President's Report August 2023

It was with concern that Theatre New Zealand executive wrote to Professor Nic Smith, the Vice Chancellor of Te Herenga Waka University of Victoria Wellington regarding their proposed reduction in theatre programs and theatre staff.

Why you should be concerned:

“We write as concerned citizens in opposition to the threats to reduce staffing in the area of Theatre and Drama.

We write in our capacity in representing Theatre New Zealand, a federation of schools, community theatre, support groups and individuals. We write as alumni. We write as graduates, researchers and practitioners. The executive of Theatre New Zealand wishes their concerns to be recorded around the action Victoria University of Wellington (VUW) is taking to reduce its Theatre program. As a mature student myself, the knowledge I gained BA MFA (CP) and working with the theatre team have enabled me to extend my knowledge and give back to my community; the proposed reduction would never have given me this valuable opportunity.  We acknowledge the challenges that this university, along with other universities face, and we understand financial decisions need to be made that are significant, and that staffing cuts can provide instant and beneficial results to reduce the budget blow-outs. We also understand that there will be considerable pressure on you and the council to make strong decisions, in the face of significant lobbying from interest groups.

Our objections are as follows:

1) We don’t understand how a small department of around 10 needs to be decimated by half to a handful of academics. We all appreciate the value of academics to maintain research, teach and support students as well as act as guardians of the physical and cultural spaces. The staff reduction would collapse much of the infrastructure already in place.

2) Theatre, and all the dramatic arts, are a little different to other programmes. We understand the age of the drama programme at Victoria is old, and has substantially contributed to the culture of Wellington, New Zealand Aotearoa, and abroad by producing students and practitioners that have represented New Zealand. VUW’s Theatre program is one of the essential elements of this institution in developing our culture; we ask you to consider carefully any decisions made on its future.

3) Attacking this proud tradition, and strand of academics and relegating to the English department has a dangerous, and more than uncomfortable re- colonisation feeling. We have come so far in exploring the arts, the performing arts, and particularly the theatrical arts in the bi-cultural and multi-cultural spaces.

4) Other universities around New Zealand, and the world will not be able to replicate what Te Herenga Waka has achieved in theatre, much as they can in other disciplines. We are not comfortable with a competition among the arts as a test of utility, fiscal responsibility or quantity in determining longevity. However, theatre remains a key to our story telling history, culture and identity as people of Aotearoa.

As president of Theatre New Zealand, I have just visited Hungary at The IATA world festival and seen firsthand the effectiveness of the work of university students representing their country.   While there, I had many discussions with representatives from twelve participating countries, many coming from educational programs. Through these discussions, I could see the value of the entire program being offered at VUW. This theatre program is a leader in education, which is essential in training future leaders and enabling artists to tell the stories of Aotearoa and promote the much-needed inclusiveness that is critical in our society today. 

5) We know, as do you and your councillors the unique value of the theatre school. Storytelling through the arts is the most effective way of challenging our society in how we think and act. Our request therefore is to retract the threat of closure and discontinuation of the academic positions, and to re-align the values of Te Herenga Waka, to the continuation of theatre and drama programmes.

We offer our support as theatre practitioners to our fellow students and staff, within the university, and to you as a council should there be a way forward that is less significant, and less permanently damaging. We ourselves have a 75 year history, and one that has been existentially challenged many times. We continue because we have the strength to believe in ourselves. Do you?"

We implore you to resist any thought to reduce resourcing for this Theatre arts programme, now and in the future.

Executive of Theatre New Zealand

PAUL PERCY - BA MFA (CP) 
President - Theatre New Zealand
This email address is being protected from spambots. You need JavaScript enabled to view it. 

Notices

Annual General Meeting

Notice is given that the 53rd Annual General Meeting of Theatre New Zealand will take place on Sunday 10th September at the Performing Arts Centre of Christchurch Girls’ High School, Matai St. Christchurch

Nominations are called for: four Officers : President. Vice President Treasurer, Secretary and six Members for the National Executive.  Deadline for nominations is Friday 1 September 2023.

Nomination for Officers 2023-2024

Nomination for National Executive 2023-2024

Regional Adjudicators

Shannon Tubman ANZDA will adjudicate in the North Island on 19/20 August at Centre Stage Taupo and 26/27 August at Pahiatua Repertory Theatre.
The Upper South Island Regional will be adjudicated by Jonathan Hendry ANZDA at the Boathouse Theatre, Blenheim 19/20 August and Bryan Aitken ANZDA will adjudicate the Lower South Island Regional at Allen Hall Theatre in Dunedin 26/27 August.

TheatreFest Showcase 9 -10 September 2023.

Christchurch Girls’ High School, Matai Street Christchurch.

This festival is being generously supported by the Christchurch City Council

Here’s what the brand new 276 seat theatre in the Performing Arts Centre at Christchurch Girls’ High School looks like:

Adjudicator David Chambers ANZDA looks forward to working with you in this space. Information about workshops on Saturday will be sent out soon.

A Warm Welcome to New Members

Warkworth Theatre Group encourages participation in all aspects of amateur theatre in Warkworth and the Mahurangi region. They organise local theatre productions, workshops and seminars and support the improvement of theatre skills by running regular courses. This year they mark 50 years with a production of The Ghost Train by Arthur Ridley - see listing in On the Boards.

