd, Artistic Director of the Desde Sevilla Flemenco Dance Company talks to drama on the waterfront about Esencia del Flamenco, opening tomorrow in Circa Two. Paul Bosauder and Cristina Lopez Gomes, both of whom are visiting from Barcelona in order to perform in Esencia del Flamenco, also tell us a little bit about themselves and their experiences.

DOTW: Please tell us a little bit about the Desde Sevilla Flamenco Dance Company; how long has it been around, who is involved, etc?

JTL: DSFDC began in Wellington back in 1999 and has been entertaining enthusiastic audiences locally and around New Zealand ever since, with flamenco dance and music shows that really appeal to the Southern Hemisphere audiences. The group has been in various forms: with Jessica Garland and Jamie King dancing in the early 2000's, Mark Edwards on guitar and Alan Burden joining Helene Garland and me. More recently we have incorporated other upcloming dancers - Kathryn Taylor, Pilar Villamor and Stephanie Howard. Raymond Biggs has joined the group to add to that percussive strength and we have worked with other guitarists Paul Knight and Richard Lucy. We have worked with other artists over the years too, but for this new show feel very excited and honoured to have the opportunity to work with international flamencos of such high calibre. I also feel very proud that we have secured support again from the Spanish Embassy in New Zealand. It is great that the embassy recognises how flamenco draws New Zealand audiences towards Spanish culture, and our shows often weave interesting stories that enhance audiences' understanding of that culture.

DOTW: What can you tell us about Esencia del Flamenco? What can audiences expect?

JTL: They should expect an enormous variety of high quality flamenco dance, guitar, rhythm and the most soulful, captivating singing (cante). The show is in two very different parts. The first is our tribute to the Spanish Civil War - with driving rhythms, explosive dance and the most haunting singing. It is varied, emotional and I am personally very proud of what we have achieved with this work - which is woven together with intricate guitar, percussion and beautiful narration.

The second half is light-hearted, fun, fiesta and full of colour! We particularly take time in this section to showcase Paul and Cristina - they have formed a tremendous partnership and this is really highlighted in some of the pieces they have prepared for this half. We end with Tangos (flamenco, not Argentinian) and the dancers return to the stage to set the audience on fire.

DOTW: Is there much of a flamenco community in Wellington? How do Wellington audiences respond to performances of the DSFDC?

JTL: Flamenco has always been a part of the diverse cultural and artistic palette that makes Wellington special. Other forms of dance and music attract greater numbers of participants, but I have been teaching for many years here and love the interesting range of people who come to explore what flamenco might mean to them. It is not an easy artform to learn - dance or guitar - and there are no flamenco singers to be found - they are a very rare breed. I think we do incredibly well bearing in mind we are so far away from its heart.

DOTW: Is this the first time you will be performing with a flamenco singer and guitarist? How has it been to work with them?

JTL: We have been lucky to have good guitarists in Wellington, but this is the first time the group has collaborated with Spanish-based artists, and certainly the first time we have done such a complex collaboration with a singer. I worked in Auckland in 2010 with Paul and Cristina on a small "coming home" show for the flamenco community and family, and right from the first rehearsal we knew we could easily work together again. We have very quickly developed a strong connection and that does not always happen, even in Spain. I adore dancing for Cristina - she is truly inspirational and now my other dancers and musicians get to experience that too - it has been a dream of mine since last March.

DOTW: You have performed at Circa before; what can you tell us about your partnership with Circa Theatre and the response you receive from Circa audiences?

JTL: Circa Theatre is the perfect partner for us - we love the small, intimate atmosphere that Circa Two provides and the theatre's professional organisation and support. I truly believe that audiences should be 'close to the action' to feel the energy from flamenco - huge theatres are good for the pocket but not for the performance I think.

DOTW: What should audiences know about flamenco dance before coming to Esencia del Flamenco?

JTL: I think Paul and Cristina's comments below really provide an excellent insight to what flamenco means to them and to audiences - maybe that's enough to know before coming to the show. We look forward to sharing this with them.

Jill Tanner-Lloyd
Director and Artistic Director

Paul Bosauder (guitarist)

I was raised as a Lebanese Kiwi, I arrived to New Zealand before I knew how to walk and grew up in a cultural mosaic of Lebanese and New Zealand culture. Later, I returned to Lebanon to seek out my roots and understand better the culture of my parents. I found work in singing in a club called the Music Hall where musicians from Palestine, Romania, Lebanon, Spain, Cuba and New Zealand (me) were working together three nights a week in a fusion of music of their respective parts of the world. When I heard the Spanish guitarist playing backstage before the show I was mesmerized the power of the rhythm and the cante (song) which seemed so close to arabic song I had listened to as a child. I left the gig and decided to head to Spain and began what has been an incredible journey.

Flamenco for me has a magical quality and a pureness that is difficult to describe. It is a music that is demanding and inspiring. The first few years in Spain were so challenging and at first it seemed almost impossible to understand the language of flamenco. But with time it has become something that is now almost second nature. It has been a journey filled with challenges and doubts but also many moments of euphoria. But one thing was clear, I was infatuated with flamenco and whenever I heard the cante (flamenco song) I knew I had to be a part of those moments. Flamenco is more than a music - it is a journey, a journey that is best shared.

Cristina Lopez Gomes (cantaora/singer)

I want to say first of all that flamenco is a way of life and mode of expression. It is the language that I have found to best express myself and in the most sincere manner. I don´t have a single story or moment that I can say that I discovered that I want to sing flamenco. In a way it has always formed a part of my life and so it was something that I have been discovering naturally over the course of my life. I love the social part of flamenco and it is a music that is to be played in a group and shared. This for me is one of the greatest pleasures to be able to share this art with people. I feel very lucky that the culture of my country is loved all over the world and this makes it even more special to be able to share this with people in New Zealand. Now flamenco is becoming something universal - it is a language that people all over the world begin to understand and share.

We would also like to give thanks to all of the people who have helped bring this show to Wellington. Thank you to Jill Tanner-Lloyd, Ann Edge, Alan Burden and Annabel Hensley for looking after us so well during our stay.

Esencia del Flamenco opens in Circa Two on Tuesday, 31 January and runs until Sunday, 5 February. To book, call the Circa Box Office at 801-7992 or go online at www.circa.co.nz.

Meet the Circa Council: Neville Carson

noreply@blogger.com (Circa Theatre) — Tue, 24 Jan 2012 00:52:00 +0000

This week, we’d like to introduce you to another Circa Council member, everyone’s favourite man about the admin office, Neville Carson.

DOTW: Tell us a little about yourself.

NC: I was born in Dunedin, raised in Greymouth, moved to Nelson at 13, and went on to the University of Canterbury. I came to Wellington at the end of 1971 to work for the N Z University Students Association. Then worked as Production Manager for Pacific Films before using my legal training with the Department of Social Welfare and the State Services Commission. In the mid-80s I set up an actor’s agency, Plumb Personnel, and worked at that, and some film production, until I pretty much retired.

DOTW: What is your history with Circa Theatre? How long have you been involved in the theatre and in what capacity?

NC: I’ve been involved in theatre since Drama Society days at university, and followed keenly the Wellington scene from my arrival. I knew some of the founders of Circa pretty well, though was away overseas when things got going. I’ve been involved with Circa as a Councillor and in the specific roles of Treasurer, Secretary and Coordinator on a number of occasions, and also in earlier years did some performing, a little bit of design, and a lot of set building. I’m Treasurer again at present!

DOTW: How long have you been a member of the Circa Council? How did you come to join the Council?

NC: I joined Circa Council in 1977. My friend John Reid, who was on the Council, asked if I would join and take over the role of Treasurer, as the foundation Treasurer had resigned.

DOTW: What has been a highlight event/production/moment for you in your time at Circa?

NC: There have been many highlights, but I am particularly proud of the production management job I did on Waitangi in 1986. I also thoroughly enjoyed playing the Cardinal in The Duchess of Malfi a few years earlier. 1994 was a huge year, getting our new building completed and meeting endlessly over what – physically, operationally and attitudinally – we wanted to bring over the road with us. And helping get our 20 years history published in 1996 was fun.

DOTW: What are you particularly looking forward to in the 2012 programme?

NC: Our 2012 programme is particularly exciting, but in particular I’m looking forward to Peninsula, Chekhov in Hell, Sunset Road and Clybourne Park.

DOTW: Finally, do you have anything to say about Circa, with respect to its 35^th birthday or looking forward to the next 35 years?

NC: Sometimes I pinch myself to see if I’m dreaming that this little theatre is still going. National Super comes my way this week, and more than half of my life has been spent helping to keep Circa going. With some talented new Councillors on board there seems to be no reason it shouldn’t continue for another 35 years.

The Motor Camp: Those unforgettable Kiwi camping rituals

noreply@blogger.com (Circa Theatre) — Mon, 16 Jan 2012 01:45:00 +0000

HIT COMEDY RETURNS!

The cast of The Motor Camp. Photo by Phil Reid.

"I predict it will soon be performed all over the country” - DOMPOST

Following a triumphant sell-out season in 2011, The Motor Camp is back to start your new year of theatre-going.

Playwright Dave Armstrong is over the moon that The Motor Camp will be performed by the Auckland Theatre Company and a number of other theatre companies around the country in 2012, as predicted by Laurie Atkinson of The Dominion Post after the premiere season at Circa last January.

“It is great that other theatres have picked it up,” Dave says “I am overwhelmed at the response.

The idea for The Motor Camp was mooted a long time ago when Danny Mulheron told me his idea for a story about two very different families sharing a site in a motor camp. I could see immediately that it was a fantastic concept. After Danny erected those first structural poles, I ended up hammering in all the pegs – and banging out a script.

