President's Report May 2024

Leisure Time Theatre in New Zealand

Theatre New Zealand is the organization that inspires, facilitates, and supports theatre in leisure time, allowing writers, makers, actors, storytellers, and audiences to develop artistically and socially.

But we need help! Are our councils and political leaders serving our needs?

With councils currently reviewing their long-term plans, it is imperative that we all, within the arts community, ensure our voices are heard around arts and culture. Too often, we are the first to receive funding cuts and frequently struggle to receive funding.

Poipoia te kākano kia puāwai
Nurture the seed, and it will Bloom [CNZ]

Are our councils working hard to deliver much-needed arts and culture?

Arts, culture and creativity play a vital role in enabling thriving communities. CNZ encourages councils to make them part of our community’s future.

Did you know your council is required to promote arts and cultural well-being in your community? This essential support enables our local artists to make and develop their work for audiences.

Local Government Act 2002, section 10(1)(a)

Creative New Zealand have released an updated guide detailing the benefits of the arts in our communities and suggests how further the councils can support us in their planning process. I suggest you get involved if you have not already done so. Take an opportunity to talk with your representatives and invite them to join you in your artistic endeavours.

https://creativenz.govt.nz/-/media/project/creative-nz/creativenz/legacy-page-documents/2024_arts_and_culture.pdf

Where do the arts stand within our political system? I was interested in ACT’s Arts spokesman Todd Stephenson’s interview on News Room 29/04/2024

How do we ensure we get suitable representation? I’ll leave it up to you to form your own opinion.

Article below:
https://newsroom.co.nz/2024/04/29/acts-arts-spokesman-once-watched-a-musical/

I propose we should get our arts political leadership together to have an open debate on, “Where to now for the Arts” Watch this space.

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

Regional Roundup: Now and Then

16th Avenue Theatre, Grimms’ Tales They Never Told You
by Margarete Kraemer

A brand new play about Grimms’ tales – the real ones, not the sweet, Disneyesque versions, was staged in March under the Black Box label at Tauranga’s 16th Avenue Theatre

Given the grim and grisly character of the tales embedded in the play’s frame story, it would be a perfect show for Halloween. But it can be staged at any time on any stage, with minimal set, props and costume requirements. All that’s required is a little bit of courage to do something a little bit different from the usual repertoire.

Are you brave enough? For more information contact the director or the playwright at This email address is being protected from spambots. You need JavaScript enabled to view it. for a copy of the script

Live radio play at Centre Stage in collaboration with the Taupo Concert Band

In May Centre Stage is giving Joe Landry’s The 39 Steps a 40s vibe with songs and jingles. Here Lindsey Seaton playing the Foley artist is creating the live soundscape for the Radio Play.

Howick Little Theatre Grand Horizons by Bess Wohl

Bill (Hamish Stevens) has driven his car into their house in Grand Horizons Retirement Village to prove his love for wife Nancy (Lynn Webster) and in the process has broken his arm.

Remarkable Theatre, February (US) Sitcom Insanity by Victoria Keating in the Queenstown Gardens
This was a “ roaring success” with the help of the Tele Vision choir who sang many of the theme songs of the classic US Sitcoms featured in this year’s garden production.

Fiona Bracken, Rebeca Barnes, Bridget Taylor and Megan Gross.

An invitation to Theatre Groups from PANZ

The Playwrights’ Association (PANZ) is keen to partner with a New Zealand theatre group to produce a festival of 10-minute prize-winning plays from our playwriting competition which was open for play submissions from 1 to 30 April 2024.

If your company would like to explore this idea for a festival in late 2024 or 2025, please email us at This email address is being protected from spambots. You need JavaScript enabled to view it.

Foxton Little Theatre has staged three plays over the years written by Tim Hambleton. So they were honoured when Tim offered them the premier of his latest play in March. Up the Guts is a story centred on a small town rugby club with a proud 126 year history struggling for players and money. Although this club is obviously in Southland where cheese rolls are the main fundraiser, Foxton says it’s not unlike their local situation in some ways.

