President's Message

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Theatre New Zealand
Presidents Report 2024

As we celebrate a wonderful evening of community theatre at ShowCase 2024, I celebrate the quality of the theatre, the friendships, and the hard work that went into this year's performances.

I would like to thank my executive for their efforts in helping Theatre New Zealand on its new path and in producing ShowCase 2024.

In a changing landscape, I wish to recognise Ewen Coleman and Margaret Robertson, who have stepped down from their roles as TheatreFest advisor and Secretary of TNZ. Both have contributed enormously to theatre in New Zealand over many years, and as such, words fail to describe the enormous contribution and impact they have made in serving our community.

To Margaret and Ewen, on behalf of us all within the theatre community of NZ, we thank you for your untiring commitment to the arts. I believe that Theatre New Zealand is only where it is today in no small part because of your unwavering contribution.

I am mindful, too, of the challenges we face around our art form, no less than the NZ government reducing the funding for creatives in our schools, and the challenges in dealing with increasing production costs and venue hires across the motu. As we face increasing external challenges, I look towards Theatre New Zealand's new desire to inspire, facilitate, and support theatre in leisure time NZ, by allowing creatives, authors, makers, actors, storytellers and audiences to develop artistically and socially in this constantly changing society.

With our newly set up regional executive programme and the newly introduced constitution, our focus will allow us to keep our finger on the pulse using theatre as a medium that connects and emancipates, reflecting core values of cohesion and solidarity. Our new look and constitution will enable our representatives, Theatre New Zealand executive, and members to build a theatre and performing arts landscape in which everyone with a passion for our art form will feel at home within our organisation in Aotearoa.

I would like to think that we will focus on the hybrid nature of our theatre landscape and give every individual opportunity, regardless of age, race, gender, culture, origin, limitations, and socio-economic status. Through these endeavours, young and old will be mobilised and inspired. Within this forward-focused landscape, various forms of artistic expression can be expressed, from niche to popular, traditional to experimental, and cultural to expressionist. Players, makers, storytellers, and companies are developing artistically and socially, with oxygen-giving impulses for development, innovation, and experimentation at all levels expressed through ensemble, unity, and collaboration.

Cohesion and solidarity in our art form are core values. Our goal is to search for diverse and innovative ways to share resources using networks and knowledge. We need to strive for strong anchoring in a society experiencing change, where theatre is seen as having a major social impact. However, this impact must be recognised by our stakeholders and translated into sufficient resources to realise its societal potential.

To achieve this, Theatre New Zealand focuses on accessible, flexible, and results-oriented theatre celebrations. We will also focus on greater curiosity and commitment to change.
Commitment to AGE on stage! Theatre New Zealand wants to encourage and inspire people at least 55 years and older to participate in our future theatre. Together, we can explore what value theatre brings to our lives, physically and mentally. Many international studies and research show that art experience is necessary for the well-being of our community's growing group of older adults.

For example our commitment can be seen with the annual “National Adult Summer Theatre Intensive”. In January, 2024, The Playhouse Theatre, Timaru, South Canterbury, became a hive of activity. For five days, three nationally recognised theatre practitioners/ tutors brought their expertise to thirty-six Summer School participants. Bryan Aitken, Lara Macgregor and Julian Southgate brought theatre craft alive by focusing the groups on three inter-twined aspects of theatre: directing, acting and design. And what a week it was, and it will all be back again in 2025. Early Bird special is still available.

SHOWCASE 2025

We have visioned and actioned a creative inspiration and a new look TheatreFest and ShowCase. The benefits of TheatreFest has always been in the giving and receiving of professional adjudication to participants, and we see this as its continuing strength. In this changing theatrical landscape and in consideration of feedback received, we looked at how we could best use this festival not only in a competitive environment but also as a celebration of community theatre in NZ, so we continue to develop this unique leading national event.

With a new direction and commitment to excellence with ShowCase 2024 we introduced the prestigious “Golden Koru” plaque TNZs highest accolade for community theatre performance, this was presented for the first time this year.

IATA International Amateur Theatre Association

And now, with a new found desire and horizons Theatre New Zealand revived its membership of AITA/IATA (International Association of Theatre Association) and are now committed more internationally.

We are committed to welcoming the world to celebrate community theatre in Te Whanganui a Tara 2027. We are proud to offer in conjunction with this Festival, a special world cultural presentation to celebrate the momentous 75th anniversary of AITA/IATA.

During the 2023 AITA/IATA World Festival in Hungary, Theatre New Zealand President, was asked by the President of AITA/IATA Mr Aled Rhys-Jones (Wales) if we (Theatre New Zealand) would be interested in pursuing the idea of New Zealand hosting this International theatre festival in 2027.

The message we want to convey with our festival of 2027 is the telling of “Our Stories”. This echoes the sentiment of "My success is not mine alone but of many", highlighting the importance of community and the power derived from shared history and a collective effort.

MOVING FORWARD

As promised, your executive have not been standing still. they have now ushered in a new constitution, we have increased TheatreFest participation, we have started a Summer School Adult Intensive, we have developed a new ShowCase and branding, and we are perusing the chance to bring a World Festival to our shores, and promoting Dargaville Little Theatre to travel to Monaco in 2025 to represent us on the world stage, and we are proud of four Māori Pacifica performances at TheatreFest this year..