Both Danny and I had fathers involved in left-wing politics and education who took their families camping, and mothers who worked hard at keeping relations civil with other families. The holidays that Danny and I remember were wonderful, though we can’t forget the terrible weather, crappy facilities, neo-fascist camping ground owners, and the almighty arguments that could occur, for all the world to hear. This shared dramatic experience was the genesis of The Motor Camp.

Camping grounds are great levellers. University lecturers read Chomsky while sitting slap-bang next to builders reading Dan Brown. Middle-class women sit listening for tui and crickets while working-class blokes drink Tui and listen to the cricket. It is this juxtaposition that attracted me to the idea of the motor camp as a sort of Pakeha marae, where issues of family, relationships, education and politics could be discussed and resolved. Just about all Kiwis have been camping at some time in their lives. The Motor Camp is a glorious celebration of those unforgettable Kiwi camping rituals.”

Apart from the success of The Motor Camp in 2011, Dave co-wrote the TV movie Billy, about the life of Billy T James, and is well-known for his witty, weekly Dominion Post column.

The Motor Camp opens in Circa One on Saturday, 21 January and runs until 18 February. To book tickets, call the Circa Box Office at 801-7992 or go online at www.circa.co.nz.

New at Circa: Encore Bar | Restaurant | Cafe

noreply@blogger.com (Circa Theatre) — Mon, 09 Jan 2012 02:08:00 +0000

Get to know the face – proprietress Jacinta Saeki – behind Encore, the new bar, restaurant and café at Circa.

Jacinta Saeki, while working for the Ambassador of Norway in Tokyo.

DOTW: Please tell us a little bit about your background in the food and beverage/hospitality industry.

JS: I was born in South Australia to a Japanese mother and Ukrainian father so I grew up eating food from contrary cultures. Although my father had a simple palate he passed on his love of food to us by regularly taking us to the Central Markets (in all its abundance and glory) and night fishing (where I learnt to gut my first fish). My mother is a Classical Japanese Dancer so multicultural festivals were also part of my annual diet and exposure to international food and cultural arts.

I spent four years in a convent in Sydney between the ages of 9-13 where I first learnt how to really cook. Much to the contention of the other girls I was always chosen for kitchen duty and even evaded going to mass to tend the ovens during Easter and Christmas baking phases. A talent was born.

A Jacinta Saeki cake.

After returning to Adelaide my mother bought a Japanese restaurant and at 15 I started working there as a waitress, learning all about the family business and the long hard hours that it required. By the time I hit hospitality school post high school, I pretty much knew my way around a restaurant and bar and went on to working front of house for several years in hotels, cafes and restaurants.

I wanted to be an artist. I was good at drawing, drama and music but was deflated when I failed a dance audition to get into a performing arts school. That year I started in earnest in the kitchens at work and discovered that a plate could be a canvas. By the time I was 21, I was head chef at Kibbi’s Cafe Hyde Park and never looked back. I met Matt, my dear Kiwi husband, and we travelled to Melbourne, Wellington and then onto Tokyo where I was the Chef De Cuisine for the Ambassador of Norway, who gave me creative license (the best job ever!) to cook for some very distinguished guests.

We decided to return to NZ a couple of years later to raise our 8mth old daughter away from the smog and big city living she was born into. Since then I have worked part time here and there, ran a catering outfit and worked ad hoc as a personal chef. In the last several years I have set up Motoko Aotearoa Health through Education Foundation which offers cooking and art workshops for community groups and youth at risk. The best role has been raising my three tamariki. They have certainly helped me hone my birthday cake making skills!

A Jacinta Saeki cake.

DOTW: What are your thoughts about theatre dining?

JS: I think what a fabulous opportunity to complement the performing arts with culinary arts. They share parallel values and feed the soul.

DOTW: What is your vision for Encore? What can patrons expect overall?

JS: I want to provide a place where patrons feel welcome, where they are greeted with a smile and get great service. A place that doesn’t mimic the general Wellington café service scene, but rather sets a benchmark for others to follow.

The food has to be excellent but affordable with room to be creative and complement the shows. Using local produce and healthier raw ingredients we will be making most items on the premises from scratch and supporting artisan suppliers where we can.

I’d like to support NZ winemakers and brewers and offer quality off the beaten track beverages. Fair-trade, real trade and organic will feature on our menu and winelist.

I expect the best from my staff and the best for my customers J

Chocolate box of chocolates by Jacinta Saeki.

DOTW: What do you anticipate will be some of the most popular menu items at Encore?

JS: Well, I had been making some of the counter food last year and so far my spinach and cheese rolls, apple/raspberry crumble slice and tiramisu seem to be the house favourites. Once Don (Chef Donavan Hamilton) comes on board (back from the UK working as Sous Chef in one of Peter Gordon’s London restaurants), I’m sure between us there will be a whole range of delicious things coming out of our kitchen for the restaurant, bar and cafe.

DOTW: How does it feel to partner with Circa Theatre?

JS: I am very excited to partner up with a team that has such a wide range of knowledge and experience. I’m sure that our strengths will complement our work together to enhance Circa Theatre’s fabulous entertainment with wonderful hospitality.

Encore Bar | Restaurant | Cafe opened on 3 January for the 2012 season of Aladdin, with bar service and counter food. The full restaurant will open on 21 January with the opening of The Motor Camp, and the daytime cafe will commence 22 January. For full restaurant information, including hours of operation, please visit www.circa.co.nz/site/Restaurant. To make a reservation, call 801-7996.

Aladdin, the Pantomime:"all about having fun and being silly whether you’re on stage or in the audience"

noreply@blogger.com (Circa Theatre) — Tue, 03 Jan 2012 21:16:00 +0000

Aladdin, the Pantomime is back in Circa One for its short, post-Christmas season and actor Jessica Robinson takes time from getting back into the swing of things to tell drama on the waterfront all about Princess Jasmine and the pantomime experience.

Lyndee-Jane Rutherford (L) and Jessica Robinson (R) in Aladdin. Photo by Stephen A'Court.

DOTW: You play the Princess Jasmine in Aladdin; what can you tell us about her?

JR: Princess Jasmine is a bit of a rebel. Her father, the Sultan, has high expectations of the wealth she could make him by choosing the right kind of husband but she just wants the freedom to make her own choices.

DOTW: What has been the highlight moment for you during Aladdin?

JR: From a performer’s perspective, the audience participation is the highlight of the show. My favourite moment so far was when a little boy in the audience decided to throw his shoes on stage right in the middle of a “high tension” moment. The look on all of our faces must have been priceless as we all tried to figure out how to deal with it. The little boy also got the biggest round of applause that night.

DOTW: Have you been in any of the Circa pantomimes before? What can you tell us about the pantomime experience?

JR: I played Alice in Dick Whittington and His Cat two years ago and the main thing I learned was never to take myself too seriously. Pantomime is all about having fun and being silly whether you’re on stage or in the audience.

Jessica Robinson (centre) in Dick Whittington and His Cat, Circa , 2009/2010. Photo by Stephen A'Court.

DOTW: What can you tell us about the rest of the cast and crew?

JR: It’s a great team. We all get on really well and in fact the hardest thing about doing this production is not falling into hysterical laughter on stage.

DOTW: Is there a marked difference between performing in the pantomime before Christmas and after? Does the audience reaction differ at all?

JR: The audience is usually a bit more sober after Christmas, and like us, probably a little rounder.

Jessica Robinson and Richard Chapman in Aladdin. Photo by Stephen A'Court.

Aladdin is back on in Circa One until 14 January. To book, call the Circa Box Office at 801-7992 or go online at www.circa.co.nz.

2011: Marking 35 years of great theatre at Circa!

noreply@blogger.com (Circa Theatre) — Mon, 19 Dec 2011 01:53:00 +0000

It’s that time again – how did it get here so fast? – the season to celebrate with family and friends, and reflect on the fantastic year of theatre (our 35^th anniversary!) that is rapidly coming to a close.

2011 began as most do around here, with the return of the Roger Hall Christmas pantomime, Robin Hood. No he didn’t! Oh yes he did!

Next, we set out in the caravan with the cracker Kiwi comedy The Motor Camp. This sell-out summer hit caused a sensation with audiences, and will be returning by popular demand in 2012 – don’t miss it!

Heat kicked off the year in Circa Two, bringing a truly moving and provocative love story and its own alternative energy power source to Circa’s second space.

The Improvisors were a big presence at Circa throughout the year with a variety of shows for adults and kids alike: Improv Cage Match, Theatresports, Snake Oil, Policitics – The Musical, Mild Wild West, A Knight to Remember and Spaced Out. That is a whole lotta improv!

In the thrilling spy spoof Our Man In Havana, Circa One audiences were delighted by the dexterity of the multi-role playing cast, who took on more than 30 characters between the four of them amidst the colourful and seedy underworld of 1950s Cuba.

As part of the 2011 New Zealand Fringe Festival, the musical wonder that was flect-Re-flect enjoyed a short season in Circa Two, fascinating audiences with its originality and energy.

In March, Circa Two audiences were treated to yet another musical wonder, the delightful and charming Fairy Stories. You have never seen your favourite fairy tales quite like this!

Circa celebrated its 35^th anniversary with the epic, exciting and explosive Pulitzer Prize-winning August: Osage County. A sell-out season of positively riveting performances, three of the cast were recognized with 2011 Chapman Tripp Theatre Awards: Jennifer Ludlam for Best Actress, Michele Amas for Outstanding Performance and Lauren Gibson for Most Promising Female Newcomer.

