Play of the Month: Deadlines by Adam Goodall

photo: Stephen A’Court. Young & Hungry 2012 play Deadlines. Left to right. Jack Hallahan, Catriona Tipene, Mitchell Bernard and Gabby Anderson.

Deadlines was part of the 2012 Festival of New Theatre. It premiered at Bats Theatre on the 6th of July and was directed by Leo Gene Peters. It was met with positive reviews including this one from Ewen Coleman from The Dominion Post who wrote: “… In one of the most original concepts seen on stage in a while, eleven students pace around the stage throwing up lines of truncated dialogue, the whole scene becoming a three dimensional verbal posting on a wall of Facebook. Mixed in with this is a murder story being investigated by a new student who wants the school newspaper to publish his findings.  A very clever script excellently played out by the eleven young actors to make this a most fitting ending to a very successful Young and Hungry season.

Blurb:

Nothing out-of-the-ordinary ever happens at Wellington’s prestigious Arrowhead High School, and that’s just the way Tracey Aldridge, the ambitious head photographer for Arrowhead’s student newspaper, doesn’t like it. But when arrogant new student Daniel Ward barrels into Tracey’s life with wild claims of murders and cover-ups within Arrowhead’s student body, Tracey is thrust into an investigation where the money shot could come at a steep price…

Cast between 11 – 19 | Female: max 9 | Male: max 10

About the playwright:

Adam Goodall is a freelance writer and playwright with a background in justice sector analysis and legal research. He is the former Wellington Theatre Editor for The Pantograph Punch and is bad at video games in his spare time.

Adam begun his involvement in theatre at Palmerston North Boys’ High School, and, later, as part of the Centrepoint Theatre Basement Company. He has been involved in the Young & Hungry Festival of New Theatre in various capacities from 2008 – 2012.

Does this play sound like something you’d like to see on stage again? Check it out at Playmarket!

Check out photos of the first production here: 

Deadlines

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2012 Deadlines

Shane Bosher to direct Y&H Tour ’20

We are thrilled to have Shane Bosher as the director and dramaturg of the Y&H Tour 2020; WHADDARYA?

WHADDARYA? will be touring schools around New Zealand from May 5th to July 3rd, 2020.  For more information about booking the tour; click here

Shane bosher

Shane has been a director, dramaturg, producer and strategic development consultant for the last twenty years. Following training at Toi Whakaari: NZ Drama School, he has worked for all of New Zealand’s major theatre companies including Auckland Theatre Company, Downstage, Court Theatre, Circa Theatre, Bats, Fortune Theatre, the Auckland Festival, the NZ Festival of the Arts and the NZ Actors Company.

He has directed some of New Zealand’s most celebrated actors including Danielle Cormack, Rima Te Wiata, Michael Hurst, Catherine Wilkin, Peter Elliott, Jennifer Ward-Lealand, Oliver Driver, Tandi Wright, Stephen Lovatt, Theresa Healey, Jennifer Ludlam, Matt Whelan, Ellie Smith, Chelsie Preston Crayford and Gareth Reeves.

From 2001 to 2014, Shane was the Artistic Director of Silo Theatre. During his tenure, he directed some of the company’s most lauded productions including Angels in America, Speaking in Tongues, Private Lives, The Agony and the Ecstasy of Steve Jobs, Tribes, Top Girls, Tartuffe, The Only Child, The Brothers Size, When the Rain Stops Falling, That Face, Ruben Guthrie, Holding the Man, The Little Dog Laughed, The Real Thing, Three Days of Rain, Dying City, Take Me Out, Suddenly Last Summer and Bash.

He was named one of the Aucklanders of 2005 by Metro Magazine and in July 2007 was named one of the Most Influential People under 40. He is the recipient of three Auckland Theatre Awards and has been awarded Director of the Year by the NZ Listener four times. He has undertaken professional development at the Donmar Warehouse and Young Vic in London and Public Theater in New York.

In 2014, Shane was commissioned by Auckland Live to create Both Sides Now: Julia Deans Sings Joni Mitchell for the inaugural Auckland Cabaret Season. This production has since played to capacity attendance at festival engagements across New Zealand.