The stationmaster talks to those in the waiting room

Other New members

Long Bay College, Auckland, Tapa Performing Arts, Wairarapa, Rangiora High School, all of whom are participating in this year’s TheatreFest.  We hope they enjoy the experience.

Advertise with us

In this issue you will see an advertisement from PANZ, the Playwrights Association of New Zealand. You too can apply for space to advertise sale/loan/gift of lights, sets, costumes, scripts. Half an A4 page costs $50. 

 TheatreFest 2023 News Flash

August 2023

2023 TheatreFest ShowCase/Workshops Schedule

Tickets for the TheatreFest ShowCase 2023 can be purchased NOW by following this link to EventFinda
https://www.eventfinda.co.nz/2023/theatrefest-national-showcase-workshops/christchurch

@ Christchurch Girls High School PAC
10 Matai Street West
September 9^th, 10^th
Weekend Schedule- assuming 8 plays in showcase
updated 17.8.2023

TheatreFest ShowCase 2023 Workshops

Saturday 9th, 10.00-1.00 Bringing Greater Life to Performance 
This workshop will introduce different concepts and exercises from The Ecole Philippe Gaulier.
Philippe Gaulier is a master clown who studied with Jaques Le Coq and went on to found his own school in 1980. Notable alumni are Helen Slater, Emo Philips, Sacha Baron Cohen, Emma Thompson, and this year’s Britain’s Got Talent winner, Viggo Venn.

These techniques will help actors and directors bring greater life to their performances.
During the workshop, we will introduce activities such as ‘Le Jeu’ – helping performers find hidden games to bring text to life. We will also work on the use of: impulse, fixed point, and using changes in rhythm, to develop complicité with other actors, helping create a more in-tune-ensemble.
These activities will be practised using the improvisation of text, drawing on an Active Analysis Approach, developed by Maria Knebel from the later concepts of Konstantin Stanislavski.
The workshop is suitable for performers and directors of all levels of training and experience.

Workshop Facilitator
Blaise Barham (MA TEFL, Dip Grad Theatre)
Blaise is a theatre maker, co-founder of theatre production company Sahara BreeZe Productions (SBZ) and an executive member of Theatre New Zealand.

He is an alumni of the University of Otago and is currently working on the use of clowning and circus in theatre, having recently completed a semester at The Ecole Philippe Gaulier in Paris.
This workshop will draw particularly on concepts and techniques learnt from master clown Philippe Gaulier, director and performer Carlo Jacucci, and Cirque de Soleil performer David Coll Garcia.

Sunday 10th, 9.00-11.00 The Actors Voice 
This workshop will engage you in practical exercises, giving you clear tools to develop your voice to achieve support, core vocal strength, range and resonance. This workshop has been designed for actors and performers wishing to gain technical training in the foundations of voice work. You will learn key exercises to improve your vocal confidence in public or performance environments.

Breath & Body
Breath and awareness of how you use your body is the foundation of voice work. Breathing freely is fundamental to the technique for any performer. The more you are aware of your body and breath habits, the more choices you will have with your speaking & singing tone.
Range & Power
Designed to explore the individual's natural colour within the voice to offer variety in tone for the audience. You will also identify how to connect and share your sound in different spaces, to ensure the voice can engage easily and freely without pushing.
Clarity & Text
Clarity is important for conveying a character's thoughts and feelings. If an audience can't hear or understand what you are saying - they are guessing. You as a performer are disrespecting your audience if you do not speak with clarity and conviction. The training of speech and clarity invites the audience to be a participant in the clear telling of the play or story.

The Content
Topics generally covered on this workshop include:

• Vocal Anatomy: Know your tool kit and how the larynx and vocal tract work to produce good tone and a strong, open sound
• Recognising the importance of accessing the breath to support the voice through correct alignment and optimal posture
• Breath Capacity: undertaking long speech or songs without top-up breaths
• Release: Learn how to relax the muscles around the larynx and jaw to free yourself from unwanted tension which might be inhibiting your sound
• Sounding: Develop a free, flexible tone suitable for a variety of character voices, exploring the musicality of your voice and applying it to text
• Power: Explore resonance by projecting your sound, develop depth, command and authority
• Establishing a strong vocal tone to explore natural range and resonance
• Learning trusted exercises to support your future development and application to text work

Work Shop Facilitator
Deborah Percy - Vocal Coach

Deborah has spent most of her working life involved in the performing arts in such diverse roles as opera singer, musical theatre performer, actor, director, singing teacher, voice coach, presenter, and motivational speaker.

Deborah studied voice at Auckland University and has since worked with acclaimed vocal coaches Michael Lloyd (English National Opera), David Harper (London), Emily Mair (Victoria University), Michael Vinten (Chorus Master NZ Opera) and Bruce Greenfield (internationally recognized accompanist & repetiteur). Deborah is a past member of NEWZATS (NZ association of teachers of singing) and ANATS (Australian National Association of teachers of Singing).

