Anne - Auckland Theatre Company

CastAnna Jullienne — Anne BoleynAndrew Grainger — Henry VIIIPaul Minifie — Wolsey/Countryman/John ReynoldsSimon Prast — Thomas CromwellClaire Dougan — Lady RochfordJordan Mooney — Simpkin/George VilliersPeter Daube — Sloop/William Tyndale/Henry BarrowMikassa Cornwall — Lady Celia/CountrywomanLauren Gibson — Lady Jane SeymourStephen Lovatt — James IGeorge Henare — Cecil/Countryman/CourtierRaymond Hawthorne — Dean Lancelot Andrewes/CountrymanKen Blackburn — Parrot/Courtier/CountrymanHera Dunleavy — Lady Margery/CountrywomanCreativeColin McColl — DirectorHera Dunleavy — Assistant DirectorRachael Walker — Set DesignerElizabeth Whiting — Costume DesignerPhillip Dexter MSc — Lighting DesignerAdrian Hollay — Sound DesignerMarija Stanisich — ChoreographerProductionPaul Nicoll — Technical &Production ManagerFern Christie — Company ManagerChelsea Adams — Stage ManagerNatalie Braid — Assistant Stage ManagerJosh Bond — Technical OperatorNatasha Pearl — Props MasterSophie Ham — Wardrobe Supervisor2Construct — Set ConstructionFirst performed at Shakespeare’s Globe, London, on 24 July 2010AUCKLAND THEATRE COMPANY WOULD LIKE TO THANK THE FOLLOWINGFOR THEIR HELP WITH THIS PRODUCTION: Sophie Ham, Sara Taylor, Hanna Randall,Hats by Bridal Alley, Renee Te Pairi, John Keane Upholstery, Steve at Xytech, Hats andheadpieces created by Auckland Master Milliner Carolyn Gibson at Le Chapeau Millineryin collaboration with Costume Designer Elizabeth Whiting, Alex Oldham, Nicole Winsor.ANNE BOLEYN is the fourth Auckland Theatre Company production for 2013 and openedon June 13 at Q. ANNE BOLEYN is approximately 2 hours and 25 minutes including a 20minute interval. Please remember to switch off all mobile phones, pagers and alarms.BECAUSE WE LOVE THIS CITY, WE WANT IT TOBE BETTER. BECAUSE THE BEST SCHOOLS AREN’TGOOD ENOUGH AND THE WORST ONES NEEDA REVOLUTION. BECAUSE THE POLITICIANSGET IT WRONG AND SO DO THE ACADEMICSAND THE LAWYERS AND THE COPS AND THEARTISTS AND THE BANKS. NOT ALWAYS, BUTTOO OFTEN, SO THINGS NEED TO BE SAID.EXPOSED. ARGUED. LAUGHED AT. BECAUSETHERE ARE SO MANY GOOD THINGS TO EAT,AND WEAR, AND SEE AND HEAR AND BE A PARTOF (AND SOMETIMES THEY’RE NOT AS GOODAS THEY SHOULD BE EITHER, WHICH ALSONEEDS TO BE SAID). BECAUSE WE CHERISHSO MANY OF THE PEOPLE OF THIS CITY, ANDWE WANT TO TELL YOU ABOUT THEM AND SHOWTHEM TO YOU. BECAUSE OF ALL THIS:ISN'T IT TIME YOU SUBSCRIBED?$681 YEAR (10 ISSUES)SAVE 31% ON RETAILWWW.MAGSHOP.CO.NZ/METRO/D306METAOR CALL 0800-624-746 AND QUOTE D306META4

King Henry VIII’s MarriagesAccording to the Pope, KingHenry VIII was married onlyonce – to his widowed sister–in–law the Spanish PrincessCatherine of Aragon.When Catherine produced onlya daughter, Henry was anxiousto discard her in favour of theyounger Anne Boleyn. Henryclaimed that since Catherinehad previously been marriedto Henry’s own brother, hermarriage to Henry was illegal(although Catherine’s firsthusband had died several yearsbefore – and it wasn’t illegal tomarry a widow).But in spite of this fairly feebleclaim, it was not easy for Henryto have his Catholic marriageannulled.King Henry sent theArchbishop of Canterbury,Dr. Cranmer, and Lady AnneBoleyn’s father Lord Wiltshire,to meet Pope Clement VI inRome and put the King’s caseto the pontiff for annulment.Lord Wiltshire’s travellingentourage