So, please don't hesitate to reach out! With your support and TNZ's commitment, we will advance the community ethos in all aspects of Theatre throughout New Zealand.

“Our community is essential to who we are and why we try”

Nga Mihi

Paul Percy
President Theatre New Zealand

Summer Theatre Intensive 2025

Check out the website page for more information by clicking here.

Check out the website page for more information by clicking here.

 Regional Round Up

Region 1

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The Importance of Audience 

As the year comes to an end, our community theaters’ in the Northern Region are finishing up their busy year, and planning their calendars for 2025. I recently had the pleasure of attending Dargaville Little Theatre's most recent show ‘One Man, Two Guvnors’, Directed by Adrian Humm. Audiences were transported back to 1963 Brighton through clever set design, costuming, character, and direction. It was fast paced, witty, and very british.

‘One Man, Two Guvnors’ was abundant with audience interaction by
breaking the ‘fourth wall’, addressing the audience directly, and, at times, inviting audience members onto the stage to join the performance. The fourth wall is a figurative term in theatre that references the invisible wall between the audience and the stage, separating the performance and the real world. By breaking this wall, it allows the audience to be a part of the imaginary, to fix themselves within the story, and to understand their part in it.

Usually, the most audience interaction a performance requires is applause and emotional reaction to the action on stage. When the audience is actively responsive through applause and laughter, it is easier for an actor to feed off that energy, and put it back into the performance– much the same as acting on stage with a counterpart. Every action has a reaction. Sometimes, the actors on stage will break the fourth wall to address the audience with a question, prompting them to raise their hands. As an audience, it is important to respond, to show the performers your answer, and to allow that to drive the remainder of the segment. Breaking the fourth wall and inviting audience members to respond is purposeful and a useful tool used for comedic value.

Though, as great as breaking the fourth wall can be, audience interaction can cause stress and anxiety for some audience members. This is a valid feeling, as most people aren’t keen on being called on, or being at risk of going on stage when all they wanted was to attend a show and not be interrupted. I used to feel the same way. I would panic and think What if they call on me? What if my answer ruins the performance? I would stay quiet. Sometimes it would get to a point where the whole audience was so quiet, that the actor was struggling to move on in the scene without the interaction. Throughout my years both on stage and off, seeing these experiences from both sides of the stage, my conclusion is to simply not worry about it. Relax, it's usually planned. Interaction is the core of theatre. There is room for error, and as I mentioned before, actors feed off the energy audiences provide. Every action has a reaction, therefore, the show will always go on.

So next time you are at a show, make sure to respond to what is happening on stage. Applause, show your integrity to the actors, accept the invitation, and step into the performance.

Lara Brownie
Region 1 Representative
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 Region 2

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Hamilton Playbox has had a successful season of “One Flew Over the
Cuckoo’s Nest” and are heading into auditions for James and the Giant Peach - one of my personal favourites. Centre Stage in Taupo have just finished their run of “Home, I’m Darling” stellar cast and a set that had you completely convinced you were in someone’s home! They are developing a workshop season for next year so keep your eyes peeled for that as well as productions.

TheatreFest 2025

TheatreFest is already shaping up for next year. Taupo is set to host a local on the 9th of August and Tauranga are working on theirs. If you are interested in entering but haven’t entered before, or it’s been a long time; or even if you enter often but have questions about the format please be in contact with me. I am more than happy to answer any questions and help you work towards getting your entry on stage! It is a brilliant opportunity for new directors, new actors to try something shorter than a full play, or to test new work or ideas and let your technical people let loose with
their creativity.

Carpe Diem
Toni Sullivan
Region 2 Representative
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 Region 3

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 The thespians of Region 3 have been very busy with their End of Year productions.

All groups have planned what they are doing for next year. 

Pictured here is a snapshot of the action at some of the local theatres.

TheatreFest is already shaping up for next year. Napier is set to host a local festival at the end of July, and Gisborne and Manawatu are working on organising their venues. If you are interested in entering but haven’t entered before, or it’s been a long time or even if you enter often but have questions about the format please be in contact with me.

A quick Jog around the region

Theatre Hawkes Bay have just finished their successful season of Little Miss Sunshine. A spirited creative production. Congratulations from Theatre New Zealand

Dannevirke Theatre Company Many awesome productions are held during the year and the ANZAC concerts are becoming a tradition, with the theme of the concert relating to those who went before us, there’s always a mix of humorous songs and acts.

The Fountain Theatre is a great place to hold afunction, and if you are going to a function and need a costume, they have that covered too. Address: 2 Ward Street, Dannevirke - Google Map
Contact: John Phone: 06 374 8478 Email: This email address is being protected from spambots. You need JavaScript enabled to view it. 
Website: https://www.facebook.com/DVKtheatrecompany

Feilding Little Theatre Players The earliest records show that first production was staged at the Feilding Community Centre in 1938. Theatre has been an integral part of the Feilding community ever since. This was most evident in 1950 when the existing building was condemned. The whole community was galvanized into action to save the theatre and they raised funds to almost completely replace the building.