Deborah’s teaching experience is diverse, ranging from individual lessons for children and adults (amateur & professional), working as a singing teacher, voice coach and director in primary, secondary and international schools in New Zealand, Australia, Singapore, and Hong Kong, and facilitating “The Actors Voice” workshops for Teachers Training courses in New Zealand and Singapore.

One of Deborah’s specific areas of interest and experience is working with singers, actors, and voice professionals with vocal problems, be they physiological or technique related.

Tickets for the TheatreFest ShowCase 2023 can be purchased NOW by following this link to EventFinda
https://www.eventfinda.co.nz/2023/theatrefest-national-showcase-workshops/christchurch

TheatreFest Entries 2023 

51 entries comprising 33 schools, 2 youth groups and 16 adult teams. 

There were no festivals this year in Northland, Manawatu or Whanganui  

Auckland various venues
Adjudicator Steven Arnold August 
Long Bay College Villa in Ravello NZ Riley Cooper. Dir Riley Cooper
Diocesan School for Girls
Wonderful World of Dissocia Anthony Neilson Directed by the Cast
In Our Shoes by Emily Duncan Dir. the Cast
The Crucible Arthur Miller Dir. the Cast
Girls Like That Evan Placey Dir. the Cast
Wonderful World of Dissocia  2 as above
In Our Shoes 2 as above 

Waikato/Bay of Plenty Centre Stage Taupo
Adjudicator Rob Ormsby July
Hamilton Playbox Repertory Society
Not My Cup of Tea A.T. Groff Directed by Lorna Ashton
Centre Stage Taupo
21 Chump Street Lin Manuel Miranda Directed by Ross Humphrey
Nine Jane Sheppard Directed by Toni Sullivan 

Taranaki Sacred Heart Girls; School NP. 
Adjudicator Jillian Carpenter July
Guilty or Innocent? NZ Adapted from Arthur Miller’s The Crucible Directed by Ella Butterworth 

Hawke’s Bay Napier Repertory Theatre
Adjudicator Jonathan Hendry August
Karamu High School The Blue Balloon Angie Farrow NZ Directed by Tyler Heesterman & Leonie McNaught
Napier Girls High School 
I Think We Need To Have A Meeting NZ Lindsey Brown Directed by Amy Edwards.
Are Your Dog Treats Vegan? NZ Adult Directed by Jonathan Smith
Napier Repertory Players 
Sisters by John Cocking NZ Directed by John Cocking, Adrienne Hurley & Karen Hart 

Wairarapa Majestic Theatre, Masterton
Adjudicator Phil Peleton August
Tapa Performing Arts identity/ruakiritanga NZ Maori devised by the Collective 
Kuranui College 
Gavin’s Bad Day Juanita McLellan, Finn Shepherd, Oliver Healy and Travis Brown NZ Directed by Jaunita McLellan.
Eulogy written and directed by Indira McLellan NZ
Tuku Iho written and directed by Isaac Burt NZ 
Snow White and a Few Dwafves written and directed by Ngakau Aporo NZ
Sounds of an Organ writ/ dir Jasmine Loveday NZ
Dusty Signs written/dir Monet Dignan NZ
The New World Trolley Director written/directed by Angela Marie Bell NZ 

Wellington Cochran Hall Khandallah
Adjudicator Ewen Coleman July
KAT Theatre The Proposal Anton Chekhov directed by Hayden Rogers
Newlands College
Angel’s Children Alistair Sharpe dir Jo Matheson
Legend Angie Farrow NZ directed by Iris Le
Inanimate Christine Riley directed by the Cast 
The Rosenberg Sisters Michelanne Forster NZ directed by the Cast  

Top of the South Havelock Town Hall
Adjudicator Pam Logan August
Havelock Community Theatre Undertaken Rick Edmonds NZ. Directed by Jennie Johnson 

Canterbury Rangi Ruru Girls’ School for Girls
Adjudicator Bryan Aitken July
Rangi Ruru School for Girls Dead Girl Play written and directed by Georgia Dann NZ
PLAY! Drama Workshops Level 7 The Prophecy Unveiled devised and directed by the Cast NZ
INNUENDO 
Nothing Left to Lose written and directed by Barry Grant NZ
Breathe In, Breathe Out writ/dir Marilyn Ollett NZ
Keeping Good Company Packing It In David Winfield NZ Directed by Charles Grubb 
Riccarton Players 
No Present Like the Time written and directed by Marilyn Ollett NZ
Pearls Estella Jean NZ Directed by Doug Clarke
Rangiora High School Revenge of the Doll written and directed by Mat Fauth NZ
Burnside High School Daughters of Heaven Michelanne Forster NZ Director Kate Oliver 

Buller West Coast Regent Theatre Greymouth
Adjudicator Lawrence Wiseman July 
ROARS Players On the Right Track Tim Hambleton NZ Directed by Alun Bollinger 
Hokitika Dramatic Society 
Breaking and Entering  Mark Jordan Directed by Felicity Jordan
Elevator by Jess Sayer NZ Dir Stephen Brassett 