They hosted Tim at a performance and were delighted with his positive feedback.

Actors Carl Terry and Wayne Napier centre stage in Up the Guts..

Warkworth Theatre Group were pleased with the display in the local library, created to advertise their recent production of Calendar Girls by Tim Firth.

KAT Theatre, Wellington A Game by Dennis Noble

Part of a collection of short plays over a weekend in April, A Game is played at a university and comes with instructions: whenever the light comes on each of the 3 players in their part of the stage has to say “This my land, it is MINE. It is beautiful and it is MINE”, with sobering consequences.

Actors Rosie White, Peter Clemerson, Corrina Gordon, Vicki Wolfe

 On The Boards

On the Boards May, June, July 2024

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

Ewen Coleman wins the Arts Welly Award 2024

Further congratulations to Ewen our TheatreFest Co-ordinator for another well deserved award.
Here is a copy of an arts interview he responded to as published in The Post newspaper.

Ewen Cloleman has had a multi-faceted career in theatre in Wellington for more than 40 years. This year he was awarded the Queen’s Service Medal for outstanding services to theatre and last month was awarded the Arts Welly at the Wellingtonian of the Year Awards.

What inspired you to pursue a career in the arts?
I started doing speech and drama at an early age and, as a kid, appeared in local Christmas pantomimes which gave me the bug for “performing”. I was then able to do drama through school and got involved in local theatre groups from the moment I left school and have been involved ever since.

When I came to Wellington in the mid 1970’s I was able to participate in theatre workshops and classes which gave me a taste for directing which I was then able to pursue with various Wellington theatre groups and which I am still doing.

How do you approach creativity and innovation in your work?
Like many of the arts, creativity and innovation is innate and relatively undefinable. When directing a theatre production you have ideas, visions of how you see the finished product, how you want the production to turn out and so you then create those into tangible concepts that then become the basis of the production. And how you can create something unique that is outside the box with a production.

Many things drive creativity and innovation from little things like the colours of flowers in a garden to architecturally designed buildings. You are always looking for things that will stimulate the imagination.

What are the biggest changes you’ve seen in community theatre over the years?
The biggest change in community theatre is the acceptance and production of NZ works in local theatre groups, not constantly doing English comedies. Many local theatre groups now produce one or two NZ plays a year which never used to happen. And diversity and inclusiveness, particularly amongst the younger generation, is a major factor these days in the performing arts. This leads to a lot more questioning of how productions are to be cast and produced.

What is one of the projects you are most proud of?
This is a difficult one as all projects are unique and special unto themselves and so it is hard to single out any one in particular. When directing, the cast and crew of each production become like a family and at the time are the best ever. Having directed over one hundred shows for community theatre they are all up there with the best. But also, working with Theatre NZ, coordinating their annual TheatreFest has been a major project each year for the past 5 years which gives great satisfaction on how successful TheatreFest has become.

What would be your dream show to direct or produce?
The Rocky Horror Show.

Are you sometimes a bit racist – and didn’t realise it?

Many of us work in Community Theatre, sometimes semi-professional and even professional situations – mounting Straight or Musical Theatre, Cabaret and even maybe a ‘Stars in Their Eyes’ variation/theme.

In the latter, we are commonly looking for the personification of the selected performers, or wanting to recreate how the role/character/person has been traditionally played, or is culturally recognised. Sometimes also striving to find the ‘look-alike’ version of the original.

This country of ours, Aotearoa New Zealand, is changing fast.
Perceptions of ‘who can play what’ are changing with it.
Our High Schools, Colleges and tertiary Performing Arts Programmes, are turning out performers of every race, culture, and mixed heritage.

A lot of the works still staged here, are those of British or American genre, written by and, performed by, Caucasian actors. Leaving others of non-Caucasian heritage to play minor or subservient roles.
This is changing too, and changing rapidly.
To think of casting only those that in your minds-eye ‘look appropriate’ and, stating so to the auditionee, can be demeaning and may cause backlash comments of “cultural stereotyping”.