In April, the Beatgirls returned to Circa Two with their hit show from 2010, BeatCamp! Once again, audiences were practically dancing in the aisles as the lovely and talented BeatGirls sang and danced their way through the decades, from The Andrew Sisters to Amy Winehouse!

Next up in Circa One was the modern Kiwi classic The Lead Wait. Captivating audiences with its unsettling hypernaturalism and dark wit, it was recognized with Chapman Tripp Theatre Awards for Set Designer of the Year (Andrew Foster) and Sound Designer of the Year (Chris Ward).

Audiences couldn’t help tapping their toes to the cabaret music of Boomers Behaving Badly, a sell-out show that combined Jane Keller’s special style of storytelling with her virtuoso Broadway voice.

We were made privy to some of the deep, dark family secrets of Sir Winston Churchill in the world premiere of the new New Zealand play Meet the Churchills. A fresh and funny perspective on an iconic and larger-than-life family!

An Oak Tree took traditional theatre and turned it on its head. A play for two actors in which only one knows the script, audiences were mesmerized by the ways in which actor Tim Spite would feed the lines to his co-star – a different guest actor for every performance.

When the Rain Stops Falling enchanted and challenged Circa One audiences out of their mid-winter doldrums, through a sweeping, multi-generational family drama of epic proportions. Cast member Christopher Brougham was awarded Best Supporting Actor at the 2011 Chapman Tripp Theatre Awards.

Eight was another departure from traditional theatre, with a premise that invited the audience to vote on which six of the eight monologues they would see in each performance. With the partnership of some of New Zealand’s hottest clothing designers, Eight was an engaging, intriguing and slick production that entranced Circa Two audiences.

Just in time for the Rugby World Cup, the return season of the Roger Hall hit Four Flat Whites in Italy took audiences on a hilarious journey with two mismatched couples. Fun-filled dream holiday … yeah right!

Also during the World Cup, the Tawata Productions play I, George Nepia treated audiences to a look at the life and times of legendary rugby player Geroge Nepia. After playing to sold-out houses in Circa Two, I, George Nepia swept the 2011 Chapman Tripp Theatre Awards, winning Most Promising Director, Director of the Year (Jason Te Kare), Actor of the Year (Jarod Rawiri) and Production of the Year. It came back for another dynamite season in Circa Two in December.

The return season of the Tawata Productions hit He Reo Aroha delighted audiences in September with a heartwarming love story, beautiful music and inspiring performances.

Sex Drive turned Circa One into the Pack ‘n’ Pullet Poultry Factory where three women put their second division Lotto winnings into opening a mobile sex shop. An unforgettable production that had audiences belly laughing into the aisles. And who can forget Dame Kate Harcourt’s final outfit?!

A late entry into the Circa Two season, Drowning in Veronica Lake told us the story of the legendary actress through actor Alex Ellis’ compelling performance and the use of a truly unique costume.

Finally, we whirled you into the Christmas season with the return of one of Roger Hall’s earlier pantomimes, Aladdin. This show is currently enchanting audiences of young and old alike, and will return in January to continue to enchant. Get your tickets by calling the Circa Box Office at 801-7992 or go online at www.circa.co.nz.

We’d like to thank our patrons, sponsors and the Wellington theatre community for your support during our 35^th birthday, and wish you all the best for 2012. We will close for the year on 23 December, and reopen on 2 January with the first drama on the waterfront post of 2012!

Happy Holidays from everyone at Circa Theatre!

Meet the Circa Council: Branwen Millar

noreply@blogger.com (Circa Theatre) — Tue, 13 Dec 2011 00:54:00 +0000

Circa Theatre is run by the Circa Council, a group of passionate and dedicated artists who work to ensure that Circa continues to be champions of quality playwriting and performance, and home and host to New Zealand’s most influential theatre-makers. Starting this week, drama on the waterfront will introduce you to the Circa Council, featuring a different member in posts throughout the coming months.

Our first featured member is one of the newest additions to the Council, Branwen Millar, who takes time from her busy schedule to tell us about her history with Circa, the highlights of her time at Circa, and her picks for 2012.

DOTW: Tell us a little about yourself.

BM: Proud Wellingtonian, born and raised. With practically equal passions for theatre, travel, social justice and human rights.

DOTW: What is your history with Circa Theatre? How long have you been involved in the theatre and in what capacity?

BM: I started working for Linda Wilson in the Box Office at Circa ten years ago and it was a wonderfully flexible job whilst I was studying (BA in Politics, Theatre and Development Studies, then a MA in Scriptwriting at Victoria University). I got to see all the plays for free and meet lots of wonderful people, both who worked at Circa, and who came to see the shows. Until recently I worked on and off at the box office between traveling, writing plays and other work, and occasionally would fill in for Suzanne Blackburn in Front of House.

My play Armslength premiered in Circa Two in 2008, which was hugely exciting for me as a writer. I had a great time working on it with Stephen Bain who directed, and the lovely cast, crew and design team. But I still remember turning up at the preview performance and there being people there, audience people who had paid to come, people who may not like it, people – or a person? – who laughed at a joke, then definitely people who laughed, smiled (I can see in the dark), yawned (I take the good and the bad), and then clapped at the end (phew). It was exhilarating and felt like I didn’t breath for 80 minutes.

DOTW: How long have you been a member of the Circa Council? How did you come to join the Council?

BM: I was asked to join the Circa Council in 2009. Jane Waddell called me out of the blue to ask if I’d consider it. I thought it an extreme privilege to be asked, I absolutely love Circa, and I’ve seen a number of plays at Circa over the years which have changed my life. I have an immense amount of respect for the passion and hard work that the talented people on the Council have put into Circa over the past 35 years. So I jumped at the chance and it’s been extremely rewarding hard work ever since!

DOTW: What has been a highlight event/production/moment for you in your time at Circa?

BM: There have been many! I will never forget seeing Cherish, or Wolf Lullaby, or Serial Killers, or August: Osage County – all for extremely different reasons. Obviously having Armslength in Circa 2 was a highlight, and I hope my next play will also premiere at Circa. Since joining the Council, helping to develop Circa’s relationship with Tawata Productions has been a definite highlight; Miria George and Hone Kouka are my idea of perfect theatre makers - honest, driven, nurturing, respectful, brave and generous.

DOTW: What are you particularly looking forward to in the 2012 programme?

BM: Oooh, too many goodies to pick! I love Jamie McCaskill’s new play Manawa; I saw a reading of it as part of Tawata’s Matariki Development Festival last year - another great outcome of the Circa/Tawata partnership. Jamie is extraordinarily talented and it was the freshest and funniest and most moving play I’d heard in a long time.

I’m also very much looking forward to Ken Duncum’s new play West End Girls. I am a massive fan of Ken’s work and have recently had the pleasure of working on a script workshop for this incredibly interesting and heart-warming true story to which he has turned his masterful theatrical pen.

As a playwright I’m a fan of the masters (Arthur Miller, Gary Henderson, Roger Hall) but I’m incredibly proud that Circa will be hosting the world premieres for six new New Zealand works in 2012!

DOTW: Finally, do you have anything to say about Circa, with respect to its 35^th birthday or looking forward to the next 35 years?

BM: It’ll be a real achievement when we crack 100! It feels like an extremely exciting time for Circa and I consider myself very lucky to have been part of it for the last ten and hopefully the next thirty-five plus. I’ve learnt so much from Ross Jolly, Sue Wilson, Ray Henwood, Carolyn Henwood, Linda Wilson, Neville Carson and Jane Waddell, who have been growing Circa on the same artist-driven ethos for longer than I’ve been alive. It’s an incredible testament to their hard work, and our loyal audiences – without whom, of course, it’d all be for naught.

Chapman Tripp Theatre Awards 2011 Winners

noreply@blogger.com (Circa Theatre) — Mon, 05 Dec 2011 02:03:00 +0000

It was a fantastic evening last night at the Chapman Tripp Theatre Awards 2011. Many of the nominees were recognized for their work in Circa productions, and we couldn't have been prouder of them or happier for the winners.

And the winners are ...

The Award Winners for 2011 are:
Critics Wild Card
Johann Nortje for outstanding AV design (body of work including When the Rain Stops Falling)

When the Rain Stops Falling. Photo by Stephen A'Court.

Circa Award Donated by TACT for the Most Promising Female Newcomer of the Year
Lauren Gibson - August: Osage County

Christopher Brougham and Lauren Gibson in August: Osage County. Photo by Stephen A'Court.

Toi Whakaari: NZ Drama School & Victoria University of Wellington Award for Most Promising Director of the Year
Jason Te Kare - I, George Nepia

I, George Nepia

Grouse Lighting Award for Lighting Designer of the Year
Marcus McShane - When the Rain Stops Falling

When the Rain Stops Falling. Photo by Stephen A'Court.

Weta Workshop Award for Set Designer of the Year
Andrew Foster - The Lead Wait

The Lead Wait

Park Road Post Production Sound Designer of the Year
Chris Ward - The Lead Wait

The Lead Wait

Chapman Tripp Award for Supporting Actor of the Year
Christopher Brougham - When the Rain Stops Falling

Christopher Brougham in When the Rain Stops Falling. Photo by Stephen A'Court.

The Proactors ad Gail Cowan Management Award for Actor of the Year
Jarod Rawiri - I, George Nepia

Jarod Rawiri in I, George Nepia.

Chapman Tripp Theatre Award for Actress of the Year
Jennifer Ludlam - August: Osage County

Jennifer Ludlam in August: Osage County. Photo by Stephen A'Court.