Otago Trinity Catholic College
Adjudicator Annette Thomson  July
John McGlashan College The Final Call written and directed by Zoe Eckhoff NZ
Wakatipu High School That Time, That Place Ken Misusawa Dir. Rochelle helped by Jake Hansen
Trinity Catholic College The Careers Room Phillipa Weary NZ Directed by Erica Ward 
Kings High School The Tui Bird Angie Farrow NZ directed by KHS Drama Students 
South Canterbury Drama 
I Will written and directed by Wayne Doyle NZ
Faith written and directed by Wayne Doyle NZ
Columba College Shipwrecked Raheli Yehezkely, Keren Basel, Tessa Smith directed by students
Logan Park High School Follow, Follow, Follow Angie Farrow Directed by the Cast  

For further clarification please contact the TheatreFest National Cordinator at:
This email address is being protected from spambots. You need JavaScript enabled to view it. or on 027 4288491

Tickets for the TheatreFest ShowCase 2023 can be purchased NOW by following this link to EventFinda
https://www.eventfinda.co.nz/2023/theatrefest-national-showcase-workshops/christchurch

2024

Looking for a new challenge?

• Enter your students in a local TheatreFest near you in July 2024.
• Get adjudication and applause from people beyond your school.
• Strive for selection to regional performance showcases in August ’24.
• Celebrate excellent community and youth theatre performance from around NZ at the national TheatreFest Showcase in September.

Want more? Check it all out at
www.theatrenewzealand.co.nz

 On The Boards

August, September, October 2023

 To be included in this list send information to This email address is being protected from spambots. You need JavaScript enabled to view it. 

 Recent Productions Starring Women in the East of the North Island

Katikati Theatre had fun with The Third Week in August by Peter Gordon. When Sue decides to try a 'get away from everybody' caravan holiday, little does she realise that she's booked into the caravan site from hell.

16th Avenue Theatre, Tauranga: The New Zealand premiere of Appleton Ladies Potato Race by Melanie Tait, is an amusing big hearted tale set in an Aussie rural town about women taking action and showing the world there’s more than one way to win a race.

Also recently showing in Tauranga Detour Theatre’s The Cemetery Club a dramatic comedy about love after loss by Ivan Menchell. Three Jewish widows meet once a month for tea before going to visit their husbands’ graves.

Pahiatua Repertory Society had great success with Mama Mia – "So which one is my father!"

Women will continue to star in up-coming months too – see On the Boards listing - Calendar Girls, Killer Boobs. The Pink Hammer, Vagina Monologues, Top Girls, Glorious, Mama Mia (again) and The Taming of the Shrew!

Other Successes
If you count sell out shows as a great success there have been a number lately around the country. Congratulations to Howick Little Theatre for A Murder is Announced by Leslie Darbon adapted from a story by Agatha Christie, Rotorua Little Theatre for The Mousetrap by Agatha Christie, Wellington Repertory for Jeeves and Wooster in Perfect Nonsense adapted from Wodehouse by David and Robert Goodale and The Boathouse Theatre, Blenheim for The Golding Girls, a light-hearted look at life in lockdown by Taranaki playwright Shona Wilson.

 Playmarket Scripts

Playwrights b4 25 Shortlist now available

Pictured from left to right: Melanie Allison, Freya Gardener, Tia Hibbert, Teherenui Koteka, Kayden Leftly, Jack McGee, Viki Moananu

Boys and Girls at the School Silent Disco by Jack McGee (3f, 3m, 4 any) Winner
A group of Year Six students from Ngaio Primary navigate heartbreak, emotional turmoil, and full out ideological warfare at their end of year silent disco. The play captures the tone children of this age tell their own stories in. The characters speak as if they are the hyper-eloquent-tragi-romantic heroes of their own inner monologue, High on the ego that comes from having all of primary school behind them, the world of Ngaio Primary may as well be that of Wall Street, or Versailles. Adults are all but non-existent, friendships are hard fought, and a minor humiliation can mean the end of the world.

The Patupaiarehe by Tia Hibbert (3f, 2 any) Runner-up
Since the death of Ahi’s father, her mother has been hearing voices. Voices from her childhood, beckoning her to them. The Patupaiarehe. When Ahi wakes to find her mother gone, her Nan confirms she has been taken. Ahi begins to grieve the loss of another parent and Nan, concerned for Ahi gives her a pounamu that will help Ahi get her mother back. At first Ahi is reluctant to embark on their quest to get her mother back but realizes she can’t live without her mum.

Pane Provocations by Teherenui Koteka (3f, 3m) Runner-up
Pane Provocations (provocations of sex) follows the entangled sex lives of six young friends. Angera the angel, Beniamina the church boy, Queeny the dream girl, Carlos the poet, Tahiti the goddess, and Darren the player are all trying to navigate sex and healthy relationships. Known to some and to some unbeknownst, each of the characters is in a relationship of sorts with two others. In these relationships revelations about sexuality, self care, religion and community are discovered.

Kaveinga by Teherenui Koteka (3f, 3m)
Set on the Cook Islands atoll of Manihiki, Eturere and her family are forced to piece together their lives in the aftermath of cyclone Martin. While her people would once have found this task simple, climate change has evoked new challenges. Desperation drives Eturere and her family to an unreasonable conclusion that results in a gut wrenching demise. Kaveinga (a new direction) urges the Cook Islands people to reflect upon their contributions to climate change and challenges all to make a change.

