Category Archives: Theatre

Massey Theatre Cleans Up at Regional Awards

The Regional Theatre Awards this year played host to a myriad of theatre companies from all across the Manawatu, and amongst the throng of talent shone Massey Community Theatre, made up of students and staff from Massey University’s varied drama programmes…and swept the night away with not one, not two, but five wins to their name.

In the spotlight was Firing Line, a piece of street theatre devised, written and performed by 139.333 Creativity In The Community’s class of 2018. Drawing on themes and imagery that evoked Palmerston North’s place in the First World War, the performance took out both the “Best Ensemble” and “Best Original Script and Production” awards for its skilled, colourful cast and engaging presentation. The show’s technical support team made up of Luke Anderson, Leith Haarlhoff, Sean Monaghan and NZ composer David Downes was not forgotten either, winning the “Technical Design and Operation” award for their enthralling multimedia work that turned Firing Line into such a spectacle.

Two Massey University School of English and Media Studies staff members also received individual awards; technician Luke Anderson won the “Gordon Alve Memorial Award in Technical Excellence”, and Professor Angie Farrow, known internationally as an award-winning playwright and coordinator of theatre papers at Massey, received the prestigious “Lifetime Achievement in Theatre Award”.

Massey Community Theatre endeavours to create further award-winning performances – and people – moving forward.

Create1World Flyer

Want some Create1World 2018 info to put up on your class noticeboard? Here’s our latest flyer.  Click here  Create1World 2018 Flyer PDF  for a PDF for you to download!

Our contribution to New Zealand Theatre Month

Kei te hiahia koe ki te tuhituhi? Are you interested in playwriting?

In honour of New Zealand Theatre Month, we’ve put together some short playwriting podcasts, with tips and examples from a few of our many award winning playwriting staff and graduates.

Click here to go through to our Playwriting Podcasts page – and  find out more about the inaugural New Zealand Theatre Month while you’re there.

Create1World 2018

Create1World 2018

Nau mai, haere mai. Welcome to the Create1World Competition and Conference information pages – Join us to create one world through expressive arts and creativity! Hono atu ki te whakataetae Create1World.  Mahi tahi mo te rangimarie.

Massey University invites high school students in years 9-13 to enter the 2018 Create1World competition, and/or to join us for a fabulous day of creative inspiration including local and international panellists answering your questions, along with performances, workshops and activities.

The competition asks you to produce a creative piece that encourages audiences to join together as a global community and solve some of the big problems we face as a planet.  It could be a video, song, poem, short story, speech or theatre performance – your choice – but it must help us think about ways of working collaboratively for the betterment of all humanity. There are cash prizes!

“We are still raving about it.” (Teacher, Wellington)

The conference days are free to attend, and give you a feast of creative inspiration from other young people and leading artivists (that’s artists who use their creativity to generate change)!  There’s one conference at Massey Wellington, 9am – 3pm on November 15, and one at Massey Auckland, 9am – 3pm on November 22.  We provide morning tea and lunch, a goody bag, and a wealth of information and inspiration about creativity and global citizenship.

If you already know you want to come to a Create1World conference day near you – please register here: https://docs.google.com/forms/d/e/1FAIpQLSeNlSNKwVI01F44LTWZ0uiyuYKP0JsUi1EcbPZo3JH33UCvOw/viewform Registration for the Auckland event has been extended until 5pm on November 8, 2018.

You can attend a conference day without having to enter the competition – but we really hope you’ll do both! It’s great to see what ideas everyone has and share our own Kiwi young people’s creativity alongside our featured local and international artists’ stories about their successful creative journeys.

We are very grateful to New Zealand National Commission for UNESCO for supporting Create1World, including with prizes, and travel support for participants (if your school needs help with travel for students, please contact us on cre8oneworld@gmail.com to discuss – we want to see wide participation at Create1World!).

If you’d still like a bit more of a sense of what it’s like to come to a Create1World Conference before you sign up, check out the Radio New Zealand story here: http://www.radionz.co.nz/national/programmes/standing-room-only/audio/201807707/creative-activism

So get creating and registering, and come join us for Create1World 2018!