Emerging Artist Trust Wellington Accolade for Outstanding Performance
Michele Amas - August: Osage County

Michele Amas in August: Osage County. Photo by Stephen A'Court.

The Museum Hotel Award for Director of the Year
Jason Te Kare - I, George Nepia

Chapman Tripp Award for Production of the Year
I, George Nepia - Tawata Productions

The return season of I, George Nepia opens 8 December in Circa Two, for a limited run until 17 December. Tickets are available now - to avoid disappointment, book your yours by calling 801-7992 or go online at www.circa.co.nz.

Circa Theatre 2012 Season

noreply@blogger.com (Circa Theatre) — Mon, 05 Dec 2011 01:26:00 +0000

Circa Theatre

2012 Season

Brief Synopsis of Productions

Circa One

Roger Hall’s Aladdin, the Pantomime

Songs by Paul Jenden and Michael Nicholas Williams

Directed by Susan Wilson

3-14 January

Back by popular demand for the first two weeks in January, those of you who missed out on seeing this spectacular treat before Christmas can hiss, boo, and aww along with Aladdin, Widow Twankey and the gang!

The Motor Camp

A comedy by Dave Armstrong

Based on a story by Danny Mulheron

Directed by Danny Mulheron

21 January – 18 February

After the panto we have another return season by popular demand: The Motor Camp! Director Danny Mulheron once again helms this cracker Kiwi camping comedy by NZ playwright Dave Armstrong, bringing together the talented cast from the sell out 2011 season. Tickets are available now – get yours early to avoid disappointment!

Peninsula

By Gary Henderson

Directed by Jane Waddell

25 February – 31 March

Up next is Circa’s contribution to the New Zealand International Arts Festival, Peninsula, by the award-winning team who scooped the Chapman Tripp Theatre Awards in 2007 with Home Land. A touching, bitter-sweet look at life in the 60s, Peninsula provides a richly emotional journey amid childhood games and adventures and adult issues and events.

Roger Hall’s A Shortcut to Happiness

Directed by Ross Jolly

14 April – 28 May

A fabulous new comedy about the lives, loves and misadventures of a folk-dancing class, A Shortcut to Happiness has all of the usual Hall trademarks: shrewd observations, much mocking of Kiwis’ curious customs and of course, plenty of laughs.

All My Sons

By Arthur Miller

Directed by Susan Wilson

2 June – 7 July

The director who brought us the epic dramas August: Osage County and When the Rain Stops Falling in 2011, takes on this powerful Miller classic for 2012. A brilliant and compelling family drama of love, guilt and the corrupting power of greed, All My Sons was the first great success of Arthur Miller’s supremely influential career.

Spector

With the BeatGirls

Devised, written and choreographed by Andrea Sanders

14-28 July

A musical tribute to one of pop’s legendary producers, Spector showcases the best work from Phil’s career and recounts the stories around the music. Starring the always entertaining BeatGirls (performing for the first time in Circa One!) and featuring hit songs such as ‘Be My Baby’, ‘Da Do Ron Ron’, ‘Unchained Melody’ and ‘River Deep Mountain High’.

West End Girls

Adapted for the stage by Ken Duncum

From the bestselling book by Barbara Tate

Directed by David O’Donnell

4 August – 1 September

West End Girls is a world premiere adaptation of Barbara Tate’s autobiographical bestseller, brought to you by the writer/director team behind the 2010 Circa hit, The Great Gatsby. An eye-opening, hilarious and moving story of love, life, laughter and sex.

Clybourne Park

By Bruce Norris

Directed by Ross Jolly

8 September – 6 October

Director Ross Jolly presents the NZ premiere of this Pulitzer Prize-winning play. A very sharp, clever and wickedly funny study of modern manners, Clybourne Park probes the contemporary fault line between property and prejudice. It is startling, unsettling and outrageously entertaining!

The Truth Game

By Simon Cunliffe

Directed by Danny Mulheron

Produced by Howard Taylor

13 October – 10 November

Sex, lies and the semicolon. The Truth Game is a fast-moving contemporary drama about journalism and the very “soul” of the news, which freeze-frames the crises of the age, while traversing universal themes of ambition, loyalty, love and betrayal.

Roger Hall’s Cinderella, the Pantomime

Songs by Paul Jenden and Michael Nicholas Williams

Directed by Susan Wilson

17 November – 22 December

There he is! Oh no he isn’t. Oh yes he is! The team that brought you Aladdin, Robin Hood, Dick Whittington and his Cat, Jack and the Beanstalk and Red Riding Hood returns to the beginning to bring you the pantomime that started it all, Roger Hall’s Cinderella. A glittering fairytale with dazzling costumes and lots of fun and laughter – the perfect Christmas treat.

Circa Two

Esencia del Flamenco

With special guests from Barcelona Christina Lopez and Paul Bosauder

31 January – 5 February

First up in the 2012, Desde Sevilla Flamenco Dance Company returns to Circa Two with Esencia del Flamenco, which captures the essence of flamenco: haunting song, intense emotions and mesmeric rhythms.

Meeting Karpovsky

With Helen Moulder and Sir Jon Trimmer

Directed by Sue Rider

10-25 February

Originally produced to rapturous response in 2002, Meeting Karpovsky toured New Zealand in 2003/4 and won Listener Best New Play and Chapman Tripp Actress of the Year. By popular demand, it returns in 2012 for a strictly limited season.

Floral Notes

Written by Geraldine Brophy

Song book adapted by Jane Keller

4 -28 April

A blooming micro musical about friendship, life and love, starring all-time theatre favourites, Geraldine Brophy and Jane Keller. Floral Notes is a glorious evening of super songs and first-rate entertainment.

Chekhov in Hell

By Dan Rebellato

Directed by Eleanor Bishop

12 May – 9 June

Director Eleanor Bishop brings us a bitterly comic new play that drops nineteenth century playwright, author and pitiless observer of Russian society Anton Chekhov in twenty-first century London. This New Zealand premiere asks where have we come from, how did we get here and what do we do now?

Sunset Road

Written and directed by Miria George

20 June – 7 July

Brought to us by Tawata Productions, the award-winning team behind 2011 favourites I, George Nepia and He Reo Aroha, Sunset Road is a beautiful story of family, personal history and coming of age. World premiere.

The Year of Magical Thinking

By Joan Didion

Directed by Susan Wilson

11 August – 8 September

Starring Catherine Downes

A NZ premiere, this dramatic adaptation of Joan Didion’s award-winning best-selling memoir transforms the story of the sudden and unexpected loss of her husband and only daughter into a stunning and powerful one woman play.

Manawa

Written and directed by Jamie McCaskill

15 September – 13 October

This world premiere play by playwright Jamie McCaskill (He Reo Aroha) examines the New Zealand justice system and the idea of community.

The Mourning After

By Ahi Karunaharan

Directed by Miria George

16-27 October

Another contribution to the 2012 Circa Two programme from Tawata Productions, The Mourning After is a story of loss, love and family that travels from the shores of New Zealand to a village in Sri Lanka.

The Tigers of Wrath

By Dean Parker

Directed by Jane Waddell

3 November – 1 December

A world premiere, The Tigers of Wrath is an intriguing play about the strange twists of life, about hopes and reams, about a developing and then disintegrating relationship. In the background run two astonishing political trajectories: The People’s Republic of China and The New Zealand Labour Party.

And threaded throughout the Circa Two programme, The Improvisors continue their 22-year tradition of providing hilarious improv comedy for Circa audiences. We have Theatresports (29 April – 1 July), History Never Repeats (1-6 May), Improv Cage Match (19 August – 7 October) and three school holiday improvised shows just for kids (10-21 April, 2-14 July, 1-13 October). Don’t miss them!

Visit Circa to pick up your copy of the 2012 brochure today!

I, George Nepia: Rugby's first global superstar

noreply@blogger.com (Circa Theatre) — Mon, 28 Nov 2011 02:04:00 +0000

Playwright Hone Kouka talks about his play, I George Nepia, which will return for a second season at Circa 8-17 December.

DOTW: For those who weren’t able to see I, George Nepia the first time it was at Circa, what is the story?

HK: I, George Nepia is the story of a country boy who, after the All Blacks 1924 tour of the UK, became rugby’s first global superstar. It also follows parts of his life after rugby in particular his relationship with his eldest son and wife.

DOTW: What made you decide to write this play? What is your connection to this story?

HK: The decision to write the play now was due to the 2011 Rugby World Cup, it was also that nothing had been written about this man. My connection to the story is that he is a great uncle to me on my mother’s side of the whanau and that I was brought up on the legend of the great George Nepia.

DOTW: What can you tell us about actor Jarod Rawiri? What do you think of his portrayal of your script?

HK: Jarod Rawiri is an established stage and screen actor based in Auckland, he was recently nominated for best actor in a television series for the 2011 AFTA’s for his portrayal of Hone Heke.

Jarod’s portrayal of young and old George is “fabulous,” this is the word used by one of George Nepia’s family members who attended the opening of the play during the first season at Circa. Jarod has also been nominated for a best actor award at the 2011 Chapman Tripp Theatre awards for his portrayal of George Nepia.

DOTW: Tell us a bit about the development process; when did you begin working on it and how did it get from there to here?

HK: I thought about the story and how to tell the story of George Nepia, not long after it was announced that NZ would be hosting the 2011 RWC. The early sketches were workshopped in June of this year at the Matariki Development Festival and the script that is seen on stage is what was created. It was a relatively short amount of time to actually write the work.

DOTW: George Nepia’s whanau attended the play during its original season at Circa – what were their reactions to the play?