Elara by Freya Gardener (5f, 3m)
When an android named Elara joins an eccentric Hamilton family, things get weird. As she grows from her life experiences (and illegal modifications), she’ll tackle everything from existentialism, transhumanism and astronomy to relationships, self-esteem and reality TV. Stuck between two worlds, Elara has a big choice coming up. Christmas this year is going to be interesting.

Icky by Viki Moananu (1m)
In the stomach of the icky and yucky process that is grief, ‘Icky’ is a dramedy about the titular Icky, a struggling university student processing their father’s death. They retell moments, thoughts and stories throughout their life, however as Icky unravels these stories they realise that there's a more sinister truth they have yet to process.

A Seat at the Table by Kayden Leftly (3f, 4m, 1 any)
Six hostages are held in a dank warehouse: Pawn, a school girl, Bishop, a thief, Rook, a lawyer, Knight, a bodyguard, and the real estate couple King and Queen. In some way, they have all crossed the wrong person. They have one task; to decide who survives.

Cosmic F*ckery by Melanie Allison (4f, 2m, 3-8 any) Available Soon

Small Cast Selections

Fred is Cold by Ben Wilson (1f, 3m)
Fred is a fridge. A fridge-freezer to be exact, living with depression and suicidal thoughts and he wants to be unplugged. Also he can talk. Except nobody can hear him. Then Josh, a young man mourning the loss of his Mum, moves into Fred’s flat and the two boys soon realise they can talk to each other. A comedy about friendship and its place in grief and mental health.

Southern Comfort by Emily Duncan (1f, 2m)
Mike arrives home to his run-down and filthy flat, ready to settle in with a few beers, fish ‘n’ chips and some telly. His night is interrupted by urgent text messages and then a visit from his ex-partner Andi. Matters are further complicated by the fact that Andi had recently taken out a restraining order on Mike. They have heated and terse conversations about maintenance money for their daughter Shelby. Eventually Mike convinces Andi to leave. Shortly after Mike’s secret boyfriend, Simon, arrives and the two men go to bed. Andi unexpectedly returns and discovers Mike and Simon in bed together. Heated confrontations and confessions ensue. Andi makes threats before Mike ends up killing her on impulse.

Problems by Joe Musaphia (2m)
Our Great leader is having his late morning nap. Two members of the Security Service are stationed outside Our Great Leader's room. Problem. Our Great Leader has slept past his scheduled time. Problem. The two Security Service guards must wake Our Great Leader 'without disturbing him.' Problem. Our Great Leader's sleep appears to be permanent. Problem. Which member of the Party do they report this catastrophe to? Problem. Will two Security Service members sworn to guard Our Great leader 'with their lives,' be accountable for his death? Problem. The two Security Service guards despise each other. Problems...

Pictured right - Problems, Circa Theatre 2018

My Dad’s Boy by Finnius Teppett (1f, 2m)
A young man writes a play about his father. Partway through the writing, his own girlfriend gets pregnant and he is faced with fatherhood himself.

Together Forever by Joni Nelson (0-3f, 0-3 transgender, 0-3 non-binary)
Mildly famous lesbians, Ami and Ash, are celebrating their 8-year-anniversary. Determined to get away from it all, Ami has dragged Ash to the most romantic place she can think of camping in the middle of nowhere. Deep in the bush the couple begins to unpack years of pent-up frustrations. Little do they know, the world outside is ending.

Stunning Plays by Women

This Particular Room by Jess Sayer (2f, 1 any)
Max and Kate have been in love, in secret, for a year. “When we play things back; big events – say, the night you and your lover broke each other’s hearts – things tend to come in fragments. We bookmark these fragments, give them little titles; think – perhaps if I’d stopped there... perhaps if I hadn’t said that. This play is written in those fragments, but plays out continuously. Like an out of control train, hurtling through an ink black tunnel. It’s true what they say – there’s always a light at the end. And we hang onto that light, because we’re terrified of the dark; desperate for it to lift; for some clarity. But sometimes, enlightenment isn’t actually all that bright.” Jess Sayer

In Our Shoes by Emily Duncan (10f)
A diverse group of feisty young New Zealand women grapple with the legacy left to them by women who have walked in their shoes before, settle scores with the demands and threats thrown at them in the present, and celebrate and declare their hopes for the future. A shorter 10 character version is available.

I Used to Be the Pretty One by Lindsey Brown (2f)
An ageing beauty attempts to throw acid on paintings of legendary beauties in a museum exhibit. A staff member convinces her to see worth beyond mere physical appearance.

With a subscription to Playmarket, most manuscripts of plays are available for free download from our website.  A subscription costs only $45 annually for full access to download unlimited different scripts: Subscribe here. 

Published scripts must be purchased in hardcopy from our bookshop.

To request any plays and/or musicals, contact Isaac Martyn
Script Coordinator / Kaiwhakahaere Whakaari: This email address is being protected from spambots. You need JavaScript enabled to view it.  

 Playwrights Association of New Zealand (Inc)

Results of the 2023 Playwrights Association of New Zealand 5-Minute Play Competition

1st Place - Tui and the Immortal - Rex McGregor

2nd Place - No Present Like the Time - Marilyn Ollett

Commended - Better Say a Prayer for Me - Tim Hambleton

Commended - Goblin Mother - Helen Vivienne Fletcher

Commended - Poverty - Angie Farrow

Here are comments from the adjudicator, Sameena Zehra.