“Thank you so much for such an amazing conference today. I had little to no idea what was going to happen and it completely blew my mind how well put together it was. It was so interesting and fascinating to hear different perspectives from not only the panel internationally and domestically, but as well as from teachers/tutors within Massey University. Thank you so much once again❤️” (Student, Auckland)

 

Massey drama students explore free speech and control in play

The importance of speaking out and the pervasive effect of keeping silent transcends the ages in a play being staged in Palmerston North.

Massey University students will tap into Greek mythology and the #metoo movement for their production, The Love of the Nightingale.

The 1988 play by Timberlake Wertenbaker is based on the Greek myth of Philomele, who was raped and silenced brutally by her brother-in-law Tereus.

The play touches on themes of feminism, silence and power, as Philomele regains her voice.  Director and senior theatre tutor Rachel Lenart said using Greek mythology was a great way to highlight contemporary problems.

“We always try to do something with political and social resonance.

“With the #MeToo movement very much alive, it’s an interesting time for us to perform this play.”

It challenges the audience to think about times when they should have spoken up about something but didn’t.

“The characters are always on stage watching in, like society watching the action unfold. They’re allowed to react accordingly,” Lenart said.

She drew inspiration from a quote by German playwright Bertolt Brecht.

“Art is not a mirror to reflect society, but a hammer with which to shape it.”

The cast is made up of first-year students studying drama in performance, which can also be taken by older students for their elective studies.

It provides an opportunity for new actors to mix with and learn from more established actors in a safe environment.

Lenart said interest in theatre at Massey is on the rise, and past students are returning to volunteer behind the scenes.

“Massey is one of few options for theatre in Palmerston North. It’s a lot of responsibility.

“You don’t have to move to Wellington to do theatre. We are as interesting as anywhere.”

The Love of the Nightingale will be performed at Massey University’s Sir Geoffrey Peren Auditorium, Thursday and Friday, at 7pm. Entry is by koha.

Summer Shakepeare brings ‘The Comedy of Errors’ to the Esplande, Palmerston North

Summer Shakespeare director Peter Hambleton has presented the Bard in Palmerston North before.

In 2009 he directed Summer Shakespeare’s All’s Well That Ends Well on the car park in front of the Esplanade Scenic Railway station, incorporating the miniature trains as part of the action.

For this year’s The Comedy of Errors, which opens in the Esplanade Rose Gardens on Thursday, Hambleton has moved from miniature trains to model boats.

When the audience arrive, they will be greeted by a small flotilla of model boats bobbing on the Esplanade Rose Garden pond.

“The community aspect of the production is really important to me. I’ve done a few Summer Shakespeare productions now and celebrating and involving the community, and making it fun for the audience is all part of the Summer Shakespeare spirit,” Hambleton said.

The models are being provided by Maurice Job, a member of the Palmerston North Aeroneers.

The Comedy of Errors is a story about seafaring and shipwrecks, and Maurice has a wonderful collection of model boats. What we’d like is for people to bring their own models and add them to the fleet on the pond.”

For Sunday’s Esplanade Day 2pm matinee, Hambleton is expecting Job to turn up with a large model of a battleship.

Boats wouldn’t be the only models on show during the hour-and-a-half long play-through production.

“Nic Green has constructed a replica clocktower that will appear in the show. You’ll have to come along that to see why that is.”

As well as the teamwork and collaboration involving “a raft of people from across town”, Hambleton said he had attracted a great cast, including several local theatre award-winners.

“The play is about two sets of twins separated at birth and brought up in different countries. They get together again during one day in the city of Ephesus.”

In a gender-bending twist to the comic tale about double mistaken identity, Hambleton has the lead male characters played by women, and some of the female roles played by men, with the setting a thoroughly contemporary one.

“Shakespeare wrote this play with Palmerston North 2018 in mind. It has taken all this time for this startling piece of information to be revealed,” Hambleton said.

Expect some fast-paced action around the Rose Garden fishpond, with entry to the five 7pm and one 2pm performances by koha. There will be no wet weather venue, and any affected performance will be postponed until the next fine evening.