We are just as passionate about theatre today. The theatre has an active committee who work hard staging a variety of productions each year. Membership socials are held during the year as well hosting visiting productions from time to time. We warmly welcome people to become part of our theatre family. 

Phone 06 3235051 
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Adrienne Hurley
Region 3 Representative
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 Region 4

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 Region 4 is going strong. 

Multiple shows over the region.  A fantastic diverse range of theatre. 

Just completed was Greytown Little Theatre season of “Grand Horizons”. 

And KAT Theatre’s “Our Man in Havana” directed by Ewen Colemen.

AUDITIONS:

“Call the Toxic Avenger” Kauri Theatre Company - Auditions dates 16th 17th Nov.
Auditions for Kapiti Playhouse “Nunsense” - 23rd or 24th Nov.
Auditions for Wellington Rep “Shakespeare in Love” Sun 24th Nov
KAT Theatre have cast for Summer Play in the Park. Margaret Mahy’s “The Man whose
Mother was a Pirate”
Stagecraft had an evening tonight to announce some up and coming shows for 2024-2025
this includes Private Lives by Noel Coward which has already been cast.

Make sure to check out the “Spotlight on Youth Theatre” article about Wairarapa College student Cody Laing-Bayley and his upcoming journey to The Globe!

Linda Voice
Region 4 Representative
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 Region 5

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 What’s Happening In March 2025?

A COLLABORATION with Nelson Musical Theatre.

A historic collaboration between Nelson Repertory and Nelson Musical Theatre will be staged at the Red Door Theatre in March 2025. The super exciting thing is that we are inviting those who are experienced in theatre skills to mentor those interested in learning!

A collection of three one act plays by New Zealand writer Lyndsey Brown – they are collectively titled A LOVELY DAY FOR A BOAT TRIP and each play has a subtitle in parentheses.

The first is (to murder your spouse), the second is (to escape your own wedding), and the third (to hide a body). Intriguing and entertaining.

Paul Percy
Region 5 Representative
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 Region 6

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A highlight was Riccarton Players’ Rest Home Rockers by Doug Clarke QSM, a longstanding supporter of Theare NZ. Great to see NZ playwrights getting stage time. Speaking of which Carl Nixon’s play The Raft is being staged by Canterbury Repertory at Elmwood Auditorium, opening 20 November. Set over a rainy weekend in a West Coast bach, the story of a devastating family tragedy and healing.

On a professional theatre note, the Court Theare’s The Dolls House was a stunning production and the set was superb. Renowned designer Julian Southgate started his career journey with Elmwood Players (oh, how I remember those days of painting bricks under his tutelage!) and Julian was the design tutor at the 2024 TNZ Summer Theatre Intensive. See what is possible!

And if I have missed out your group’s activity – please do let me know!

Maz Ollett
Region 6 Representative
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 Region 7

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Celebrating SBZ Productions: A Stunning Premiere of “Invisible”

Congratulations to Sahara Breeze (SBZ) Productions and Strange Case Productions for the extraordinary success of “Invisible”! This innovative, locally-devised  documentary play captivated audiences at The Mayfair Theatre, leaving a lasting impression with its heartfelt exploration of what it means to feel 'seen' or 'unseen' in
today’s world.

Directed by Blaise Barham and dramaturged by Allison Horsley, Invisible was a masterclass in multi-disciplinary performance, seamlessly blending text, physical theatre, contemporary circus, and multimedia. The production was equal parts tender, uplifting, and humorous, while also deeply thought-provoking—truly a testament to the creative brilliance behind it.

The collaboration with Strange Case Productions elevated the performance to new heights, literally and figuratively, with awe-inspiring aerial work and acrobatics. Chris Rahenkamp, Zoe Barham, and the entire devising team brought unparalleled energy and emotion to the stage, delivering moments of breathtaking beauty and profound storytelling.

SBZ Productions, with its impressive history of award-winning work, has once again shown why it’s a cornerstone of the Otago arts scene. From the technical precision of the lighting and AV design to the emotional depth of the performers, every detail of Invisible reflected the company’s commitment to excellence.

A huge congratulations to the cast, crew, and creative team for creating a production that will be remembered as a highlight of the local theatre calendar. Your ability to craft such meaningful, multidisciplinary work continues to inspire and enrich our community. Bravo, SBZ Productions, on another milestone achievement!

Theatrefest 2025

It's never too early to start planning for Theatrefest 2025! Whether you're a seasoned performer, a budding playwright, or a passionate director, now is the perfect time to begin brainstorming ideas
for your entry.

Theatrefest is a unique opportunity to showcase your creativity, challenge your storytelling skills, and connect with a vibrant community of theatre lovers across the region.

If you’re interested in entering or have any questions, reach out now to discuss your ideas and get guidance on how to prepare. Let’s make 2025 the most exciting Theatrefest yet!

Keep an eye on future newsletters for entry deadlines and helpful tips. We can’t wait to see what you’ll bring to the stage.