Tui and the Immortal
“The playwright uses a facility with language that is delightful and funny, while constructing layers of socio-politicaldiscourse with a quick and light touch. We travel through individual personalities, social constraints and norms,cultural differences and colonial violence. The audience is immediately taken into the world; creating that contract withthe audience so swiftly shows an unusual skill in, and understanding of storytelling on the part of this playwright. Theplay stood out for me, head and shoulders above the rest of the plays.”

No Present Like the Time
"This play started as the sadness of a mother who has lost her son, turned into something more suspenseful and thengave us a shock, unexpected ending. To be able to create such strong characters and such nicely roundedstorytelling, without forcing anything or missing a beat shows a great deal of skill. It was sad without being mawkish,emotional without being forceful, and dark without any warning!”

Better Say a Prayer for Me
“This play was funny and absurd, subverting the predator stereotype. It was a little long, and became predictable fairlyearly on. I’d like this playwright to get a script advisor and keep working. I want to see more from them.”

Goblin Mother
“This was a stark and poignant exploration of loss caused by the cruelty and collusion of society and religion. Iwanted a little something more, that I had not seen or heard before- we all know the basic premise and story. Theplaywright has a great imagination and facility with metaphor. It would be interesting to explore that further.”

Poverty
“A nice little vignette into mother/daughter relationships in the context of generational change in understanding ofissues. Realistic and natural dialogue. Great interplay between love, frustration, obligation and empathy.”

Enquiries to: This email address is being protected from spambots. You need JavaScript enabled to view it.

Website: newzealandplaywrights.wordpress.com

SGCNZ University of Otago Sheilah Winn Shakespeare Festival

Congratulations to all our members who won awards at this festival’s national final held in Wellington during King’s Birthday Weekend.

Garin College, Nelson
Outstanding Music/Song Award (student directed) Much Ado About Nothing
Outstanding Student-Directed Ensemble Work Much Ado About Nothing
Most Elizabethan Award Much Ado About Nothing

Kuranui College, Greytown
Outstanding Volunteer Award

Logan Park High School, Dunedin
Best Communication with the Audience A Midsummer Night’s Dream
Outstanding Presentation from a Comedy A Midsummer Night’s Dream
Best Connection with the Audience Award A Midsummer Night’s Dream
Outstanding Individual Comic Role Jimmy Muir in A Midsummer Night’s Dream
Plus Selector Award for Professional Excellence to Jimmy Muir as above.

Napier Girls High School
Best Recovery Award (in memory of Bill Sheat) The Merry Wives of Windsor
Best Technician Award A Midsummer Night’s Dream

Sacred Heart Girls College, New Plymouth
Outstanding Student–Directed Macbeth
Most Innovative Interpretation Award (Student Directed) - this Theatre New Zealand Award was also presented to Molly Powell for Macbeth. Molly was also recognised as a Distinctive Emerging Talent for her direction of a scene from Romeo and Juliet at last year’s TheatreFest ShowCase 2022 in Wellington.

Wairarapa College, Masterton
Outstanding Costume Award (Student-Directed) A Midsummer Night’s Dream
Outstanding Makeup Award A Midsummer Night’s Dream

 Recognition of Service

The David Brockett Award for Backstage Achievement

CRITERIA

- For theatre practitioners working backstage and/or front-of-house, including designers.

- The award encompasses work on any groups’ productions and is not limited to Theatre New Zealand TheatreFest performances.

- The award is for current practitioners, not a life-time achievement award as this is covered in another award.

- This is an annual award.

- The Group nominates their person by due date, prior to National Finals, with this form and details of the nominee’s work during the year.

- A three member panel from the Executive will select the winner.

- If unsuccessful, individuals can be nominated again. Applications must be re-submitted annually. Winners are not excluded from being re-nominated.

- The nominee is not informed of their nomination.

- Winner is announced at Theatre New Zealand’s ShowCase.

- Winner receives a certificate for perpetuity, but the trophy with winner’s name on it is returned for the next recipient.

You can download the entry form by clicking here.

MERITORIOUS SERVICE AWARD 2023

The award will go to a person who has been an active member of one or more Theatre New Zealand groups for at least 25 years. This person must have been active either on stage, backstage, front of house or administratively.

You can download the entry form by clicking here.

Summer School 2024 

IT’S BACK!
By popular demand – the return of the
Adult Intensive Summer Theatre School
Te Tihi o Maru/Timaru

Some years ago, (some of you may remember), Theatre New Zealand held an annual summer theatre school at Lincoln University.
Adults, young and not-so, having survived Christmas, New Year and, the family holidays, travelled to the Garden of Eden Campus, that was Lincoln College.

There for an extraordinary week, ‘Theatre’ was the word. Courses covering the essentials for Community Theatre actors, directors, youth-inspirers, met with teachers, promising professionals and, those in need of an artistic infusion. Theatre practitioners wanting to challenge their skills, joined with those needing ‘that something extra’.
The flow-on effect from the attendees, into schools and theatre groups across the motu was enormous. Well – it’s coming back!