But worst of all, is telling someone they are not appropriate for a role and making a cultural comment – before they have even had the chance to sing, or deliver some dialogue!

It was recently brought to my attention that such an occurrence happened in one of our Community Theatres. The auditionee was devastated losing their voice, and thus, unable to sing.

In stage productions, (drama, comedy or musical) the real question to be asked is – does the Playwright specifically state the culture or heritage of the character to be portrayed – or is the role culturally ‘non-specific’!

In other forms of entertainment, we don’t always need to cast the ‘exact’ physical/cultural resemblance for a role, but someone who brings the essence of what is needed.
Ask yourself, what gifts do people bring, and how can it be harnessed.

Cross-cultural casting is happening on a regular basis in Professional Theatre across the motu. It needs to start happening in Community Theatre too.
Time to re-think your preconceptions?

Happy playing.
Bryan Aitken.
TNZ Life Member.
Associate of The Court Theatre

 Playmarket Scripts

RECOMMENDED SCRIPTS FOR WOMEN

A Woman Over Forty by Lindsey Brown (1-6 f)
Invisible? I don't think so. A quintet of dark comedic monologues celebrating the trials and tribulations of 'a woman of a certain age'. No matter what life throws at them, which is a lot, they remain FABULOUS!

We’ll Always Have Paris by Paul Kalburgi (2f, 1m)
A 45-year-old woman navigates the absurdities of online dating while attempting to rebuild her life after the death of her fiancé. Through tears and laughter, We'll Always Have Paris is a poignant
exploration of modern love, grief, and self-discovery.

The Pink Hammer by Michele Amas (4f, 1m)
Four very different women answer a flyer for “The Pink Hammer Workshop” – a ladies-only woodwork class. They turn up expecting empowerment and sisterhood from the advertised tutor, Maggie Taylor...but when they arrive, Maggie’s gone AWOL. Maggie’s husband Woody certainly doesn’t want a bunch of crazy women playing with his tools, but he doesn’t have a choice!

The Pink Hammer, Court Theatre, 2019

Esther by Angie Farrow (18f)
Aren’t we all imposters, changing our shapes to suit what others want, never really being sure of who we are? A young female is delivered to a community one day. She identifies as Esther, a young girl who went missing three years previously. Inspired by a true story, the play explores the significance of the stranger in times of rapidly shifting populations.

Frangipani Perfume by Makerita Urale (3f)
Frangipani Perfume brings fresh insight into the reality of Pacific Island women in New Zealand. Urale examines the tension between tradition and the reality of living in contemporary Western society.
This is a powerful and accessible play, defined by its dynamic characterisations, and skating along the borders between broad comedy, feminist politics and the gentle lyricism of images and language originating in the natural beauty of the Pacific Islands. (David O’Donnell, Introduction from published text)

Frangipani Perfume, Centrepoint Theatre, 2023

Genesis Falls by Jean Betts (4f)
Four desperate people navigate mysteries, chains, tortures and addictions, gurus, dark memories and Jewish humour - all get drawn together in an isolated, crumbling stone jail in a play which is grisly, absurd and deadly serious all at the same time. Finalist for the Susan Smith Blackburn Prize 2012/13.

02 04 16 10 07 by Maraea Rakuraku (17f, 4m)
02 04 16 – The first day of what became a three day occupation Maungapōhatu by Colonial forces charged with arresting Rua Kenana. Rua’s son Toko and on fog the Iharaira, Te Māipi was killed. Onini lives in this time at Maungapōhatu.
16 10 07 – The day after the 15 10 07 Armed Police Raids in New Zealand that saw the first enacting of the 2002 Terrorism Suppression Act, in response to alleged paramilitary training in Rūātoki.
Ni, Whitney, Lass and Jesse live in this time and Rūātoki.