Dates and Venues
• Dunedin, Trinity Catholic College: 19th and 20th July
• Central Otago, TBC: 26th and 27th July

Please get in touch with us to advertise your next upcoming performances!

Erica Ward
Region 7 Representative
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 Youth and Education

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Attending the Kia Tōnui – Flourish conference in Te Whanganui-a-Tara this September was a unique privilege, particularly wearing two hats: as the Wellington representative for Drama New Zealand (DNZ) and the Education Liaison for Theatre New Zealand (TNZ). The conference brought together drama educators and theatre practitioners from Aotearoa and Australia, fostering vibrant discussions about how we, as storytellers, can regenerate and thrive in uncertain times.

The atmosphere at Wellington East Girls’ College was electric, charged with the collective passion of educators and artists eager to share and grow. Presentations and workshops explored everything from foundational storytelling roots to innovative, boundary-pushing pedagogy. As we examined what sustains our practices, one recurring theme was clear: storytelling and theatre empower individuals and communities to flourish creatively, academically, and personally.

For me, the conference was a golden opportunity to promote TNZ’s TheatreFest, our nationwide short theatre festival that has increasingly become a valuable resource for schools. This event not only nurtures creativity but also bridges the gap between school-based drama and the wider theatre world. Many educators I spoke to were excited about the idea of offering their students a platform to see themselves as creatives beyond the classroom context.

The festival’s structure—short, accessible pieces adjudicated by professionals—gives students both the incentive to aim higher and the opportunity to connect with a wider theatre community. The interest at Kia Tōnui – Flourish was palpable, with new contacts eager to learn more about how the festival runs and how their students could participate. It’s evident that TheatreFest is not just a competition but a chance for young people to engage with storytelling in a way that celebrates their voices and fosters lifelong creative confidence.

As both an advocate for drama education and community theatre, I left the conference inspired by the synergies between these two worlds. Drama educators are deeply invested in nurturing student creativity, while community theatre provides the platform to let that creativity thrive in a broader context. Conferences like Kia Tōnui – Flourish remind us that these connections are not only possible but essential for the flourishing of our field.

Whether we were reflecting on foundational pedagogy or casting seeds for the future, the message was clear: drama and theatre sustain and regenerate communities. I am excited to see how our shared conversations and new collaborations continue to grow in the months and years ahead.

As we prepare for the next TheatreFest, I am confident that more educators will join us, bringing their students into this dynamic space where school meets community, and where creativity flourishes beyond boundaries.

Tama Smith
Youth and Education Representative
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Mandy Thomas is a long standing member of Centre Stage in Taupo. Her play "Life is Worth It' was performed at the local Taupo competition and although put forward to regional the play didn't get performed because one of their characters who has a child in the play was pregnant and the time and put on bed rest! They did receive three awards at the Showcase on the strength of their local performance. The Playmarket Playwright award, Production of a New Zealand Play and Excellence for Acting - Rob Price.

Kia Ora Mandy

"How Long Have You Been Involved In Theatre?"

As many people say, I have been involved since High School. Topping 6th and 7th form drama and playing roles in the school productions. I went on to do a performing arts course through Selwyn college, working with Michael Hirst.

When I moved to Taupo to start a family back in 1996, my first production was Playhouse Creatures directed by Alma Riley. I played a youthful Nell Qwynn. Since then I have taken on many roles on and off the stage. I was President of Centre Stage for 5 years and directed two plays. One of the plays I directed was 'Nell Qwynn'. This time I played Nell's gin soaked whore of a mother. My how the years pass swiftly.

"Have you written anything before?"

I have written short plays many years ago and loved it! But then for many years I wanted to but did not follow through with ideas. Fear stopped the ink from flowing.

"How did you come up with the idea for "Life is Worth it"?"

I had been researching our family ancestry for many years and Eddie caught my attention very early on. His life line was so tragic. Then I found an article about his funeral being one of the largest congregations the town had seen. This got me thinking that he was well liked. Eddie began to form as a character in my mind. I imagined him to be all the best bits of our family; funny, generous. A family man. A spiritual man.

He started popping into my mind when I would go for walks. He would make me laugh. I could hear his Irish turn of phrases. HIs boyish charm. I wanted to meet him. So I wrote. He appeared on the page with little effort from me.

"What is the difference between directing a short play and a full length?"

A short play needs to be stripped down to bare minimum. No waffle. What do you want to say? Say it. What is your intention? Stick to it. My intention was for the audience to know how I felt about Eddie. Grateful. His life mattered. Even though it was short it was full of life. Life that then flowed into all of his descendants.

A full length play can delve a bit deeper and take the audience on a more in depth journey.

"Do you have anything else in the pipeline?"

Yes, I do have one particular play that is on the brink of being written. The characters are beginning to have a voice in my mind. Again, there is a family connection to me and true events will inspire the storyline. However, this time the play will not attempt to portray real life people. It involves a court case, an affair and an indecent proposal. My hope is to allow this to flow on to paper over the next couple of years.