You are receiving advance notice of this event, being revived this summer of January 2024.
For five days and six nights live breathe eat practise your craft. Net-work, revitalise and just
‘get away from it all’ and focus on YOU!

Quote:
“Like most actors moving into directing, I copied the techniques – good and bad – from directors I had worked with. This intensive course, helped me to develop my own style with the language I needed, to communicate with the production team and, empower my actors.” Joy Crawford.

Quote:
“Summer School was my change-maker: opening my mind, validating my passion, endorsing and growing my confidence and competence, completely changing my career!  It changed my life – and I would not have it any other way.” David Chambers.

Timaru is 2.0 hrs drive from Christchurch, 2.5hrs drive from Dunedin.

Ask for the full Summer School Documentation or

Register your interest now:
This email address is being protected from spambots. You need JavaScript enabled to view it.

You can find the latest information and downloadable content at https://theatrenewzealand.co.nz/index.php/resources/summer-school-2024

 Theatre at Victoria University of Wellington is STILL Under Threat: Here’s How You Can Help

#theatrechangeslives #saveVUWtheatre

Theatre at Victoria University of Wellington is STILL Under Threat: Here’s how you can help (ROUND THREE).

Updated 4/08/23

To our students, alumni, academic and industry partners and supporters of the Te Herenga Waka Victoria University of Wellington theatre programme. Theatre continues to be directly under attack as part of the severe staff cuts proposed across the university. We need your help to fight back and save the theatre programme.

THE LATEST: University management have resumed the original proposal to cut theatre staff positions and remove theatre as a standalone programme. We the theatre programme are submitting a counter proposal that shows how we can make savings without jeopardising our programme and student opportunities. Students and the wider community can make a submission in support: we need your help to continue to make the case for the value of the theatre programme, and the impact that cutting the programme would have on our arts ecosystem and wider society. Now is the time to speak out, louder. The show is not over yet.

The Story So Far
Round One: Facing a $33 million deficit, Te Herenga Waka Victoria University of Wellington Vice Chancellor Nic Smith announced a proposal to make 229 staff redundant across the university. This was part of a wider university sector crisis, with the majority of our institutions facing significant shortfalls and announcing job cuts. After public outcry, the Labour Government announced a $128 million tertiary package over the next two years, with VUW set to receive an additional $12 million from this package - not enough to cover the shortfall.

Round Two: Consultation paused as VUW senior leaders invited voluntary redundancy applications. We asked you to email the VC and Chancellor to tell them about the value of the theatre programme. A huge thank you to everyone who wrote - close to 100 letters were sent! Your messages WILL be taken into account - the VC confirms that “this feedback will be taken into account in our decision-making process.” We were incredibly moved reading your letters, and it has helped give us the strength to continue fighting as we enter round three. Thank you also to those who contributed to the graduate profiles- these are still being collated and will be added to our tool kit.

Round Three: A revised change proposal was released on 2nd August. As we’ll expand on in the next section, theatre remains under dire threat. Students and supporters can give their feedback on the proposal from now until 4pm Tuesday 4th September (we’ll let you know how further down).

The Proposal - and the Problems
The Senior Leaders’ proposal will destroy 53 years of growth for the VUW theatre programme by:

• Cutting FOUR full time theatre academic positions, our 0.8 technical role, and an admin role in our school.
• Merging the theatre programme into the English Literatures and Creative Communications programme
• Cutting courses involving production and practical elements, and make us focus on teaching the “critical analysis of works of theatre”.

This would result in:

• A substantial reduction in the number of courses we can offer our students, including our strong balance of theory and practice which provides opportunities for students to gain skills across performance, scenography, producing and production management, stage management, dramaturgy and playwriting, research and critical writing, directing and more. We strongly believe that theatre and performance cannot be effectively or persuasively taught through critical analysis alone, and this proposal would completely force us to fundamentally change our teaching practice for the worse.
• A gutting of our research capacity - only two academic staff would remain employed with a mandate to do teaching AND research
• Fewer students taking theatre, and fewer graduates enhancing Wellington and Aotearoa New Zealand’s arts and culture.
• The end of theatre as we know it at Vic - we fear this proposal would lead to a death spiral for the subject.

Shunting the theatre programme into English literature feels, symbolically, like an act of recolonisation for a field many of us have worked so hard to decolonise… [the leadership] are definitely trying to get us to stop making theatre. - Nicola Hyland, Senior Lecturer in Theatre

Unlike programmes in other faculties, management have not consulted with us in putting together the proposal. There are a number of flaws and errors with the proposal, and it is clear to us that management do not understand the contribution that the theatre programme makes and the importance of our courses and community for our students.

We maintain that the proposed cuts to the theatre programme are disproportionate, short-sighted, strategically senseless, and needlessly cruel. We already make a profit for the university of $400,000, but they want us to make more. We create so much value for the university. Our students find their place at university and develop essential creative, collaboration and communication skills. We have an outstanding national and international reputation for our research and teaching. We are an essential contributor to Wellington’s cultural and creative reputation and a vital component of our theatre and performing arts sector.