Shane spent 2015-17 based in Australia, directing The Kitchen Sink for Ensemble Theatre, The Pride for Darlinghurst Theatre, Straight for Kings Cross Theatre and sell out productions of Cock and The Bitter Tears of Petra Von Kant for Redline. His other recent work includes productions of Venus in Fur for Auckland Theatre Company, Jumpy for Fortune Theatre, A Streetcar Named Desire for Silo Theatre, Cock for Auckland Live, the world premiere of The Things Between Us for Christchurch Arts Festival. In 2018 he has directed the NZ premiere of Homos, or Everyone in America for Auckland Pride, Delicious Oblivion for Auckland Live and Cock for Circa Theatre.

As a playwright, his work includes produced works the award-winning A Star is Torn (Silo Theatre) and the Young & Hungry commissioned Homicidal Post-Pubescent Cheerleaders which was presented in 2001. From 2017-19, Auckland Arts Festival and Creative NZ supported the development of his latest work, Everything After, which won the Adam Best NZ Play Award for 2018.

He also works as a strategic development consultant, empowering companies to interrogate the line between art and business to enhance their infrastructural engines.

Ambassador Review – The Pink Hammer

The Pink Hammer
By Michele Amas
Director: Conrad Newport
At Circa Theatre until October 5th, 2019 
Reviewed by Gabbi

Five people from all paths of life come together in the most unexpected place, a backyard tool shed.

In the midst of racy calendars, sawed through stools and Louise’s dreadful kale muffins, what begins as a lighthearted piece morphs into a touching exploration on the common threads between us all.

As the hardships they face are uncovered, I was moved by the love, acceptance and understanding between them as they became strengthened by the time spent together.

A resounding story and captivating performance, I left ‘The Pink Hammer’ reminded that we are far more alike than different.

Play of the Month: The Many Faces of Kelly J Loko, by Stephen Bain

We plucked another play out of the hat to celebrate Y&H  plays, and drew The Many Faces of Kelly J Ioko by Stephen Bain.  Directed by Paul McLaughlin, the play premiered at our 2005 festival at Bats theatre.  The Wellingtonista wrote at the time that the play caught the eye, seeming to ‘strike a chord, deep down somewhere, for some reason’ (NoizyBoy, 2005). Themes about the virtual realm vs the physical and a search for genuine connections become increasingly relevant to us all in the digital age. 

Blurb:

Kelly J Loko expects more of life than what she is currently lumped with. She invents three chat room personalities who dare to do what she as a plain 14-year-old cannot. However, it is when she tries to turn her virtual world into reality that the trouble really begins. People are not always what they seem to be, and those closest to her turn out to be the biggest challenge to this realisation. Eventually, it is in the most unlikely places that Kelly J Loko learns what it is to trust someone and how to embody the person she really is inside. Everybody can claim to own a little bit of Kelly J Loko.

About the Playwright:

Stephen is a Toi Whakaari graduate who also studied in France and was an artist in residence twice at Massey University. In 2014 he completed a  sponsored Artist residency at Taipei Artist Village in Taiwan. 

He acts extensively for theatre and television and has written and directed many shows for both the Wellington and world stage. He is co-founder of Under Lili’s Balcony Theatre Company who created choreographic theatre pieces from 1996 to 2002, gaining a reputation for innovation and visually adventurous theatre. 

Stephen has worked in video, creating performance pieces under the guise of Digital Cabaret. He has also produced a music videos, a dance-theatre video, and a multimedia piece for the City Gallery Wellington Cinema (2004, Turbulent Flux). As a musician, he has written and recorded music for many theatrical productions.  

Recent installation work includes  This Means You  (Taipei Artists Village 2014), and They come from far away ( Finland and Te Uru, Auckland 2016). See more of his extensive, innovative work at  stephenbain.co.nz.

Feeling inspired to create your own work? Check out our devising theatre workshop on this weekend here.

Play of the month : Yolk, by Arthur Meek

We’ve picked our first play out of the hat for Play of the Month Our monthly feature will celebrate one of the 75 plays  we’ve commissioned since 1994. Today we picked ‘Yolk’ by Arthur Meek, which premiered at Bats Theatre for our 2008 season:

Blurb:

Ever pondered what choices you may have made differently had you been aware of their outcome?

Every person is bound to choice-making. Some choices are insignificant while others take on unexpected monumental importance. For some, making imperative judgments doesn’t start till we are adults, for others, making decisions begins early on. 

Flip Porter is a high-school girl, living a ‘normal’ life, until it is flipped upside down when her mother falls ill. Her embryo of a world is in jeopardy and as events culminate into a single night of choices, her life irrevocably takes on a different shape.