included his petdog, who accompaniedWiltshire into the audiencewith the Pope.The British gentlemen enteredthe chamber of the Popewho was sitting on high, inrich apparel. According to acustomary protocol of his owndevising, the Pope extended his foot to be kissed.The dog apparently interpreted this suddenemergence of a leg as a possible danger to hislord. So, as Elizabethan historian John Foxe tells:When he extended his foot to be kissed, thespaniel straight–way (as though he had beenof purpose appointed thereunto) went directlyto the Pope's feet, and not only kissed thesame unmannerly with his mouth, but, assome plainly reported and affirmed, took fastwith his mouth the great toe of the Pope, sothat he in haste pulled in his glorious feet fromthe spaniel.Not surprisingly, the Pope from then on showedno support for annulling the marriage of HenryVIII – who therefore discarded the authorityof the Pope, appointed himself the SupremeAuthority of a new Church of England, and onhis own new authority, ‘annulled’ his marriage toCatherine, so declaring himself then free to marryAnne Boleyn.Queen Anne Boleyn produced the baby Elizabethand the marriage lasted until the King’s eye wascaught by Jane Seymour, and Anne becamean inconvenience. So on 17th May 1536 Henrycaused it to be announced that his marriage toAnne Boleyn was annulled – made null and void– because of supposed adultery and ‘witchcraft.’Then two days later an execution made her evenmore null and void.After a discreet wait of eleven days, Henry thenmarried Jane Seymour – in what Henry wouldhave considered his ‘first’ marriage, since theprevious two were annulled.Queen Jane provided Henry with his onlylegitimate male heir (later King Edward VI) butdied in doing so – leaving Henry widowed.The next candidate wasGerman – Lady Anna, daughterof the Duke of Cleves. Wooedby a too–flattering portrait ofher, plus a welcome alliancewith a German state, Henrydiscovered on actually meetingher that the portrait and thelady didn’t match very well, buthe went through the weddingceremony anyway.However the marriage wasnever consummated, whichgave good reason for – yes,another – annulment.This left Henry ‘legally free’to marry Catherine Howard.Within two years he discoveredshe was guilty of ‘indiscretions’sufficient for her to beheaded –though they were still married.Henry was widowed again.Never one to be frugal,Henry cast an eye onCatherine Parr – who herselfhad been widowed twicebefore they met. But marrythey did, and she was the onlyone to outlive him and still beQueen at the time.So – in spite of a misconception about his‘divorces,’ King Henry was never actuallydivorced. Three of his marriages were annulled:(1) Catherine of Aragon; (2) Anne Boleyn; (3) Anneof Cleves. Quite differently from divorce, themeaning of the term ‘annulled’ is: they had neverbeen ‘true marriages’ and could be considerednot to have taken place at all.His marriage to Jane Seymour ended whenshe died (naturally), leaving him widowed.During his next marriage to Catherine Howard,she was beheaded while still Queen, so Henrywas widowed a second time. He then marriedCatherine Parr, and he died before she did.So – how many times was Henry VIII ‘married?’Three annulments, twice widowed, onceoutlived... but never divorced.The complications of defining ‘married’ to suiteveryone make the question much simpler, if re–worded, namely:“How many weddings did Henry VIII have?”Answer: six.But it is possible to believe that the history ofBritain – and ultimately of the entire structureof the Anglican Church – hinged on the visit ofthe King’s emissaries to the Pope, when AnneBoleyn’s father’s pet spaniel bit the Pope’s big toe.By Max Cryer6 7