New Gold Mountain Woman by Cassandra Tse (9-25f)
In 1881, nine women of Chinese descent were registered on the New Zealand census. These are their imagined stories.

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.  

Adam NZ Play Award 2024 Winners

Celebrating the best unproduced writing for the theatre

Playmarket has named two winners of the Adam NZ Play Award for 2024 ‒ Dan Bain for The Odyssey and Sam Brooks for This Is My Story of Us.
Bain’s play The Odyssey is a new take on Homer’s original epic poem. Repositioned as a comedy scramble style show for “three high-skill, high-charisma performers”, Bain asserts that you shouldn’t need a classics degree to make sense of what’s going on.

One judge described the play as ‘’a gift to the audience’’ and ‘’utterly delightful’’, another called it a ‘’goddamn raucous camped up retelling’’ which leaps off the page.

Bain has been a theatre director, playwright, improvisor, street performer, actor, motivational speaker and comedian since 2001. He was Associate Director of The Court Theatre from 2017-2020 and is currently the Artistic and Programming Director of Little Andromeda Fringe Theatre in Christchurch.

In This Is My Story of Us, playwright Brooks charts the love story between Kane and Hero from first date to the end of the relationship and after. In his play, what appears to be a relationship shrouded in secrecy opens out to a profound exploration of grief and a questioning of morality.

Inventive in its use of structure and underpinned by ‘’beautiful, tender prose’’, one judge remarked that the story ‘’hurt my heart. It sucked me in and spat me out. I was left needing to sit with my thoughts and feelings for some time“.

Brooks, an award-winning, prolific playwright and journalist, won the Bruce Mason Playwriting Award in 2016. His plays include Burn Her, Riding in Cars with (Mostly Straight) Boys, Wine Lips and Lads on the Island. He was recently awarded a prestigious Michael King Residency. and was the Feature Writer at The Spinoff for a number of years.

Other awards:

Runner-Up and Best Play by a Woman Playwright: Cassandra Tse for Before We Slip Beneath the Sea.

Best Play by a Māori Playwright: Tawhi Thomas for Matenui.

Best Play by a Pasifika Playwright: Teherenui Koteka for Kaveinga

Dean Parker Award and McNaughton South Island Play Award: Dan Bain for The Odyssey 

 Out of Mind

By Tama Smith and Deb Steele

In the quiet provincial town of Dargaville, nestled within the heart of rural New Zealand, a vibrant and determined community theatre group has been quietly defying expectations and carving out its own path in the provincial arts scene.

Led by a passionate trio of theatre enthusiasts—Deborah Steele (Playwright), Julianne Parkinson (Composer), and Eryn Wilson-Collins (Director)—the group embarked on a remarkable journey to produce an original theatre show that would challenge stereotypes, celebrate local talent, and intertwine the threads of history and personal narratives.

The genesis of their original production began with a serendipitous discovery by Eryn—a collection of old mental health nursing guidebooks belonging to her grandmother, who had served at Tokanui Psychiatric Hospital in the 1950s. These books had long been a sacred token of Eryn's family, a connection to her grandmother and a repository of knowledge about a bygone era. For years, they had occupied a shelf in her mother's dining room, untouched but imbued with significance. After her grandmother's passing, Eryn held onto them, intending to finally explore their contents, yet they remained untouched on a shelf in her own home until…

The spark that ignited the production came during a messenger conversation about potential ideas for the play. Debs shared with her collaborators her desire to delve into women's stories rooted in New Zealand, Eryn added a familial connection to mental health institutions through her grandmother's experiences. Intrigued by this intersection of personal history and national narrative, Deborah suggested exploring the topic further. When Eryn remembered the old guidebooks, she sent a photo to Deborah, who immediately recognised their potential value for their project. With Eryn's excitement in seeing the opportunity to incorporate her own Grandmother’s experiences, the guidebooks became the catalyst for their creative endeavour.