HK: The reaction for the Nepia whanau who attended the opening night of the original Circa season was excellent, some members called out to the character of George during the performance, most grabbed those involved with the project to give thanks of a wonderful picture of their grandfather, uncle, father. It was a privilege for us also to work so closely with George Nepia III in the development of the work.

DOTW: Finally, I, George Nepia enjoyed a sell out season at Circa in September – what has been the general response from the audience?

HK: The general response has been very positive, a nice surprise for us is that the theatre and rugby community have both responded similarly, both very positive.

To book, call the Circa Box Office at 801-7992 or go online at www.circa.co.nz.

Aladdin, the Pantomime: Don't miss it!

noreply@blogger.com (Circa Theatre) — Mon, 28 Nov 2011 01:13:00 +0000

Actor Nick Dunbar takes time from Aladdin to tell drama on the waterfront all about playing an evil villain and a polygamist Sultan.

"I play two characters in Aladdin: Abanazar, the villain of the piece, who has the hots for the beautiful Princess Jasmine (I mean, who wouldn't?), daughter of the Sultan. He is also bent on eventually ruling the country and also of course becoming rrrrrrrrrrrrrrrrrrrrrrrrrrich! It's all easily done, as long as he gets that magic lamp back. His friend and companion Kebab, played by himself, is a demon, literally. They're pretty close and are experts in magic (real) tricks. Abanazar and Kebab could tell you how the magic tricks are done, but they would have to kill you afterwards, and that's just one example of how evil they are.

Nick Dunbar as the evil villain Abanazar. Photo by Stephen A'Court.

I also play the Sultan, the supreme ruler of the land, Old Arabee. He's Princess Jasmine's dad, and would like to see her married off to someone with lots of cash, squillions in fact. The laws of old Arabee decree that unless a woman is betrothed by the time she is 20, she is doomed to live the rest of her days single. He spends most of his time partying at the palace with his seven wives and chopping peoples heads off with his Big Chop machine. It's lots of fun. He has a wide screen tv in every room at the palace, even in the toilet, and owns 143 luxury cars, none of which has been driven.

It's been a blast working and playing with everyone involved in Aladdin, and if the audience's response in the first week is anything to go by, it's going to be a great season ... Don't miss it!"

Aladdin runs until 23 December and then comes back in the New Year for a two week season 3-14 January. Pre-Christmas performances are filling up fast, so get your tickets quick! To book, call the Circa Box Office at 801-7992 or go online at www.circa.co.nz.

2011 Chapman Tripp Theatre Awards Nominations

noreply@blogger.com (Circa Theatre) — Mon, 21 Nov 2011 01:41:00 +0000

Circa Theatre is very excited to congratulate the talented artists who have been nominated for the 2011 Chapman Tripp Theatre Awards for their work in Circa productions. We are very proud of all of the nominees and wish them all the best for the awards presentation on 4 December.

And the nominees are ...

Downstage Theatre Award for the Most Promising Male Newcomer of the Year
Anthony Young - The Motor Camp

Anthony Young in The Motor Camp

Circa Award Donated by TACT for the Most Promising Female Newcomer of the Year

Chelsea Bognuda – Eight
Lauren Gibson - August: Osage County
Florence Mulheron - The Motor Camp

(Left to Right) Chelsea Bognuda in Eight, Lauren Gibson (with Christopher Brougham) in August: Osage County, Florence Mulheron in The Motor Camp

Toi Whakaari: NZ Drama School & Victoria University of Wellington Award for Most Promising Director of the Year
Jason Te Kare - I, George Nepia

I, George Nepia

The Absolutely Positively Award for Costume Designer of the Year
Sheila Horton - When the Rain Stops Falling

Grouse Lighting Award for Lighting Designer of the Year
Marcus McShane - When the Rain Stops Falling

The cast of When the Rain Stops Falling

Weta Workshop Award for Set Designer of the Year
Andrew Foster - The Lead Wait
John Hodgkins - When the Rain Stops Falling

Park Road Post Production Sound Designer of the Year
Chris Ward - The Lead Wait

The Lead Wait

Constance Scott Kirkcaldie Award for Outstanding Composer of Music
Gareth Hobbs - When the Rain Stops Falling
Miriama Ketu-McKenzie - I, George Nepia

Peter Harcourt Award for Outstanding New Playwright of the Year

Sponsored by Bats Theatre & Taki Rua Productions
Paul Baker - Meet the Churchills

Meet the Churchills

The Playmarket / Capital E National Theatre for Children – Outstanding New New Zealand Play of the Year
I, George Nepia - Hone Kouka

The Orbit Corporate Travel Award for Supporting Actress of the Year
Sophie Hambleton - When the Rain Stops Falling
Jane Waddell - August: Osage County

(Left to right) Sophie Hambleton in When the Rain Stops Falling, Jane Waddell (with Jeffrey Thomas) in August: Osage County

Chapman Tripp Award for Supporting Actor of the Year
Christopher Brougham - When the Rain Stops Falling
Simon Vincent - Our Man in Havana
Jason Whyte - August: Osage County

(Left to Right) Christopher Brougham in When the Rain Stops Falling, Simon Vincent in Our Man in Havana, Jason Whyte (with Jeffrey Thomas) in August: Osage County

Emerging Artist Trust Wellington Accolade for Outstanding Performance
eCaster Accolade for Outstanding Performance
Chapman Tripp Theatre Award for Actress of the Year
The ProActors and Gail Cowan Management Award for Actor of the Year
Michelle Amas - August: Osage County
Jennifer Ludlam - August: Osage County
Jarod Rawiri - I, George Nepia
Jason Whyte - When the Rain Stops Falling
(All nominated for all four categories)

(Left to Right) Michelle Amas in August: Osage County, Jennifer Ludlam in August: Osage County, Jason Whyte in When the Rain Stops Falling

The Museum Hotel Award for Director of the Year
Jason Te Kare - I, George Nepia

Chapman Tripp Award for Production of the Year
I, George Nepia - Tawata Productions
When the Rain Stops Falling - Circa Theatre

When the Rain Stops Falling

Tickets for the 2011 Chapman Tripp Theatre Awards are available now! To book, go online at www.downstage.co.nz. The ticket price is $70 per person (includes event passes for show, light supper and beverages).

Aladdin, the Pantomime: It should be a Les Mills class!

noreply@blogger.com (Circa Theatre) — Mon, 14 Nov 2011 01:19:00 +0000

Actor Gavin Rutherford talks about taking on the role of the most famous pantomime dame of all, the Widow Twankey, in Roger Hall's adaptation of Aladdin, the Pantomime.

“The big one. When it comes to pantomime dames there is no more famous character than Widow Twankey and it is my privilege to be playing her this year. Roger Hall places us firmly in old Arabee (which is closer to Wellington than one might think) and lets us into the weird world of Twankey's laundry full of 'the noble classes’ dainties and the neighbours' old grundies.'

As anyone who knows me will attest, these are grounds on which I thrive. Having played Mother Hood last year, the challenge comes from making Widow Twankey a different person while still retaining the fuller figure elements that made Trelise Hood so appealing. Widow Twankey is a bit more worldly-wise in her machinations as she struggles to attain the upper middle class status she so richly deserves - and, of course, in her pursuit of a man!

This year's panto is packed full of Wellington's best (and some might say) biggest performers so the energy in the rehearsal room is frantic and hilarious. Audiences will get on a fast-paced carpet ride of song, dance and silliness filled with romance, magic and 'blimmen good-night-outness!'

The magic and characters are a huge hit with the kids and some of the best experiences we have during a panto are when the children are allowed to come up onstage. The shrieking adult laughter at the usual naughty jokes and subversive satire and the joy of the kids makes our large amount of sweat and energy more than worthwhile.

It's a great work out for us on the way to the summer months. It should be a Les Mills class!”

Roger Hall's Aladdin, the Pantomime

Aladdin, the Pantomime opens on 19 November and runs until 23 December, returning after Christmas for a short run in the New Year: 3-14 January. There will be a $25 Preview performance on Friday, 18 November and a $25 Special Matinee on Sunday, 20 November. To book, please call the Circa Box Office at 801-7992 or go online at www.circa.co.nz.

Drowning in Veronica Lake: Come along and be transported back to the glamour of the golden age of Hollywood.

noreply@blogger.com (Circa Theatre) — Mon, 07 Nov 2011 01:08:00 +0000

Playwright Phil Ormsby talks to drama on the waterfront about Veronica Lake, the writing process, and society's 'casual way of disposing of celebrities'.

DOTW: Please tell us a bit about Drowning in Veronica Lake. What is the story?

PO: The play is based on the life of film star Veronica Lake who enjoyed a short reign as a major celebrity in the early 1940’s before being dumped by Paramount and virtually disappearing overnight. For ten years she provided tabloids and movie magazines with gossip and scandal most of which was carefully managed for full effect by the studio’s publicity machine. After she left Hollywood (or was dumped depending on who you want to believe) her career rapidly declined but she never gave up believing she would come back.

Alex Ellis in Drowning Veronica Lake.

DOTW: What made you want to write a play about Veronica Lake?

PO: I liked the idea that hers is a story that repeats itself throughout the entertainment industry – a performer unprepared for sudden fame finds themselves isolated and ends up in self medication and denial. In the end the gossip and scandals overshadow the performer’s actual career. See Michael Jackson, Charlie Sheen, Lindsay Lohan, Amy Winehouse…..

DOTW: What can you tell us about the writing process? What kind of research did you undertake?

PO: There is a ton of material online and the best thing about Veronica is for every story there seems to be a conflicting version. She published a biography in her later years rehashing some of the old magazine stories from her glory days with the benefit of hindsight and adding a bit of tell-all gossip. After her death her mother also published a biography which contradicted much of Veronica’s but with the passage of time neither is verifiable.