Inmates explore morals in Greek theatre

Inmates performed an abridged version of an Ancient Greek play, using puppets.

Is pride the ultimate crime? It is a big moral question that a group of inmates at Auckland Prison explored when they performed an Ancient Greek play using puppets, in a partnership between the prison and Massey University.

The project involved seven inmates who staged an abridged version of Antigone, by Sophocles (written around 441 BC) last week. The aim was to cultivate the performance skills and confidence of the participants, says Dr Rand Hazou. He is a senior lecturer in theatre, based in the School of English and Media Studies at the Auckland campus. Along with storyteller and theatre-maker Derek Gordon, he led the Theatre Behind Bars project at the prison in Paremoremo through his interest in community theatre and social change.

He says theatre can provide a constructive platform through which prison inmates are able to explore deeper personal, family and social issues, giving them the opportunity to develop creative and communication skills, as well as understandings of human behaviour through storytelling.

The production, Puppet Antigone, by the group called the Unit 9 Theatre Group, built on a series of introductory theatre workshops Dr Hazou organised at the prison in May and June. The latter was facilitated by Canadian theatre director David Diamond, artistic and managing director of the Vancouver based company Theatre for Living. “As a result of these initial engagements, a small theatre group has developed at the prison that is interested in continuing to engage with theatre practice,” Dr Hazou says.

Inmates at Auckland Prison at Paremoremo performing the Greek play, Antigone. (photo/supplied)

Old play but relevant story

He says the show went well, and the response of the 40 audience members – made up of prison staff and invited guests, including some Massey staff, and a large contingent of inmates – was overwhelming.

“This was wicked! I’ve never done anything like this before, and even though it is an old play, we understood the story,” one of the actors said. “I’ve also learned about the power of standing still in one place when acting, but using my arms, voice, and facial expressions, especially my eyes, to communicate with the audience.”

Kellie Paul, Principal Advisor Rehabilitation and Learning at Auckland Prison, says that participating in Antigone was “a powerful and challenging experience for the men involved in the Theatre Behind Bars project.

“They really had to push the boundaries. The actors also had to memorise complex lines in a short period of time, and learn how to manipulate puppets for the first time to add dramatic effect to their performance. Auckland Prison is privileged to have access to the expertise of Rand and Derek to help the prisoners explore their strengths, improve their learning and education, and develop their self-confidence.”

While the utterances and dilemmas of Ancient Greek characters may seem far removed from the realities of New Zealand prison life in the 21st century, Dr Hazou says the play provides “a creative opportunity for inmates to cultivate their emotional, physical and literacy skills by adapting a classic written play into performance.”

After all, the play hinges on a key quote from Tiresias, one of the main characters: “All men make mistakes, but a good man yields when he knows his course is wrong, and repairs the evil. The only crime is pride.”

The play tells the story of Antigone, the daughter of Oedipus, who insists on giving her dead brother, Polynices, a form of ritual burial in keeping with divine laws. But her brother has been ruled a traitor by her uncle, King Creon, who has decreed that anyone caught giving burial rites will be executed. The play questions whether Antigone should follow her heart and insist that family responsibilities and religious rites are more important than the city’s law. Or should she bow to her uncle and king and follow the responsibilities expected of a citizen to the state?

“The play raises important questions about ethics, standing up for what is right, and not bowing to authority. But it also raises questions about pride, which is described in the play as ‘the only crime’ that men make,” Dr Hazou says.

Kellie Paul (Principal Advisor Rehabiltation and Learning at Auckland Prison); Derek Gordon and Dr Rand Hazou (Massey Unversity); with Simon Chaplin (Assistant Prison Director, Auckland Prison). (photo/supplied)

Why the play Antigone?

By exploring the primal and universal desire to respect the dead with due rites and the sacred obligation to provide the dead a dignified transition from the land of the living to the world of ancestors, the play holds cultural resonances with Aotearoa, he says.

“Māori tikanga are well-known for rituals and protocols to deal with the dead, and the conflict in Antigone would be immediately recognised by Māori and Pākehā alike. The play also highlights the conflict between men and women in a patriarchal society and demonstrates the harsh and tragic consequences for one woman who decides to stand up to this patriarchal power.”