Drawing from her background as a history teacher and her own family's experiences with neurological conditions, Deborah delved into the pages of the guidebooks, unearthing a treasure trove of stories and insights. Inspired by the poignant tales and archaic language found within, she saw an opportunity to shed light on a lesser-known aspect of New Zealand's history—the experiences of those who lived and worked within the confines of mental health institutions.

Together Julianne, Eryn, and Debs embarked on a journey of research and reflection. They crafted a narrative that seamlessly interwove historical accuracy with personal anecdotes and fictionalised accounts. The script took shape rapidly, fuelled by the urgency of impending deadlines and the collective passion of the team.

Despite the tight timeframe, the rehearsal process was characterised by a spirit of collaboration and camaraderie. Seasoned performers and fresh-faced newcomers alike came together in the rehearsal room, forging bonds and honing their craft under the guidance of director Eryn. In each rehearsal session, the cast and crew worked tirelessly to bring their collective vision to life.

The debut performance of the show, at the local Theatrefest, was met with both trepidation and excitement. On this pivotal night, the cast held their breath, uncertain of how their dedication and creativity would resonate with their community. However, any uncertainties were swiftly dispelled as the audience became engrossed in the rich storytelling unfolding before them. From moments of laughter to tears of empathy, the range of emotions experienced was a testament to the profound impact of true community theatre.

Audiences were captivated by the authenticity of the production, which skilfully navigated the complexities of mental health and societal attitudes while infusing it with original music, joyous moments, and elegant choreography. Through poignant monologues, stirring musical numbers, and moments of quiet reflection, the show transported viewers to a different time and place, inviting them to empathise with those who had been silenced and marginalised by society.

With the blessing of the wider Kaipara community, the production reached well beyond the borders of Dargaville, being selected to represent the region at Theatrefest National Showcase. The impact of the work continued to be heralded as an exceptional production, receiving numerous awards, including the Denise Walsh Award for Best Production of a New Zealand Play and the Jannat Aitchison Memorial Award for Distinctive Emerging Talent, awarded to Julianne Parkinson for her musical composition.

Following the triumphant performance at Showcase, the production returned to Dargaville for a further performance, garnering critical acclaim and igniting conversation within the community. What had begun as a daring experiment had evolved into a cultural phenomenon, challenging preconceptions about mental health and affirming the power of storytelling.

Reflecting positively on the invaluable learning experience provided by Theatrefest journey—from local events to regional and finally the National Showcase—Deborah Steele noted that the emphasis on constructive criticism received from adjudicators was a crucial aspect of their growth. Since their theatre group's involvement in 2014, they've consistently participated, making it to the nationals four times despite hailing from a small town. Steele emphasised that their success was a testament to their community's resilience and dedication, especially considering their previous struggles with declining membership. A surge of younger members around a decade ago injected new energy into the group, with a particular focus on nurturing youth talent.

After earning accolades and admiration at a gathering of some of the country's finest community and educational theatre productions, the question remained: what next for this incredible story of successful community theatre-making? But the journey is far from over.

Buoyed by success at the national level and with Theatre New Zealand also approaching the company with a proposition to take "OUT OF MIND" onto the international stage as the New Zealand representative at the Monaco International Community Theatre Symposium, this prestigious opportunity will open doors to audiences around the world, offering a platform to share their powerful story and inspire change on a global scale.

In the end, the success of the production was not just measured in ticket sales or accolades but in the profound impact it had on those involved. For Debs, Julianne, Eryn, and the rest of the cast and crew, the journey had been transformative, reaffirming their belief in the vitality and resilience of their close-knit provincial arts community. Each time they took a bow on stage, they knew that they were creating an enduring legacy and inspiring future generations to dream big and defy expectations—both at home and now potentially on a world stage.