Alex and Simon (the Director) would workshop the script and give me their notes and I would rewrite as they went. Having a bit of distance from the process gave me a much better perspective; if I can find someone to actually write my next play for me I’ll be off the hook altogether!

Alex Ellis in Drowning Veronica Lake.

DOTW: Have you written other plays? How does this one differ/compare?

PO: This is my fifth play and the first about a real character (insomuch as a celebrity can be ‘real’). It’s the first play where the story already existed and I just had to come up with a way of telling it that did it justice. It’s also the first play for which I haven’t been involved in the production process except as the writer. In the past I’ve been director, tech, designer, builder or actor but for Drowning in Veronica Lake I had the luxury of a brilliant team to do all these things and I just had to write. Fantastic!

DOTW: What can you tell us about performer Alex Ellis? What does she bring to the script/this character?

PO: Because Alex bears no actual resemblance to Lake it meant we could abandon any pretence of a faithful impersonation of her and Alex’s intimate connection with the audience makes the story much more personal than just another tale about a fallen star, she brings an emotional honesty to her performance which is very moving and for which I am hugely grateful.

DOTW: Finally, what should Circa audiences know about Drowning in Veronica Lake?

PO: It will make you laugh, it will make you cry (or choke back a manly sniff) and hopefully it will make you think about the casual way we dispose of people we call celebrities. But most of all come along and be transported back to the glamour of the golden age of Hollywood.

Alex Ellis in Drowning Veronica Lake.

Drowning in Veronica Lake is on until 12 November in Circa Two. To book, please call the Circa Box Office at 801-7992 or go online at www.circa.co.nz.

Sex Drive: Lots of thigh slapping

noreply@blogger.com (Circa Theatre) — Mon, 31 Oct 2011 00:46:00 +0000

The lone male in a cast and crew of women, Tim Spite tells drama on the waterfront about the current Circa One production, Sex Drive, and shares what he would do if he won $10,000 in Lotto.

DOTW: What is the story of Sex Drive?

TS: Three women who work in a poultry packing plant win 10 grand and decide to pool their money to start a mobile sex toy shop in order to win themselves some autonomy over their paltry existence.

Tim Spite in Sex Drive. Photo by Stephen A'Court.

DOTW: What can you tell us about the characters you play?

TS: I play the poultry factory owner, Gordy; a garish bully and a bit of a perve. I also play Lance, one of the women’s son, who is, by contrast, intelligent caring and a bit shy.

DOTW: How does it feel to be the only male in a cast with five women?

TS: Not to mention the Director, Stage Manager, Costume Designer and Lighting Operator being women too! Well, I have three sisters and two daughters. It feels perfectly normal.

I’ve never seen so much competitive baking at morning tea. I was well looked after!

Lyndee-Jane Rutherford and Tim Spite in Sex Drive. Photo by Stephen A'Court.

DOTW: Given the subject matter/props, there must have been a lot of laughs in the rehearsal room; do you have any funny stories you could share?

TS: When the whole group tried on the vibrating butterflies was pretty funny.

DOTW: How have audiences reacted to the play so far?

TS: Lots of thigh slapping. I’m sure someone nearly died laughing on Saturday. They’d didn’t sound well at all.

Tim Spite in Sex Drive. Photo by Stephen A'Court.

DOTW: Finally, what would YOU do with the money if you won $10,000 in Lotto?

TS: I’d build a secret sex dungeon in the back yard and kit it out with all the latest sex toys.

Sex Drive runs until 12 November. To book, call the Circa Box Office at 801-7992.

Drowning in Veronica Lake

noreply@blogger.com (Circa Theatre) — Mon, 24 Oct 2011 00:27:00 +0000

The sole performer in this captivating play, Alex Ellis answers some questions about what it is like to drown in Veronica Lake.

How did you get involved with the show?

Phil (the playwright) was googling 1940's film director, Preston Sturges one night and stumbled upon (as you do on Google) an article about Veronica Lake, who had starred in one of Preston Sturges' movies. The article, about her body being smuggled across the USA/Canada border after she died and her ashes being found in a junk shop 40 years later, was so bizarre and far-fetched that it lead to another article and another and another...

There was so much scandal and rumour surrounding her life and although she was one of the biggest Hollywood stars in the 1940s she virtually disappeared unlike her contemporaries, like Rita Hayworth or Marlene Dietrich. She seemed like the Lindsay Lohan of the 1940s and such an unknown entity that we had to find out more. And once we knew more there seemed no doubt we had to write the play. And I couldn't pass up an opportunity to play such a Hollywood glamour girl – who would?!

Have you worked with any of the company on any other shows?

Phil Ormsby of course, Phil is the other half of Flaxworks and a playwright who has written all four of Flaxworks' productions. Nik Janiurek has also been our lighting designer for a couple of our previous shows – he is amazing! But I had never worked with Simon Coleman, the director, or Elizabeth Whiting or Sara Taylor before (our dress designer and creator). I would most definitely work with all of them again if I could. You know some things just come together like a well oiled machine to create magic and that's what happened here! Veronica Lake magic...

I guess I'd never worked with Veronica Lake before either, she's pretty amazing too but the drinking, the men, she could drink us all under the table...

And what about your role…any particular challenges?

So many Challenges! I am the solo performer which is always a slightly scary prospect, realising there’s only you out there with no safety net. And although I have performed a solo show before you can never escape the fear and the adrenaline rush of taking to the stage alone! Playing a real person was also a challenge. We made a conscious decision not to try and copy Veronica Lake exactly or turn the performance into a tribute show but I do feel a responsibility to portray my interpretation of her with some love – I don’t want to make her perfect but I do want to show her some respect.

There’s also the American accent…

and not being able to move from the spot for the entire show…

Ha! Challenge schmallenge, I love it all!

Alex Ellis as Veronica Lake.

What sort of audience reaction have you received so far?

Amazing, people have really loved the show. I think people have been impressed by all aspects of the production, (which is wonderful for everyone involved who put so much effort in to making the show!). Most of all I think people are surprised by it and by Veronica Lake. She was an amazing woman who lived a spectacular life that didn’t always go to plan. A true story, full of glamour, booze, the wrong men and money… what’s not to love?

What will be the strongest idea we will take away from the show?

Be careful what you wish for...

All that glitters is not gold...

Things are not always what they seem...

Apart from the cliches those basically are the themes for the show. It's the Hollywood curse of thinking someone has it all and then realising the truth is not always what you see and that the pressure can be too much.

Drowning in Veronica Lake opens in Circa Two on 1 November and runs until 12 November. To book your tickets, contact the Circa Box Office at 801-7992 or go online at www.circa.co.nz.

Wharfside Restaurant: It's that time of year!

noreply@blogger.com (Circa Theatre) — Mon, 17 Oct 2011 00:12:00 +0000

Well it’s that time of year again, time to start thinking about booking your Christmas functions. We are already getting bookings in for pre-Christmas groups. Circa puts on a great pantomime for the Christmas season and whether it be for a family group, a work group or a few friends, joining us at Circa and Wharfside makes for a great pre-Christmas celebration.

We can cater to any group large or small with a la carte dining, set menu packages and for the larger functions, cocktail parties. This is an especially great way to say thank you to loyal staff or clients by treating them to an evening with a difference.

We always celebrate Christmas with lots of fun and frivolity at Circa/Wharfside. With Christmas trees and lots of decorations, classy Christmas music, and a great Panto by Circa, it really is a great way to get into the Christmas spirit and de-stress from the pre-Christmas turmoil.

As this is our last blog post for the year, we wanted to do a quick overview of our 2011 year at Wharfside Restaurant & Cafe. We have had a variety of events and functions this year including Circa’s 35th Anniversary celebration, several birthday groups, a caberet evening (S’Wonderful 2 – American Woman) and much more. We also had a new chef come on board earlier in the year and he outdid himself with his new menus.

We want to thank all of our loyal customers and corporate clients and we wish you all the best for the remainder of the year.

Martin & Dee

Wharfside Restaurant

Sex Drive: Writing Across the World

noreply@blogger.com (Circa Theatre) — Sun, 09 Oct 2011 15:38:00 +0000

Playwrights Lorae Parry and Pinky Agnew.

When Pinky and I first had the idea for Sex Drive we were living in Wellington.

We'd co-written a couple of shows together, as well as political comedy skits for our 'characters', Helen (Clark) & Jenny (Shipley). Our writing routine always started with coffee and muffins and a catch up talk before we sat down at our laptops. And Sex Drive was no exception when, in 2006, we nutted out its storyline.

After completing the character breakdowns, we were about to start writing when, out of the blue, my partner got a 5 year contract in London and within weeks I was living on the other side of the world! No more morning talks, no play and definitely no more muffins.

Before I left we’d talked about somehow finding a way to write the play. All we had was a 1-page scenario and a great idea. Skype perhaps? Email? In London however, I struggled just to get the internet connected, then one day an Irish woman from British Telecom was sorting out my internet problems over the phone, and said, 'I can remotely access your laptop if you like.' And I watched in awe as she did so. Later she said, ‘You can write your play that way, to be sure!’

And that's how we've written the play, once a week, over the last 5 years. It's extraordinary technology. I literally get onto Pinky's computer - though never while she's doing her online banking! We work on the script in real time, while talking on Skype.

One luxurious week Pinky came to London and we actually sat in the same room writing! But apart from that and some sessions snatched when we’re home at Christmas, the play's been written between different time zones, with Pinky’s morning and my night, and 20,000 kilometers in between.