"How did you feel winning the Playmarket Writers Award"

I felt seen. Writing is a very vulnerable artform. A part of who you are is put out into the world. You bare a part of your soul. It's scary. Receiving the Playmarket Writer's Award was the comforting and supportive pat on the back I didn't realise I needed. What I have to say, the stories I want to share, are worthy of an audience. It was the 'keep going' I needed.

"Do you have any words of advice for new writers and directors wanting to give this a go"

You can't think your way to a good play. You have to write. It's as simple as that. The learning is in the doing.

Interview conducted by Toni Sullivan, Taupo, Region 2

Wairarapa Theatre - Linda Voice - Programe Director, Region 4 

Cody Laing-Bayley’s ambition in life is to entertain others.
Now, the gifted performer has the opportunity to entertain on one of the world’s biggest
and most prestigious stages – just a stone’s throw from where William Shakespeare
debuted his legendary dramas.

Cody, 17, is one of 24 young actors selected for the Shakespeare Globe Centre New Zealand [SGCNZ] Young Shakespeare Company, set to travel to London to work with some of the heavyweights of live theatre, and tread the boards of the iconic Shakespeare’s Globe.

Next year, the Young Shakespeare Company will spend two weeks in the UK — taking part in workshops and & sessions with professional Shakespearean actors and directors, going backstage at some of the Globe’s major productions, and touring significant sites in Stratford-upon-Avon, Shakespeare’s birthplace.

The company will also rehearse excerpts from Shakespeare’s plays, with tutelage from the Globe’s directors and educators, and perform their pieces for a large audience on the Globe stage.

For Wairarapa College student Cody, making the company has been the culmination of three years of weekend rehearsals, character research, and late nights memorising 16th century poetry.

He has represented WaiCol in three leading roles at the SGCNZ National Shakespeare Festival, which have gained him entry into SGCNZ’s National Schools Shakespeare Programme (NSSP) — a
week-long symposium in Shakespearean stagecraft for young actors.

Of the 48 students selected for the NSSP each year, 24 are chosen for the Young Shakespeare Company — with Cody making the cut after this year’s programme at Otago University.

For many of his fellow young Kiwi thespians, Cody said, to be able perform at Shakespeare’s Globe was “the dream”. The building is an almost exact reconstruction of the original Globe Theatre, built near the Thames in 1599 by Shakespeare’s theatrical company the Lord Chamberlain’s Men.

The modern-day Globe, which opened 1997 not far from the original site, holds regular performances of Shakespeare’s famous works — some featuring acting royalty like Dame Maggie Smith, Sir Ian McKellen, and Dame Judi Dench.

For Cody, to perform just a short distance from where Shakespeare premièred works like Hamlet, King Lear, and Macbeth, is “a massive opportunity”.

“For any student who loves Shakespeare, performing at the Globe is the ultimate end goal – it’s the dream,” he said.

“It’s something so many people have wanted, and have been working hard towards. So it feels amazing to have achieved that, especially coming from a small community.

“The whole experience will open our eyes to a whole new world of theatre that we wouldn’t normally get to see. It’s such a massive and awesome opportunity.”

Cody has been involved in theatre since primary school – after his mum found an advertisement the Jazz Dance and Drama Centre (JDDC) had posted on Facebook, inviting children to audition for its
production of Cats.

“I thought, ‘okay, that sounds cool’. I’d never really been exposed to theatre or acting before, apart from watching movies,” Cody said.

“So, I auditioned for Cats and got in. After that, I was like, ‘yeah, this is my place in the world’.

“Basically, my whole goal in life now is to be entertaining people.”

Since then, Cody has become one of the leading lights on Masterton’s theatrical scene, appearing in shows from JDDC, Acting Antics, Wairarapa Youth Theatre, and in Theatre New Zealand’s TheatreFest competition.

Some of his favourite roles include Linus in the musical You’re A Good Man, Charlie Brown, Bert in Mary Poppins, Jesus in The Book of Everything, and Edgar Allen Poe in Shuddersome, which won him multiple Excellence in Acting Awards at the 2022 Theatrefest.

Wairarapa Youth Theatre director Linda Voice said Cody had “shown up religiously” to the group’s Friday night workshops since he was nine years old, and was now a mentor for the younger students.

One of Cody’s strengths as a performer, she said, was his ability to create nuanced and well-rounded characters – a rare gift for a young actor.

“It’s about realism, and being able to create a character and a scene that’s believable,” she said.

“That comes from putting in the work to really understand the text, and learning the character’s story. It’s about figuring out their intentions, motivations, and objectives.

“It’s not just about learning and delivering the lines – it’s understanding why they’re being said. Cody gets that.”

This ability has helped him shine on the Shakespearean stage, allowing him to bring three different characters to life: The stately Richmond in Richard III, the prankster fairy Puck in A Midsummer  Night’s Dream, and the ambitious York in Henry VI – also known as the vanquisher of Joan of Arc.

All three of his performances at the SGCNZ Shakespeare Festival gained him entry to NSSP – though he was too young to attend the first time round.

“That was probably a good thing, though. I don’t think I would have gotten as much out of it.”

This year’s NSSP he described as “nine days of really intense Shakespeare”, including acting workshops, rehearsals, and performances of scenes from various plays.