From the mind of Lonesome Buckwhips affiliate Arthur Meek (The Hollow Men, On the Conditions and Possibilities of Helen Clark Taking Me as Her Young Lover) and directed by Celia Nicholson Yolk is a tender comedy about relationships, choices and…sex in a tent!

About the Playwright:

Arthur Meek is a graduate of Toi Whakaari: The New Zealand Drama School and The University of Otago. Since Arthur’s first play Mando The Goat Herd was read at the 2003 Playmarket New Zealand Playwright’s Conference, he has written a steady stream of work for stage, screen and radio.

His 2008 show On the Conditions and Possibilities of Helen Clark Taking Me as Her Young Lover took the country by storm, playing to packed houses, garnering best production of the year nominations and picking up awards throughout the country. Arthur’s musical comedy band The Lonesome Buckwhips were Billy T Nominees and Arthur was chief writer on Live at the Gold Guitars, the four-part series they recorded for Radio New Zealand.

Other work includes the Young and Hungry commissioned work Yolk (2008), the short film Being John Campbell (2002), which won awards around the country, as did Laughtrack: The Benjamin Docker Story (2003). Return of the Lonesome Buckwhips (2007) was awarded Best Comedy at the NZ International Fringe Festival, while his play The Cottage (2006) saw him lauded as the Best Newcomer the previous year. His 2006 short film Rangimoana’s Magical Murder Mystery still plays on the Rialto channel. In 2008 he was commissioned to write Collapsing Creation. Following a successful premiere in Christchurch in February, it was staged at the Nelson Festival of the Arts in the lead-up to its four-week season at Downstage as part of the worldwide celebrations of the 150th Anniversary of the publication of Charles Darwin’s The Origin of Species.

Arthur’s plays featured in our first Y&H tour in 2016- Power Plays. 

Stay tuned for our next feature!

Ambassador Review – Waiting for Godot

What are you waiting for?

Waiting for Godot 
Written by Samuel Beckett
Directed by Ross Jolly
at Circa Theatre until 1 June 2019
Reviewed by Maddie, Wellington Home Education Network

Waiting for Godot is one of those play names you often hear bandied around. Any version of the famous (some would say infamous) mid-century play has a lot to live up to, but Ross Jolly’s production certainly does.

While it deals with the subject matter through an absurdist lens, I think what makes this play so captivating to watch is that it is fundamentally human in nature.

We can all relate to the feeling of waiting. Samuel Beckett uses that to his advantage, immediately placing us in the shoes of Vladimir (Andrew Foster) and Estragon (Jeff Kingsford-Brown) as they wait for someone, or something, that may never come.

The play thrives in the grey area between a humorous tragedy, and a dark comedy, and all of the performers tread that line very cleverly. Their exchanges switch back and forth between existential crisis and childish games continuously throughout the piece, and the actors handle both with great skill, taking the audience on an emotional rollercoaster over the two hour duration of the play. I found that the young audience members in particular seemed to have a strong response to the piece, and I was left wondering why that might be.

Did the play strike a chord with my generation because we know that we can’t simply wait for something to change? Did we find it funny because young people can see the childishness within adults much clearer than other adults can? Or do young people not feel that same pressure to be ‘proper’ at the theatre? I am still not entirely sure, but elicit a response it did all the same.

If the character of Vladimir is what pulls the audience into the story with his direct address and existential musings (Foster’s delivery of his lines is fresh and witty), then we are held there by Estragon’s humour and adorable carrot munching (Kingsford-Brown has a wonderful handle on the physicality of his character). Together these two actors form an unbeatable, very human comic/tragic duo, and their onstage camaraderie echoes the very comfortable relationship that the characters have.

While these two actors have to do lots of heavy lifting in terms of stage time, the other performers are just as captivating. Peter Hambleton and Jack Buchanan’s Pozzo and Lucky burst onto the scene part way through act one, and again in act two, providing Vladimir and Estragon with some much needed distraction from their waiting.

The choice to cast a much younger actor in the role of Lucky is an effective one, and makes their master and servant relationship very interesting. With Lucky dressed in his very punk attire, next to Pozzo’s tweed suit, is it a comment on an older generation trying to control a younger one, or is the enslaved Lucky a metaphor for the downtrodden? Buchanan plays the part of Lucky superbly, and I know I felt a twang of pain as Pozzo literally stamps out his free will with the line “That’s an end to his thinking”.