Still Waving Climate Change Creative Writing Competition: Read the Winning Entries

We are delighted to have the authors’ permission to publish all the Still Waving Climate Change Creative Writing Competition shortlisted and winning entries. Congratulations to everyone who entered: the standard was uniformly high, and we were sorry we only had three prizes to award. Selecting just three was a challenge as there were so many fantastic pieces, and we have to say a huge thank you to our principal judge Dr Ingrid Horrocks, and to Dr Jack Ross, editor of Poetry NZ, who also assisted with the final results to make sure our judging was really thorough! Click on the titles below to read each item.

Winning climate change creative writing

We are delighted to bring you the winning short story in our Still Waving Climate Action Creative Writing competition.  From a very strong field, this is the piece chosen by our judges, creative writing lecturers Dr Ingrid Horrocks and Dr Jack Ross, as the outstanding item.  To read others of the top items, click here.

Image of green grass in closeup

Grass Still Grows

By Sharron McKenzie

Marianne pulled the cover over the printing press, and packed the last of the slim volumes in the bags on the floor. The nagging ache in her gut gave a sharp twinge as she bent down. Indigestion, she told herself, but she knew it wasn’t. Knowing did no good, anyway. No more chemo, no more wonder drugs. There hadn’t been a shipment of any drugs from overseas in years. These days, if you couldn’t make it locally, you went without.

She slung a bag over each shoulder and shuffled down the hallway, smiling at Mrs Niroshan, who was tiredly walking back and forth trying to quiet the baby. Behind the closed door of the second bedroom she could hear raised voices. At least the authorities were only sending her one refugee family at a time these days, while they waited for their place on the inland convoys. There had been times when she’d packed up to eighteen people into her three bedroom house.

Melba greeted Marianne with a loud “Meeeehhhh!” from her stall in the garage. The goat shifted impatiently as Marianne attached the carrier bags to her harness.

“Dude,” she said to the goat, as they walked out to the street. “Where’s my driver-less car?”

Melba knew the answer to that one. “Meee!”

“Goats go where goats want to go. I don’t think that counts as driver-less!”

She could feel warmth in the wind from the east, bringing a swampy stench with it. And barely spring yet, Marianne thought. The mosquitoes would be hatching in the brackish marsh that covered the remains of eastern Christchurch.

She could hear high pitched giggles as two little boys played in the water-filled pothole that spanned half the street, conducting a naval closeup of goatbattle with tiny ships made from flax stems. Dot’s granddaughter was hanging out washing in her front yard as Marianne passed, singing in a pure high soprano.

Rain still falls and the grass still grows,

Boy sees girl, you know how it goes.

Dot was leaning on the gate watching the kids, and Marianne stopped, yanking at Melba’s rope when she tried to sample a roadside patch of cabbages.

“Here,” Dot said. “I saved some carrot tops. Did you hear about the latest reading? 10.73 metres! I always wanted a seaside property.” She never seemed to tire of that joke.

“Better get that bikini ready,” Marianne countered, as she always did, and Dot cackled happily. The truth was there were no more beaches. There was no edge to the ocean any more. It had gulped down half the city, and vomited back a swamp of stinking mud and twisted wreckage.

The last ten years had been a frantic race against the tide to render down buildings and infrastructure to their constituent parts. Everything of possible use, including topsoil and trees was removed by the Locust Army, to be loaded onto the electric trucks travelling inland, to the new cities. Fairlie, Ranfurly, and even sleepy Naseby, had been transformed as the coastal refugees fled to higher ground.

Melba plodded around the corner, a carrot top dangling from her lips. Marianne let the goat pull her along, thinking back over the years. When was it? Was there one particular day? That day we finally realised things were never going to get better?

There were those pictures on the news, back when they still got television broadcasts. That shaky video shot with a phone from the last plane to leave Kiribati. The crowds pressing against the chain link fence at the airport. The wave of brown water churned up by the plane’s wheels as it moved down the runway. The view of that young woman below, waist deep in the swirling water, holding up her baby over her head, mouth open in a silent O as the plane lifted away. Was it then, when the first nation drowned? Or had they still thought something could be done?