But even though we're at opposite ends of the globe, we still always start our sessions with our 'morning' talk. And, of course, the coffee and the muffins! As Pinky says, 'It just wouldn't work otherwise!'

Lorae Parry

London, 18 September 2011

Sex Drive opens on 15 October and runs until 12 November. To book tickets, call the Circa Box Office at 801-7992 or go online at www.circa.co.nz.

Spaced Out: An Intergalactic Interactive Improv Experience for Kids!

noreply@blogger.com (Circa Theatre) — Mon, 03 Oct 2011 00:27:00 +0000

By Captain Bevin Spacey

Spaced Out, the latest school holiday show at Circa brought to you by The Improvisors, is nearly ready for lift-off!

Our story will follow the adventures of New Zealand’s first interplanetary astronaut as he/she boldly goes where no Kiwi has flown before. As with our previous children’s shows, there will be plenty of opportunities for kids (and accompanying grown-ups) to be involved in the creation of the show, whether that’s by helping us with the special effects or by telling us what kind of alien life-form our astronaut encounters.

The cast will include regulars Pete Doile and Ian Harcourt, as well as newcomers Christine Brooks and Jonno Power. Once again, Tane Upjohn-Beatson will be providing music and soundscapes and Uther Dean’s lighting will be out of this world.

The shows run over both weeks of the holidays (10-22 October), at 11:00am and 1:00pm Monday to Friday, 11:00am on Saturday and no shows Sunday.

Running for no more than an hour (it’s a bit hard to be exact with an improvised show), Spaced Out is most likely to appeal to kids in the 3-12 age range – although anyone beyond this range is more than welcome. And we’ve found in our previous shows that many grown-ups enjoy themselves very much as well!

Come with us to the end of the universe and back in less than 60 minutes!

Tickets for Spaced Out are now available - and at $10 per person, it's a better deal than the movies! To book, call the Circa Box Office at 801-7992 or go online at www.circa.co.nz.

Audio Description at Circa Theatre: Four Flat Whites in Italy

noreply@blogger.com (Circa Theatre) — Mon, 26 Sep 2011 00:53:00 +0000

Circa Theatre will present an audio described performance of the Roger Hall comedy Four Flat Whites in Italy on 5 October at 2pm.

Audio description is a technique that allows blind and visually impaired audience members to enjoy a live theatre performance. Those who require it will be given a headset, through which a narrator will talk during the performance, describing what is happening on the stage during the natural pauses in the dialogue.

The cast of Four Flat Whites in Italy. Photo by Stephen A'Court.

A touch tour will take place at 1.15pm, giving blind and visually impaired patrons the opportunity to familiarise themselves with the set and costumes before the performance.

It is a priority for Circa to make our productions more accessible, and audio description is one way in which we are working to do this.

“We are very excited to be presenting our first-ever audio described performance,” said Ray Henwood, Circa Council Co-ordinator. “Roger Hall is one of New Zealand’s favourite playwrights and Four Flat Whites in Italy has been incredibly popular with audiences all around the country. “We hope this performance will be the first in an ongoing programme of audio-described performances at Circa.”

Circa Theatre would like to thank the Wellington City Council for their generous support of this initiative.

Tickets are available now. To book, contact the Circa Box Office at 801-7992. Please indicate at the time of booking if you will require the use of a headset (numbers are limited) or have seating requirements.

The cast of Four Flat Whites in Italy. Photo by Stephen A'Court.

This performance is open to the general public and the audio description will have no impact on those not using the headsets.

He Reo Aroha: A universal theme to which everyone can relate

noreply@blogger.com (Circa Theatre) — Mon, 19 Sep 2011 02:21:00 +0000

Performer Kali Kopae talks to drama on the waterfront about the return season of Tawata Productions' He Reo Aroha: its creation, its worldwide reception and the familiarity it inspires in all who see it.

DOTW: What is the basic story of He Reo Aroha? What role(s) do you play?

KK: He Reo Aroha is a simple love story …Girl meets Boy…they separate…and then lalala…they get back together. Set in NY and rural NZ, it’s a love story that resonates with all people.

I play Kaia a successful singer and also the loveable fisherman Rangi.

Kali Kopae and Jamie McCaskill in He Reo Aroha.

DOTW: Were you involved in the original development of the play? How did it come to be?

KK: It started as an idea over a few drinks at the Southern Cross. We chatted about what we wanted out of the show and basically just talked out ideas. It was a collaboration between writers Miria George and Jamie McCaskill; myself and Hone Kouka were really just a soundboard for the ideas coming out…we would say yay or neigh… Miria and Jamie would go away and do the real work of writing the piece and we’d wait in anticipation for a squiz at the next draft.

My original songs were put in, also waiata from Hone Hurihanganui. With each new season we would find out different things…you know…what worked and what didn’t…we talked amongst our selves and with the audience and changes were made accordingly, songs were cut, shuffled or added…scenes thrown out…characters flicked or freshened up….and now…phew… I think we have a pretty solid little piece of theatre.

DOTW: How many times have you performed this play? How does it feel to return to it again? What does this play mean to you?

KK: Jeepers…I have no idea, it’s been around for a few years now so I’d say I’ve preformed it A LOT!

This play is so special to me!!

1 - I get to work with my fiancé

2 - I get to play my own music

3 - I get to play a Man in a dress

4 - I get to travel the world and work with an amazing bunch of people, all thanks to Tawata!!

Kali Kopae and Jamie McCaskill in He Reo Aroha.

DOTW: I understand that you recently performed He Reo Aroha in the Christchurch Arts Festival with a different co-star – how did it feel to perform with someone else?

KK: You know to be honest it was hard but that’s only because I had to do some work, it wasn’t like being with Jamie where we know each others ways on stage…we can generally read each other and what one will do next but Christchurch wasn’t like that.

Christchurch was a different show…different in some beautiful ways…Musically we changed to suit Tola’s needs and mine, ya know, finding that sweet spot during Hapai …so I could meld with him…It was actually fun to have someone new to bounce things off, he freshened it up and made me work with him, in a good way.

There was a lot of cool stuff that came out of that season…some stuff I think Jamie and I can talk about in the future too.

Kali Kopae and Jamie McCaskill in He Reo Aroha.

DOTW: You’ve performed this play all over the world – how do international audiences react to it, compared to New Zealand audiences?

KK: I’ve found that no matter where we are in the world the reception is always the same: warm and inviting. He Reo Aroha has such a universal theme that everyone can relate to. No matter what ethnicity… Everyone has loved at some point whether it be your fiancé, Grandma…Home or just being on the Ocean. He Reo Aroha seems to have everyone’s favorite familiar family character, this familiarity is what I think our audiences love.

He Reo Aroha opens in Circa Two on Wednesday, 21 September and runs until Friday, 30 September. to book, call the Circa Box Office at 801-7992 or go online at www.circa.co.nz.

The Circa Theatre Meetup Group

noreply@blogger.com (Circa Theatre) — Mon, 12 Sep 2011 02:49:00 +0000

The Circa Theatre Meetup Group is Circa's official theatre club, started in July 2010 for people who love to attend the theatre but don't always have someone to go with or those who just want to have a great night out with a group of like-minded people. Free to join and open to anyone, the group is hosted by Circa's Audience Development Director or a member of the local theatre community and attends every production at Circa.

Members of the Circa Theatre Meetup Group at "Flapper Friday", The Great Gatsby, 6 August 2010

Often, the Meetup event is scheduled for opening night, so members can enjoy the first-night excitement of the show and attend the opening night after-party to enjoy a glass of bubbly and nibbles, and mingle with the cast, crew and other theatre VIPs. However, sometimes we will attend a regular season performance, meeting for dinner before the show and enjoying a Meet and Greet with the cast after the show, to get an exclusive insider's view of the production. On still other occasions, the Meetup Group will attend a special themed evening during the course of the production. Most events are scheduled during the first 11 days of the production so that those members who are also Friends of Circa may receive their ticket discount.

Members of the Circa Theatre Meetup Group at the opening night of The Lead Wait, 14 May 2011

The Circa Theatre Meetup Group provides its members with a number of benefits: ease of booking (members simply RSVP for the event they want to attend and then all of the details are arranged for them), reserved pre-show seating in the foyer, access to the group discount if the overall attendance numbers comply and the ability to bring guests (who will also receive the same benefits).

What the members say:
- "Great group, always enjoy the company at these sessions and the meet and greet the cast afterwards."
- "I got there early this time and what a difference it made! Was able to talk to people as they came in so it was a really good social occasion as well as a great show."
- "Interesting and fun folks."
- "Really friendly group and had a superb night. Was good to meet the cast afterwards and see how they felt about the show and the audience's reactions."

Members of the Circa Theatre Meetup Group during dinner at Wharfside Restaurant before attending
Four Flat Whites in Italy, 10 September 2011

The next Meetup event is scheduled for the opening night of He Reo Aroha on 21 September. (Spaces are limited.)

To join, visit www.meetup.com/CircaTheatre. Once a member, you will receive regular updates regarding upcoming events and other group-related information.

For more information, please contact Circa's Audience Development Director, Cara Hill, at carah@circa.co.nz.

I, George Nepia: "expect to cry, to laugh, to marvel at this great man"

noreply@blogger.com (Circa Theatre) — Mon, 05 Sep 2011 02:20:00 +0000

Actor Jarod Rawiri talks to drama on the waterfront about the Tawata Productions world premiere of I, George Nepia, opening in Circa Two on 7 September.

DOTW: Can you tell us about the story of I, George Nepia? How familiar were you with this story before you started work on this play?