Pozzo is not a particularly likeable character to start out with, pompous, with little or no regard for anyone else, however, Hambleton’s portrayal is an extremely deft one, leaving you feeling an uneasy sense of pity for him by the time he leaves stage. He had great connection with the audience, and was a very engaging character to watch.

The final character, a goat herd who brings a message from Godot, known only as The Boy, is performed by Alex Buyck and Alex Usher on alternating nights, both of whom hold their own alongside the adult actors surrounding them.

Aside from the actors, I also have to give a huge hand to the visual design of the production, which was just superb. Marcus McShane’s powerful lighting illuminates Andrew Foster’s barren, war torn set, and casts eerie shadows against the high concrete walls that enclose the stage (Foster is a multi-talented individual, also appearing onstage as Vladimir). Sheila Horton’s costumes leave the characters stuck outside of time, reminiscent of many periods, but belonging to none, which helps to heighten the timelessness of the piece. The show really was something to behold.

Get along to Circa before 1 June to catch this compelling and thought provoking show.
As they say in the show “Nothing happens. Nobody comes, nobody goes. It’s awful.” Awfully good I’d say, so what are you waiting for?

Ambassador Review – Conversations with Dead Relatives

Heartfelt Stories from The Spirits Above

Circa Theatre; May 2nd 2019
Reviewed by Chantelle, Aotea College 
Written and performed by Phil Ormsby and Alex Ellis
Director: Jennifer Ward-Lealand
Duration: 60 minutes

Conversations With Dead Relatives explores the ideas of our ancestors’ influence and makes us question how much of an effect they should have on our own choices. The script is well-written, interesting and at times breaks the fourth wall which keeps the audience engaged and entertained.

The play is said to be a comedy, however I think it is much more than that. There is romance, heartbreak, adventure and drama throughout their journey through time. These additional genres add to the charm of the play, while not losing any of the comedy.

One of the most memorable and outstanding parts of the play was the Viking story. Phil Ormsby and Alex Ellis cleverly work together to tell this, committing to their accents and facial expressions from the very beginning, and while their incredible acting skills do help, their clear enthusiasm to be acting and working together is what really makes this scene fun to watch.

The exaggeration of body language, facial expressions, great articulation and commitment to accents as they retell multiple different stories with new characters is really what makes this play enjoyable and a stand-out performance overall. Through the play, we are introduced to multiple characters, which all have their own unique body language and accents. These character changes are made cleary to the audience thanks to the efficiency of their acting.

The interesting use of props (suitcases, plates, cups, etc) alongside the photographs/picture frames of family members helps to tell the story of these ancestors visually and utilises the setting.

Overall, this play makes me question my role in continuing my bloodline (as someone who doesn’t want children, it really shocked me to feel like I may have a duty to my ancestors to continue my bloodline), forced me to think about how much of our history is true or has been changed, and how much of an effect our ancestors have. I strongly recommend watching this heartfelt, thought-provoking and genuinely entertaining this wonderful piece of storytelling art.

Ambassador Review – Micronation Street Play Reading

Circa Theatre, April 6, 2019 
Reviewed by Xanthe, Wellington Girls 

Micronation Street, was a story of fighting for what you believe, in the face of obstacles – which is something that is very prevalent in our world today. The cast had amazing physicality, which was particularly useful as the 6 of them played about 30 characters.

While this was only a reading, and not the final polished play, it was really interesting from a drama student perspective, because it showed some of the creative process of creating a performance and I could relate to this process because of past drama experiences. 

Ambassador Review – The Children

Circa Theatre; March 31, 2019 
Reviewed by Piper, Heretaunga College 

The Children by Lucy Kirkwood and Directed by Susan Wilson is a play performed in Circa Theatre Wellington, with a duration of 1 hour and 45 minutes and at the cost of $25 – $52.

The Children is a dramatic, humorous and sorrowful play.

From entering, John Hodgkins’ set has taken my eye. The old fashioned living/dining and kitchen area are filled with light and small details grabbing you by its blue coloured cupboards and colourful walls.  

The theatrical piece is well performed by the three actors. Each actor has outstanding skills and performs the sad and deep performance brilliantly. The performance had you on the edge of your seat wanting more. They engaged physically as well as vocally with great power.