TheatreFest 2024 - Local Festivals & Dates

Region 1
Northland – 27 July – Dargaville Little Theatre, 241 Victoria Street, Dargaville
Organiser – Lara Brownie - This email address is being protected from spambots. You need JavaScript enabled to view it., 027 461 6561
Closing date for entries - Friday 12 July

Auckland – 3 August – Selwyn College Performing Arts Centre, Kohimarama, Auckland
Organiser – Steven Arnold - This email address is being protected from spambots. You need JavaScript enabled to view it.
Closing date for entries - Friday 19 July

Region 2
Waikato/BOP/Taranaki – 27 & 28 July - Centre Stage Taupo
Organiser – Toni Sullivan - This email address is being protected from spambots. You need JavaScript enabled to view it.
Closing date for entries - Friday 12 July

Upper North Island Regional TheatreFest (Regions 1&2)
17 & 18 August – Yet to be confirmed

Region 3
Hawkes Bay - 27 & 28 July – Napier Repertory Theatre
Organiser – Adrienne Hurley - This email address is being protected from spambots. You need JavaScript enabled to view it.
Closing date for entries - Friday 12 July

Manawatu/Whanganui – 3 & 4 August – Pahiatua Repertory
Organiser – Glenys - This email address is being protected from spambots. You need JavaScript enabled to view it.
Closing date for entries - Friday 19 July

Region 4
Wellington – 10 August – Newtown Community Centre Theatre
Organiser – Ewen Coleman – This email address is being protected from spambots. You need JavaScript enabled to view it.
Closing date for entries - Friday 26 July

Wairarapa – 10 & 11 August – Wairarapa College
Organiser – Linda Voice - This email address is being protected from spambots. You need JavaScript enabled to view it.
Closing date for entries - Friday 26 July

Lower North Island Regional TheatreFest (Regions 3&4)
24 & 25 August – Masterton, MTC Majestic Theatre

Region 5
Nelson/Marlborough – 3 August – Red Door Theatre, Nelson
Organiser – Tracey Gibbs - This email address is being protected from spambots. You need JavaScript enabled to view it.
Closing date for entries - Friday 19 July

West Coast – 20 July – Westport, NSB Theatre
Organiser – Lyn Doncliff - This email address is being protected from spambots. You need JavaScript enabled to view it.
Closing date for entries - Friday 12 July

Canterbury – 3 & 4 August - Rangi Ruru Girls School
Organiser – Mandy Perry - This email address is being protected from spambots. You need JavaScript enabled to view it.
Closing date for entries - Friday 19 July

Upper South Island Regional TheatreFest (Region 5)
17 & 18 August Westport, NSB Theatre

Region 6
South Canterbury – 17 & 18 -August – South Canterbury Drama League, Timaru
Organiser – T J Ramsay - This email address is being protected from spambots. You need JavaScript enabled to view it.
Closing date for entries - Friday 2 August

Otago/Southland – 27 & 28 July – Trinity Catholic College, Dunedin
Organiser – Blaise Barham - This email address is being protected from spambots. You need JavaScript enabled to view it.
Closing date for entries - Friday 12 July

Lower South Island Regional TheatreFest (Region 6)
24 & 25 August - Timaru

Showcase
Saturday 14th September
Venue to be announced very soon.....

Special Announcement 

2025 Adult Summer Theatre Intensive

The Playhouse & SCDL Complex Timaru
January, 5-11.

More to come next issue

Put in your Diaries now!

Recognition

The deadline for receiving nominations for the annual David Brockett Award for Backstage Achievement and the Meritorious Award for 25 years of service is Friday 30th August.  As the next Hãpai will not be published till August you are reminded to start thinking about members who deserve to be recognised for their outstanding contribution to community theatre to meet this deadline. 

Find the forms on the website here.

 Membership Renewal

Membership forms for the 2024 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.

Hāpai/Backchat, May June July 2024, Volume 47 Issue 2
Copyright © Theatre New Zealand 2024

Compiled by Mark Perry
Editor Margaret Robertson

Deadline for Winter/Spring edition of Hāpai/Backchat
31 July 2024

Communications to
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