JR: It is a script inspired by an autobiography of the same name. Terry MacLean worked with George to write the story of George Nepia’s amazing life both on and off the field. Our play focuses on the Invincibles tour of 1924 when the All Blacks went to England, Wales, Ireland and France, winning every game they played. That’s 30 games in all. Amazing considering George played in all of them. I knew George was a legendary All Black but I knew none of the things that he accomplished and there was quite a list.

DOTW: What are the challenges/pressures in portraying such an iconic figure? What has been the best part of the process, for you?

JR: He is a legendary full stop so once I became comfortable with that it all kind of fell into place. He did so many things but maintained a humble, genuine way about him. As it is a solo show there are many challenges for an actor to overcome: multiple characters, the physicality of rugby and his prowess as a musician. That was the scariest thing for me. I started learning the guitar 2 weeks before we started rehearsal. I have to play it in the show. Hopefully I have passed.

DOTW: I understand family members of George Nepia are associated with this play; how did they help to shape the development of the play and your portrayal?

JR: There was no way that we could ever have tried to do this play without getting it right for his whanau first. That is how Hone Kouka approached the initial script idea. George Nepia Jr came to the first public reading and was very supportive of what Hone was trying to say about his koro. Once he knew that the whanau were supportive we set about bringing his script to life.

DOTW: What can you tell us about playwright Hone Kouka and director Jason Te Kare? What was it like working with each of them?

JR: I put it this way, they are my theatre whanau. Hone has been a big influence on me as an actor as well as a Maori actor. His writing always has an unassuming strength to it. It gently taps you on the shoulder and says, ‘What do you think about this?’, rather than bashing you on the head so you can’t help but listen. Jason is a big brother, who I looked up to and it is only natural that he is directing now. He takes it very seriously and has so much knowledge it’s a little scary. We are both G I boys too. Glen Innes for the uneducated. Ha ha.

DOTW: Finally, what can audiences expect from I, George Nepia?

JR: I have been asked this question before and my answer was this: expect to cry, to laugh, to marvel at this great man. He was a great rugby player but his greatest desire was to be a good father, a loving husband and to live a quiet simple life. I think you did that e koro.

I, George Nepia runs until 16 September. To buy tickets, contact the Circa box office at 801-7992 or go online at www.circa.co.nz.

Four Flat Whites in Italy: incisive insights and loads of laughs

noreply@blogger.com (Circa Theatre) — Mon, 29 Aug 2011 01:55:00 +0000

Just before launching into his fifth performance as Adrian in Roger Hall’s Four Flat Whites in Italy, actor Stuart Devenie tells drama on the waterfront about how it feels to return to this audience favourite Hall comedy.

DOTW: What is the basic story of Four Flat Whites in Italy? What can you tell us about your character?

SD: Adrian and his wife, Alison, two librarians, are about to embark on their first overseas holiday for decades when their old friends are unexpectedly unable to go. Harry and Judy, two similarly aged but vastly different personalities become the reluctant travelling companions. Secrets, lies and old habits die hard as the hapless four attempt to negotiate Rome, Venice and Tuscany and have compromise forced upon them.

Adrian has led a regimented and frustrating life and his buttoned down view of life is sorely challenged by Harry and Judy. But as he says, “the holiday that didn’t go according to plan turned out better than either of us could have hoped for.”

DOTW: I understand that this is your fifth production of Four Flat Whites; what is it like to return to this production yet again? Does it change for you each time?

SD: I’ve performed Adrian in Auckland, Dunedin, Palmerston North, Napier, and now Wellington. The play always unfolds in a different way with new actors and directors and of course the different venues, and for this reason it remains fresh and enjoyable to work on. It’s been great re-connecting with Darien Takle, my first Alison in Auckland and Viv Bell who played Judy with me in Palmerston North. It’s also the first time I’ve worked with Ross Jolly in theatre. We did a lot of work together on television in the 70s and 80s, most notably, Gliding On and Market Forces. We’ve all had a lot of fun in rehearsal and I’m sure our audiences will as well.

DOTW: Nearly everyone on the cast (except Heather O’Carroll) has performed in this play before – was it challenging bringing together all the different experiences into one cohesive production?

SD: I think because of everyone’s familiarity with the piece it’s allowed us to explore lots of different options with the play. As we all understand the substance of the play we are free to hone the style specifically for the new space.

DOTW: Although you directed and starred in many productions in the original Harris Street building – including directing the very first production in that space, The Italian Straw Hat – this is your debut in Circa One. How does it feel to return to Circa after so long? How does the current building compare to the old?

SD: Well, it’s been a long time coming and I always love having an opportunity to be in Wellington for a while. The main difference between the buildings is that Circa is no longer performing theatre on a postage stamp and there are no decomposing pigeons in the air vent!

DOTW: Finally, getting back to Four Flat Whites in Italy, what can audiences expect from this production?

SD: As with all of Roger’s comedies, and this one has been his most popular, the audience can expect some incisive insights and loads of laughs. I’m looking forward to our opening night.

Four Flat Whites in Italy opens in Circa One on 3 September and runs until 7 October. To book, call the Circa Box Office at 801-7992 or go online at www.circa.co.nz.

EIGHT: Cast VS. Characters

noreply@blogger.com (Circa Theatre) — Mon, 22 Aug 2011 02:49:00 +0000

The cast of Eight sounds off on their characters, telling drama on the waterfront exactly what they think of Andre, Astrid, Bobby, Danny, Jude, Miles, Millie and Mona (which might help you with your voting decision at www.eight-circa.com!).

Jessica Robinson - Millie/Bobby

"Millie is so much fun to play. Her outrageous beliefs couldn't really be further from my own which I think is half the reason I love playing her, that and her incredible use of language, quick wit and simmering madness. I wish it was half as much fun to be me!

Millie (dressed by Madame Hawke)

When I first read Bobby's monologue I immediately felt sad because I didn't think I would ever get cast in the role but I loved the character and her story. I was so happy when I found out Simon had cast me in the role and I always feel overjoyed as I slip into Bobby's hot pink, velour tracksuit. She's funny, feisty and full of heart with a story that's very easy to relate to."

Bobby (shops at the local op shop)

Jonathan Kenyon - Danny/Miles
"What marvels me most about my two characters (Miles, an American business man and Danny, a young gym enthusiast working in a morgue) is how they both sit on completely opposite ends of my personality. I'm a 21-year-old male living in a world were 'pleasure' is easily accessible: I drink alcohol with friends on the weekends, if I wanted I could get hold of almost any party drug within a few hours - not to mention, I also enjoy the company of the opposite sex. Imagine a world where this was your lifestyle seven days a week? Miles is a man who holds no modesty when engaging in such pleasures, he goes so far as to boast about them: 'Men marvelled at me, and women wanted me'. The opportunity that Miles gets to run away from his 'normal' life and pursue a world of sex, drugs and rock and roll - although far-fetched for the sake of telling the story theatrically - is an unconscious lure that I am sure sits within myself and occasionally touches the surface, and scarily reminds me that in this day and age, 'I could if I wanted to'.

Miles (dressed by Mandatory)

But then there's the side of me that hasn't been tempted by what I see on MTV or encouraged by the 'dark pleasures' of the enviroment around me. There's a side of me that nature combined with nurture has made me become. This rings true with my other character Danny. Being six foot six inches tall, I often get the feeling people see me as one thing, while I feel quite the opposite. The word intimidating gets used a lot - I do not feel like an intimidating person; I'm incredibly un-violent and apart from the occasional crass comment, like to think I'm a pretty approachable and an easy guy to get along with. This is where I feel Danny's disjointedness lies, a guy who lost his father early on, feels like he needs to look after his mum: he's big, so therefore must be strong, right? He goes to the gym in order to get bigger to become that which people expect of him. But does there become a point where you want people to stop placing you as a person based on what you outwardly show, and start seeing you for who you are on the inside?

I remember a past girlfriend of mine about three months into our relationship once said to me that she saw me so differently now to what she did when we first met. I asked her how so, to which she replied: 'Well, before I spoke to you, you always seemed intimidating, everyone thought you were 'too cool' for everyone else', to which I replied by giving her a big ol' squishy cuddle-wuddle and saying 'It's funny what just walking into a room can do for your reputation'. "

Danny (dressed by Workshop)

Chelsea Bognuda - Mona/Astrid
"I enjoy playing Astrid because the dialogue is very comic and full of bravado but has many layers underneath. So, she has been a difficult one to work out. But with an audience, the relationship makes her come alive. The hair, clothes and make up reflect her disheveled, tragic, but trying to keep it together personality. She is fun to play to an audience.

Astrid (dressed by Lonely Hearts)

Mona is the polar opposite to Astrid. She is dark and poetic - the writing is beautiful in this piece. She tackles having a Bohemian mother with her rebellion against those values, which is reflected in her dark, heavy costume and make up. The dramatic lighting let's me find a magician-type quality to her. The audience is invited to make of the "king of men" what they want."

Mona (dressed by Nom*d)

Paul Waggott - Andre/Jude
"I think Jude is someone that is really easy to associate with, and really easy to get along with. He's just so loveable! I think it's also interesting that he is a real innocent in the play when compared to some of the other characters.

Jude (dressed by his mum)

Andre is an astoundingly intelligent man, and his brain just seems to work at a million miles an hour. I think it's really interesting to see how someone like Andre deals with such a startling situation as that which he is faced with at the beginning of his monologue.

Andre (dressed by Marvel Menswear)

Eight runs until 3 September in Circa Two. To book tickets, call the Circa Box Office at 801-7992 or go online at www.circa.co.nz. Once you've booked, visit www.eight-circa.com to vote for your cast!