Having only a short period of time to put together a successful Shakespearean drama was stressful at times — but Cody said the strong bond he’d formed with the other students helped alleviate the pressure.

“It’s super intense – you end up staying awake most of the night, learning your lines! But it ended up coming together easily, because we all got on so well. We knew there would only be a few of us that would be picked for the Globe, so we were all working super hard. But there was no real sense that we were competing. Everyone was there to learn, have a fun time, and support each other.”

Cody looks forward to sharing the Globe stage with his new acting colleagues in June — but, to get there, he needs to raise $12,000 to cover flights, accommodation, and other expenses.

He and his family are organising raffles, busking performances, and crowdfunding, and Wairarapa Youth Theatre and WaiCol hope to incorporate fundraising into some of their upcoming events.

Cody hoped to come home from the Globe with a “great CV” towards a future career in acting — including “lots of knowledge”, new connections, and a whole new appreciation for theatre.

“It’s so exciting — things like this show our students that there is a world beyond Wairarapa, and there are opportunities for them to reach for the stars,” WaiCol drama teacher Alix Bushnell said.

“I think Cody will thrive in the professional theatre environment — he always comes prepared, he’s engaged and focused, and he actively shares his own ideas and contributions. He’s just got it.

“This is a huge achievement for him. We’re very proud.”

Story Credit: Erin Kavanagh-Hall – Wairarapa Times Age

https://www.thepost.co.nz/nz-news/360482284/all-worlds-stage-cody

Try a New Zealand Playwright for TheatreFest 2025

Contact This email address is being protected from spambots. You need JavaScript enabled to view it. for more details.

PANZ 2024 One act Play entries:

A Family Secret
Synopsis

The play recounts the tale of James Horne, a young lad living in London in the nineteenth century, convicted of stealing and sent to Australia to serve his sentence.
Judge’s comment: “This play reaches into the pockets of New Zealand and Australia’s histories.”

Agents of virtue
Setting Scene 1

1856. A Maori village in Far North, New Zealand where the missionaries have settled.
Judge’s comment: “This play serves as an interesting and much-needed commentary on the government’s antiquated and problematic policies around adoption in relation to Maori communities.”

How are You Going?
Synopsis

What has Mum been up to in Geoff’s shed? The family are not sure they want to know.
Judge’s comment: “This play was a total delight to read, and it made me laugh out loud.”

SOULS
Synopsis

Edward’s soul has been in limbo since his death and arrives at the national branch of the underworld organization to face final judgement.
Judge’s comment: “What an interesting and original work.”

All Things Considered
Synopsis

An English couple arrive to visit their son and his wife and find it difficult to adjust to rural New Zealand.
Judge’s comment: “This is a refreshingly practical and accessible domestic drama/comedy.”

Make No Mistake
Synopsis

In a small medical practice, the waiting room is a melting pot where community dynamics meet the demands on health professionals to always get things right.
Judge’s comment: “A moving play that raises the troubling question of how health care is faring in Aotearoa.”

The Interview
Synopsis

We visit two households, numbers 23 and 25, and witness the lives of the occupants and follow each of the unemployed men to their subsequent interviews for work.
Judge’s comment: “This is a really clever play in its structure and pacing.”

Dead Man’s Hand
Setting:

1883, the scene is set in the Bird Cage Theatre saloon, Tombstone. The bar girls are sitting around talking. Amos is at the bar cleaning glasses, Molly is pleading with Dirk not to go out into the street
and face a stranger who has just arrived in town.
Judge’s comment: “This piece shows the writer’s clear love and deep understanding of westerns and the general lore of the American west.”

The Scent of Roses
Synopsis

Life’s Labour’s Lost. Philip Thomas goes to his doctor, with wife June, to ask about ‘end of life’ decisions. Dr Jonathon is as shocked as June at this request, for he also is asking himself about his own ‘end of professional life’ achievements. Philip explains how he cant stand feeling himself deteriorate and he wants to leave this life with dignity. June has come to gradually accept this; indeed it is a ‘way out’ for her too. However, their daughter, Jessie, is adamant that this is the wrong decision. Tensions rise and passion impacts communication between the four, with Dr Jonathon laying open his own doubts about what he is being asked to do.
Judge’s comment: “This is a moving and heartfelt piece and addresses a timely subject.”

Skunkworks
Synopsis

Three colleagues navigate relationship difficulties in the quest to develop a more environmentally-friendly product. Better relationships lead to a more sustainable product.
Judge’s comment: “A fresh and smart play with an incredibly worthwhile message.”

Soon Intimate
Synopsis

An actor-director has hired an intimacy coordinator to guide the rehearsal of her film’s climactic scene. But her co-star claims choreographed moves will ruin the spontaneity.
Judge’s comment: “This is a refreshing rom-com in that it is set on a film set here in Aotearoa.”

Rain Stops Play

Setting: The play is set at Joan & Annie’s rural property in small-town New Zealand.
Judge’s comment: “What a surprising and funny play!”

A Playwright Writes a Play
Synopsis

How can a playwright write a play when they have nothing to write? Will a demanding director, along with a trio of talented, but needy, actors be able to help? Or will they just drive our playwright to absolute despair?
Judge’s comment: “A bright and moving play that skewers a few stereotypes within theatre but also takes a sincere look into the vulnerability of creation.”