The CastAnna Jullienne (Anne)Anna recently appeared for ATC as the frustrated Doctor'swife in IN THE NEXT ROOM (OR THE VIBRATOR PLAY), andas the stunning Roly Poly Bird in THE TWITS, adding to a longlist of credits such as: DEATH OF A SALESMAN, THE VAGINAMONOLOGUES and VIEW FROM A BRIDGE.Interspersed amongst these shows, Anna has found timeto work in television, including HARRY, THE BLUE ROSE,UNDERBELLY NZ: LAND OF THE LONG GREEN CLOUD andSHORTLAND STREET.as well as the film SIONE'S WEDDING 2:UNFINISHED BUSINESS.Andrew Grainger (Henry VIII)Andrew's career as an actor began in the 1980's and wasborn out of a love of musicals. The much celebrated showsSOUTH PACIFIC, SEVEN BRIDES FOR SEVEN BROTHERS andLITTLE SHOP OF HORRORS, all performed in London's WestEnd, were amongst his first professional productions. ForAuckland Theatre Company, he appeared in LITTLE SHOPOF HORRORS, A MIDSUMMER NIGHT'S DREAM, THE TWITS,CALENDAR GIRLS, MARY STUART, POOR BOY, AUGUST:OSAGE COUNTY, OLIVER! and LE SUD.Originally from Britain, Andrew immigrated to NewZealand and has rapidly built up an impressive collectionof credits, having appeared in local television programmesSHORTLAND STREET, OUTRAGEOUS FORTUNE, THEMILLION DOLLAR CON MAN, LIFE'S A RIOT and THE CULT.Highlights from the UK include roles in THE BILL, ROSEMARYAND THYME, HEARTBEAT, BAD GIRLS and EASTENDERS;appearing with footballer Vinnie Jones in the feature filmMEAN MACHINE and working alongside Robert Redford inSPY GAME.Andrew featured in Silo Theatre's 2009 production RUBENGUTHRIE and had a cameo role in THE LOVELY BONESdirected by Peter Jackson.Paul Minifie(Wolsey/Countryman/John Reynolds)Appearances in Auckland TheatreCompany productions include DEATHOF A SALESMAN, WIND IN THE WILLOWS,A HERBAL BED and WIT. Paul also directedFORESKIN’S LAMENT.In a career spanning 45 years, Paul hasbeen an actor, director and arts managerthroughout New Zealand. He was Director,Centrepoint Theatre and Associate Directorat Theatre Corporate and Mercury Theatre.He recently retired, following 20 years asDirector, Maidment Theatre, Universityof Auckland.Memorable productions include directingMETAMORPHOSIS, PETER PAN, BENT,SHADOWLANDS, GYPSY, KENNEDY’SCHILDREN, FIDDLER ON THE ROOF andSWEENEY TODD. His favourite performanceswere in seasons of GALILEO by HowardBrenton, MURDER IN THE CATHEDRAL,THE ROCKY HORROR SHOW, THREE SISTERSand MY FAIR LADY. He played a leadingrole in MRS PIGGLE WIGGLE, an Americantelevision series for children and is indemand as a voice over artist.ANNE BOLEYN marks Paul’s first stageappearance for ten years.Simon Prast (Thomas Cromwell)Simon Prast graduated from TheatreCorporate Drama School in 1984, havingcompleted a Law Degree at the Universityof Auckland the year before.He has worked as an actor at TheatreCorporate, Downstage, Mercury Theatreand Auckland Theatre Company, which hefounded upon the Mercury's demise in 1992.For ATC, he produced 60 plays from 1993 -2003. During that time, he also directedmany