Was it the summer the farmers built pyres of black and white carcasses, sending columns of stinking smoke rising up from the plains, after the ships stopped coming and the dairy industry collapsed?

Was it the winter that the flood waters covered south Dunedin, the Hutt Valley and Greymouth, and never receded?

Or that summer the meteorologists added new colours to their temperature maps, and half of Australia went up in flames? Or the autumn that the first F6 hurricane hit the Caribbean joined up?

Was it the neo-dengue fever epidemic of 2037, or Black Tuesday when the banks went down for good?

Or that one terrible night when a dirty bomb rendered Sydney uninhabitable. And then likewise Chicago, Los Angeles, Tel Aviv, Manchester and Marseilles? Or the vicious twelve day war that turned both North and South Korea into radioactive wastelands, and the last frantic flailing ‘accidental’ missile strikes that took out Japan and half the coastal cities of China?

Marianne shook her head. Maybe it was a different day for everyone who’d lived through the last twenty five years. She tied Melba to a post outside the old supermarket, now filled with a combination farmer’s market and traveling garage sale. A hand painted sign in the window of the old pharmacy offered “Books, Drugs and News for Sale. Gossip for Free.”

Marianne stuck her head in the door. “Hey, Sam,” she said. “Got a fresh batch for you.”

“Marianne, lovely to see you,” Sam said, stepping outside to help her carry the bags inside. He laid the slim volumes on the counter, one hand absently scratching the lumpy melanoma on his left ear.

“Diphtheria, symptoms and treatment,” he read slowly. ”What else have we got here? Goat husbandry, compost toilet construction, Ross River virus, radio operation and repair. Excellent. Riveting reading as always, Marianne.”

“At least I achieved my life’s ambition,” she said, with mock hauteur. “I am a published author, with sales in the hundreds.”

“We should have a book launch party.”

“Oh yes, with wine, and those little canapes on silver trays!”

Sam laughed. “I really don’t know where I’d get the smoked salmon and crackers.” He took out a small notepad and added up some figures.

“With what you brought me today, here’s what you have to spend. What can I get for you?”

She was looking out the window at the hills. “Something from the back room. I need 200 mg of morphine, Sam.”

“Oh, my dear,” he said. “So soon?”

She avoided his eyes. “Not yet. But I’d like to be ready. I don’t know how much longer I’ll be mobile.”

He looked at her for a moment longer, then turned and unlocked the door behind the counter. He returned with a small plastic container.

“Send word when it’s time,” he said, coming with her to the door. “I’ll come around.”

“I will,” she promised. “I’ve put some books aside for you.”Springtime grassy hillside

Outside, Melba had finished the carrot tops and was chewing on her lead rope, a thoughtful expression on her face.

“Come on, you silly goat,” Marianne said. “Let’s go to the park and you can have grass for lunch.”

“Meh,” Melba said, agreeably.

Marianne looked up at the green hills as they walked. Rain still falls and the grass still grows, she thought. Maybe I have not had that one particular day yet.

Climate Change Creative Writing – Second Place Winner

Flood

By Janet Newman*

When the floodwaters rose up

covering the plain with mirrors and veils

 

our backyards looked like other people’s

and the roads we drove failed under rivers

 

that seemed to have been there longer than we had.

Belongings stacked on pool tables sagged.

 

Sixteen sand bags might as well have been a cache of illegal toheroas

for all the good they could muster

 

against the weight of water

spilling over the stopbanks.

 

When the floodwaters rose up

we sank down

 

into our steamed-up cars if we could find them,

our fire-warmed lounges if we could reach them,

 

watching the rain gauge, the tide times,

the insurance claim, the surge line.

 

We wrote everything down in the record books

but the numbers didn’t look like much

 

because we’d stopped feeling

like we were the ones who counted.

 

When the floodwaters rose up

we sank back down to the bush

 

with the weka

and the powelliphanta snails

 

and the katipo

clinging to waterlogged webs

 

and peketua, paddling,

holding up their heads.

*Flood was first published in Atlanta Review (New Zealand) Spring/Summer 2017 and is republished here with kind permission of the editor.