Fourplay
Synopsis

Four actors have just read a play the director wants them to perform. Five chairs will comprise the set.
Judge’s comment: “A fun, experimental piece that would be a good challenge for performers.”

The Bush
Synopsis

Four young people escape a suicide prevention clinic with dodgy ethos, camping in the wilderness to avoid integrating back into modern society. They argue personal, political and property matters,
arriving to no particular conclusion, in the deep New Zealand bush. Will their break from civilisation ignite a desire to keep living? And, did you hear that?
Judge’s comment: ”This is a really interesting piece that goes after some huge – and incredibly immediate – ideas, including but not limited to; our evolving relationships with te Tiritii, gender, monomyth, suicide, and mental health funding in Aotearoa.”

A Prologue and a Preview

Setting: SCENE ONE 1819, England. A horizontal rug, a dining room with a dining table - with a dead flower in a plant pot, on it. There is a watering pot and a pair of clippers there beside it. The sound of a grandfather clock, tocks rhymically. Ever present in the scene. (Not mimetic as everything is stark glossy white.
Judge’s comment: “This play offers up a mashup of specific historical setting with postmodern devices such as the metatheatrical use of the TV studio audience, egregious profanity, and grotesque violence reminiscent of Sarah Kane’s or Martin McDonagh’s work.”

RESULTS

1st Place – How are You Going? by Bronwyn Elsmore
2nd Place – A Playwright Writes a Play by Lindsey Brown
Highly Commended – Rain Stops Play by Julia Daniel

Why These Plays?
There are a few themes that emerge in these winning plays: an element of surprise through the revelation of information either humourously or profoundly (or both), absolutely delectable roles for New Zealand actors, and a generosity of will toward their characters that shines through despite the subject matter. Two of the plays (How are You Going? and Rain Stops Play) have hilarious and cheeky parts for older women, and A Playwright Writes a Play invites a small ensemble cast to celebrate and lovingly skewer backstage drama in a manner that creative teams and audiences alike will relish. All three plays masterfully utillize stereotype as a shorthand and as a brilliant weapon for subversion.

- Allison Horsley Adjudicator

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Eating the Mona Lisa by Amy Wright (3f, 4m)
A wealthy businessman plans a dinner party for his friends and family, with a particular surprise intended for the main course.

A Woman Over Forty (the Cabaret) by Lindsey Brown (6-10f)
Invisible? I don't think so. A quintet of dark comedic monologues and songs that celebrate 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!

Life on a Loop by Ellie Smith (1f)
A one-woman show set on Christmas Day and centering on a retirement home/care facility care worker whose husband, we learn, is in residence in the dementia ward.

A Playwright Writes a Play by Lindsey Brown (1f, 2m, 2 any)
How can a playwright write a play when they have nothing to write? Will a demanding director, along with a trio of talented, but needy, actors be able to help? Or will they just drive our playwright to absolute despair?

Rangitoto by Geoffrey Clendon (3f, 5m)
A slice of social history when a flourishing bach community existed on Rangitoto in the 1930s. Set during the era of the Great Depression, the play follows the characters as they prepare for the island’s traditional New Year’s Eve festivities in 1932.
This comic drama is built on the tension and humour arising from interactions between two Pākehā families, a local eccentric, and a Māori boy. Although on holiday, they are unable to escape the harsh economic realities of the 1930s. The incumbent working-class bach dwellers are confronted with the arrival of wealthy newcomers intent on changing the community.

Rangitoto, Pumphouse Theatre, 2023

Walrus and Carpenter by Bronwyn Elsmore (2-8 any gender)
Two accused are standing trial for a deplorable crime.

The Apartment by Tama Smith (4f, 4m, 1 any)
“…Apartment does an incredible job of capturing what it was like at the start of the pandemic without us ever becoming fatigued with the plague. I was apprehensive of how much Covid content I could take before I became tired of it, but I never did... I attribute the strength of the performance to the writing, the directing and, of course, the performers because Apartment is set in April 2020 but it’s not about Covid, it’s about people.” -Sean Dugdale-Martin, Art Murmurs

The Thirty-Nine Steps, Auckland Theatre Company, 2009

The Thirty-Nine Steps by Ross Gumbley (1f, 3m) One Act
Ross Gumbley’s witty, smart adaptation of the John Buchan classic thriller resonates with an all-too familiar contemporary global paranoia. The play follows the Alfred Hitchcock film and West End theatrical spoof, but very much stakes out its own ground in terms of style. Feeding off British fears of enemies both within and outside its borders on the eve of the First World War, it’s pumped up into a ripping good yarn.

Short play collection by Helen Vivienne Fletcher

Beware the Wares by Helen Vivienne Fletcher (2-3 any gender)
A woman discovers the comically terrifying reason storageware lids never fit in this 60-second sci-fi play.

New Tricks by Helen Vivienne Fletcher (2 any gender)
Assistance dog Boone mentors newbie pup, Zephyr. But will Boone want to help after learning what Zephyr’s training for?