There is another way
We accept the need to do our bit to help the university reverse the financial hole. We are submitting a counter proposal that shows that the $500,000+ in extra profit management want from us could be achieved without the need for drastic staff cuts, removing practical courses, and destroying the programme. This includes giving up some of our theatre teaching spaces (which are charged to us at substantial cost).

To find out MORE and get the LATEST updates, please follow the link below.

https://docs.google.com/document/d/1SiXCVoRecmRt4dESlMZldUMu-Au1gTOpj-O5vzGF17I/edit?usp=sharing

 Logo Competition

Theatre New Zealand Logo Competition

We are seeking a new logo. This is your chance to get your creative juices flowing and design us an eye-catching logo that reflects our values as theatre practitioners, and makes a bold statement of inclusiveness and represents of our cultural values.

The logo is to be viewed in various formats, e.g. Social Media, letterhead, and Marketing and needs to include options for both Theatre New Zealand and TNZ.

All entries will need to be submitted by the 30th November, and can be done electronically to This email address is being protected from spambots. You need JavaScript enabled to view it. or post to PO Box 14041 Panmure 1741.  Please ensure that your name, email address and phone number are clearly stated on your entry.  If submitting electronically, preferred formats are PNG or JPG, and without background where possible, hand drawn entries will be redrawn by a competent designer.

All correspondence regarding this competition can be directed to Mark Perry at This email address is being protected from spambots. You need JavaScript enabled to view it..

Terms and Conditions

In submitting your design (the “Design”) as an entry to the Theatre New Zealand (“TNZ”) logo competition, you agree to the use of your Design by TNZ for all purposes including for marketing and advertising of TNZ’s services, and you agree to these terms and conditions, and/or warrant to TNZ as follows:

          Entry of Competition

1. The competition begins on 1st September 2023.  The closing date for entries is 30th November 2023 at midnight.

2. Any fully competent person may enter the competition.  Persons aged 16 years old or younger may participate with the consent of their legal guardian.

          Use of Design

3. You warrant that the Design is your own original work and does not contain any trademarks, logos, copyrighted material, any other intellectual property belonging to any third party, or content subject to a third party’s right of publicity or privacy and that the Design therefore does not infringe any rights (including but not limited to copyright) of any third party.

4. As between you and TNZ, you own and will maintain ownership of the Design. TNZ does not and will not own the Design because of your submission of the Design.  By submitting the Design, you hereby grant TNZ an irrevocable right and license to use, upload, modify, reproduce, copy, exhibit, distribute, advertise, and display the Design, in any manner whatsoever.

         Prize

5. The winners will be chosen by the TNZ Executive among following consideration of all entries received.  If your Design is selected, notification will be by phone or email, and you will receive a cash prize of $250. No additional compensation will be payable.

          Additional terms

6. TNZ may, at its discretion, change these Terms and Conditions at any time, and such changes shall be effective immediately and incorporated into this Agreement. You are responsible for reviewing changes to the competition's Terms and Conditions. No modification of this Agreement shall be binding unless confirmed in writing by TNZ.

7. This is a legal, binding agreement governed by the laws of New Zealand. You represent and warrant that you have the full right, power and authority to enter into this Agreement, agree to the Terms and Conditions set out, and that your Agreement to them does not violate any other agreement you have entered into with a third party.

 PLAYBILLder

"I attended a production last Thursday and was given a free double sided A5 flyer programme with the cast list and the show credits only.  At the front desk there was also a scannable QR code which gave me access to the full programme with Director's Notes, Run of Show song list, Cast and Crew Profiles, Acknowledgements, etc.

Turns out that anyone can produce their show programme this way, in Broadway "Playbill" style.  I thought wow - this might be really good for school play/show/community theatre event promo and publicity as well as spreading teaching resources associated with any production ... without the cost of printing."

Here is the link for anyone to investigate PLAYBILLder.

https://www.playbillder.com/

WHAT IS PLAYBILLder™?

PLAYBILLder (formerly Playbill VIP) lets you build your very own Broadway quality Playbill® program! Use PLAYBILLder to engage and build your audience with tools to inform friends and family of production information. Share your Playbill virtually, promote your show through social media, distribute programs in your theatre and much more!

PLAYBILLder is also a great fundraising tool! Work with local vendors and friends to create advertising opportunities in both the virtual and printed Playbill.

PLAYBILLder EXPRESS
Save valuable time with our PLAYBILLder Express! Select from thousands of pre-populated programs in our database and simply begin to customize your production’s program.

Powered by MTI, Rodgers & Hammerstein, Tams-Witmark, Theatrical Rights Worldwide, Dramatists Play Service, Really Useful Group (UK/IE) and Josef Weinberger (UK/IE), each pre-populated program comes complete with song titles, character names, and more!

 Membership Renewal

Membership forms for the 2023 year are now online!

By joining Theatre New New Zealand you are supporting the growth of Community Theatre.

TNZ is an umbrella organisation so you will have access to a wide range of theatre expertise from advice on funding avenues and copyright to advice on technical issues associated with theatre. A nation-wide TheatreFest is held annually, giving you the opportunity to receive informed adjudications that will help directors and actors alike.

Quarterly, you will receive Backchat a newsletter that will keep you up to date as to what members are doing around the country.

By clicking here you can find the membership forms for Individuals and Groups.