The sound and lighting were brilliantly executed. The sound and lighting contributed to the production to make an amazing outcome. They worked well together and made you feel like you were watching a TV show or movie. 

My overall impression of the play was breathtaking. I came away feeling shocked and sad but also relieved. Questions began to be answered throughout the play and the foreshadowing was greatly executed. At first, I thought this play wasn’t going to be my cup of tea but as I sat there on the edge of my seat watching the fantastic art in front of me it became my cup of tea. This show is definitely on a to watch list! It is a huge hit in London, New York and Australia stages and deserves the recognition. The beautifully performed and made performance is a wonderful watch and is well recommended. 

Wellington, NZ. 27 March 2019. Circa Theatre. The Children. By Lucy Kirkwood. Directed by Susan Wilson. Opens at Circa One. 30 March to 27 April 2019. Photo credit: Stephen A’Court. COPYRIGHT ©Stephen A’Court

While this play may not be directed towards the younger generations, it did not fail to entertain and resonate with this viewer. Thought provoking and beautifully acted – a piece for any lover of quality theatre.

Morgan, Hutt Valley High School

 

Introducing the I Am Māori Cast!

Meet the cast who will be touring I AM MĀORI around Aotearoa! 

Celeste De-Freitas

Celeste De-Freitas (Ngāti Porou) grew up in Perth, Western Australia but has been back home in New Zealand for nine years. Celeste studied drama in year 13 at high school but it was an epiphany during her first year of tertiary study that led her to try acting.

She completed a diploma in performing arts and then found Massive Theatre Company, Auckland. She has been a part of the Massive family for four years and has appeared in two of the company’s annual shows, Chance to Ignite in 2017 and Sighting‘ in 2018. In her spare time, Celeste loves to chill out and be with her beautiful family. 

James Forster

Hailing from Naenae, Lower Hutt, James Forster (Ngāti Porou) is a Graduate of Victoria University’s theatre programme, where he also studied English Literature, as well as primary and secondary school teaching. James’ flare for drama was first ignited during high school lunches spent stage-fighting with his mates. His time onstage has since grown to include seasons throughout Wellington with Young & Hungry, Summer Shakespeare, Wellington Fringe, and various projects with his university peers.

He greatly values the many moments and experiences shared with the individuals and communities he’s been lucky enough to meet – Who have pushed him to grow, while also reminding him to stay patient, light-hearted and not to take things too seriously. He hopes to continue doing so with the many he is yet to meet.

Jonathan Morgan

Wellington based Jonathan Morgan is of Māori (Ngāi Tāmanuhiri), Irish and Samoan (Magiagi, Sapapāli’i) descent. He holds a Bachelor of Applied Arts: Performing Arts (Singing) and a Diploma in Performing Arts (Musical Theatre) both from Whitireia Performance Centre and a Certificate in Screen Acting from Wellington Performing Arts Centre.

Career highlights for Jonathan so far have been ‘Puss’ in Puss in Boots – The Pantomime at Circa Theatre, ‘Tama T’ in Destination Beehive, touring Aotearoa with Capital E’s production of Songs of the Sea – Waiata o te Moana, ‘Mabel Fa’afafine’ in the upcoming feature film Upstage and cruising the Pacific on-board P&O’s Pacific Dawn last year, as a Youth Counsellor. When not on stage or in front of the camera, Jonathan’s hobbies include reading, swimming, Kapa Haka, watching and playing sport, and spending time with friends and family.

Piimio Mei

Piimio Mei (Tuhoe ruapuni raua ko Ngāti Kahungunu) made her debut in screen acting in 2017 starring as the lead in an independent comedy horror feature film, My Lover My Lazy Boy (working title, release 2019). She has since been working on film sets both in front and behind the camera; sets including the Māori Side Steps, commercials and short films. Through I am Māori, she returns to theatre for the first time since 2010, when she played the lead in her primary school production.

Although Piimio’s focus and main devotion is now acting she has an extensive background in dance, including a short term contract in an American Ballet Company, a Diploma in Commercial Dance and a Bachelor of Applied Arts in which she studied Siva Samoa, Cook Island and Maori Performing Arts. She has also danced with renowned Pasifika contemporary companies – Black Grace and Le Moana. 

We are so excited to have these four young actors on board. If you would like to find out more about the I AM MĀORI tour and how to book a performance for you school, click here