Grief at 9.15 by Helen Vivienne Fletcher (1f, 1m)
Old school friends reconnect in a hospital waiting room, as they struggle to fit grief into their busy lives.

Goblin Mother by Helen Vivienne Fletcher (1f)
A mysterious crone tells a story around the campfire, but is it a story of ghosts and goblins, or the everyday horrors of man?

Chef’s Kiss by Helen Vivienne Fletcher (2f, 1m, 1 any)
Sonia’s wedding day takes a surprising turn when her fiance interrupts the ceremony to compete in a cooking show.

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 Īhaka Martyn
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TheatreFest Results 2024

Theatre New Zealand
National Awards 2024

Recipients of these awards are selected from Local and Regional TheatreFest’s nationwide.

Excellence in Acting Award
Certificate presented for excellence in acting.

• Rob Price - Life is worth it written and directed by Mandy Thomas, Centre Stage Taupo
• Gracie Voice – Falling by Angie Farrow, Wairarapa Theatre Group
• Cam Sutcliffe - Child's Play by TJ Ramsey and Service! Please by C A Lines, Dramatix, South Canterbury

Distinctive Emerging Talent Award
Jannat Aitchison Memorial Certificate for Distinctive Emerging Talent. Selected by Past and Present Presidents.

• Aailyah Crawford – writer and director, Ramraids Racist, Kuranui College.
• Cameron Lines - for both scriptwriting and direction - Service, Please by C A Lines, Dramatix, South Canterbury
• Millie Vink – writer, director, actor, The Blueberry Hill Accord by Daryl Watson, Rangi Ruru Girls’ School
• Sienna Wheeler – acting. The Dilemma of Deidre Dearheart by Tony Barnes, Directed by Samantha Baxter. Marlborough Children & Youth Theatre.
• Garin College – Casts of 2024 - The Last Stand & Biting the Bull

New Director Award
Drama Development Trust Certificate: Directorial debut. Entering TheatreFest as a first-time Director in the public arena.

• David Ledezma, “Dreaming” by Richard James, Marlborough Repertory Society.

APRA Award (Not Awarded)
Recorded sound-scape and sound-effects.

Michael Norris Award
Certificate for Original composition and/or live Music.

• The Fall of Dracula – a mini musical by James Burt & Robert Kidd directed by Ellie Busfield & James Burt, My Chemical Showmance
• Ōtautahi Rocks – by Ruth Oy Har Agnew directed by Ruth Agnew, St Margaret’s College
• Elephant Talk - devised piece by group, director Emily McRae, Mount Aspiring College
• Sora Saunders - Falling by Angie Farrow, directed by Linda Voice, Wairarapa Theatre Group

Creativity and Design Award
Certificate acknowledging total visual concept and execution.

• Te Kokoti devised by group, directed by Shari Taylor-Kawana & Kiri Riwai-Couch, TAPA Academy
• Child's Play written and directed by TJ Ramsey, Dramatix, South Canterbury

He Pito Aronui Award – The Seeding of Creative Potential
Acknowledges new writing and performance, which must be created by and contain Māori or Pasifika content. Entries in this category, are also eligible for all other awards.

• Our Stories by Kylie Piper, Eden Piper, Richard Amoroa and Hope Pulham, directed by Kylie Piper, Dargaville Little Theatre

ShowCase - Golden Koru Plaque and certificate of Achievement for Cast & Crew

• Our Stories by Kylie Piper, Eden Piper, Richard Amoroa and Hope Pulham, directed by Kylie Piper, Dargaville Little Theatre
• Falling by Angie Farrow directed by Linda Voice, Wairarapa Theatre Group
• Service, Please by C A Lines directed by Cameron Lines, Dramatix South Canterbury
• Child's Play written and directed by TJ Ramsey, Dramatix South Canterbury
• The Man in the Glass devised piece by the students, New Plymouth Boys HS

Production of a New Zealand Play
Denise Walsh Certificate - Written by a New Zealand playwright, regardless of setting or content.

• Life is worth it written and directed by Mandy Thomas, Centre Stage Taupo

Playmarket Award: New work from Aotearoa New Zealand.
Pounamu donated by Nanette Wright, in recognition of Olga E Harding. The work must be entered in TheatreFest, with the production being its premiere. Chosen separately by the TheatreFest Script Assessor. Entries sponsored by Playmarket, with a prize of $250.

• “Life is worth it” written by Mandy Thomas,

 TheatreFest 2025 & ShowCase 2025

Local Festivals

Two week break to regionals

Four Regionals – Possibly hosted Jointly by TNZ/Group

23rd August

1. Auckland
2. Palmerston North
3. Nelson
4. Dunedin

Four week break to ShowCase to enable travel arrangements

ShowCase 2025

20th/21st September - Riverlea Theatre - Hamilton

Bring NCEA to life through TheatreFest

Click here to view the full eight page document.

Copyright © Theatre New Zealand 2024

Compiled by Mark Perry
Edited and Guided by Paul Percy and Anna McKay

Deadline for Summer/Autumn edition of Hāpai/Backchat
20 January 2025

Communications to
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