productions, including TWELVEANGRY MEN, CLOSER, THE CRIPPLE OFINNISHMAN, ART, WIT, THE JUDAS KISS,HARURU MAI, DEATH OF A SALESMAN, ASTREETCAR NAMED DESIRE, HAIR, THEDAYLIGHT ATHIEST, THE PLAY ABOUTTHE BABY, THE ROCKY HORROR SHOWand THE GRADUATE. He last appeared onstage for ATC in 2004 as a Roman senator inCALIGULA. His last production as a directorfor ATC was The PILLOWMAN in 2007.Television and film credits include, GLOSS,SHORTLAND STREET, HERCULES, XENA,WARRIOR PRINCESS, SERIAL KILLERS, THISIS NOT MY LIFE, GO GIRLS, A DEATH IN THEFAMILY, THE SINKING OF THE RAINBOWWARRIOR, EREBUS: THE AFTERMATH andWHEN LOVE COMES.Simon was the director of the inauguralAuckland Festival, AK03. In 2010, he ranas a candidate for Mayor in Auckland'sfirst Supercity election.8 9

Claire Dougan (Lady Rochford)Claire is delighted to be back on the Auckland TheatreCompany stage after six years living and working inChristchurch. Claire's time in Christchurch saw her becomea Court Theatre regular, appearing in over twenty shows,with highlights including THE GREAT GATSBY, THE SEAGULL,THE COUNTRY WIFE, YEAR OF THE RAT (world premiere),CABARET, HONOUR, BAGHDAD BABY! and ON THE ROCKS(where she played the iconic NZ writer Katherine Mansfield).Claire has also worked at Fortune Theatre in Dunedin, mostrecently in LOVE LOSS AND WHAT I WORE, IN THE NEXTROOM (OR THE VIBRATOR PLAY), and GOD OF CARNAGE.Claire appeared with Auckland Theatre Company, oncompletion of her training at UNITEC Performing ArtsSchool, in shows including, DEATH OF A SALESMAN,CABARET, INTO THE WOODS and HIGH SOCIETY.Claire is thrilled and deeply humbled to be sharing thestage with some of New Zealand's finest acting talent.She considers it very special to have the chance to workalongside, in particular, Raymond Hawthorne, hertreasured drama school tutor and friend, and SimonPrast, who gave her her first start on the professionalstage with ATC fifteen years ago.Peter Daube(Sloop/William Tyndale/Henry Barrow)For Auckland Theatre Company, Peter has appeared in:A MIDSUMMER NIGHT’S DREAM, AUGUST; OSAGE COUNTY,ROMEO & JULIET, OLIVER, FOUR FLAT WHITES IN ITALY,CAT ON A HOT TIN ROOF, THE CRUCIBLE, SWEET CHARITY,CALIGULA and THE DUCHESS OF MALFI. Other highlightsinclude the MC in CABARET for Downstage Theatre andplaying MACBETH at Fortune Theatre.Film and TV credits include: Henry Williams in WAITANGI,WHAT REALLY HAPPENED, STICKMEN, THE IRREFUTABLETRUTH ABOUT DEMONS, LEGEND OF THE SEEKER,SHORTLAND STREET, MADAGIN'S QUEST, MERCY PEAKand STRONGMAN by Gaylene Preston.Peter has made music with various bands releasing underthe Wild Side label and his own label Surge. He composedthe soundtrack for the feature film THE RULES OF DOGSAND MEN, the documentary DARK HORSE and the recentlyreleased short films GO THE DOGS, 2013, and UP HILL byJackie Van Beek. Music for theatre includes; ROMEO ANDJULIET and MANAWA TAUA (Theatre At Large) and STORIESTOLD TO ME BY GIRLS, winning the Chapman Tripp Awardfor Best Soundtrack.Jordan Mooney(Simpkin/George Villiers)Jordan's theatre experience has had him play many thingssuch as poor, very rich, complete madness, drug addiction,a moron and a severe bully.ANNE BOLEYN is Jordan's first main bill show with AucklandTheatre Company. Previously he was a part of ATC's Young& Hungry Festival, with roles in SIT ON IT, FITZ BUNNYand COW.More recent theatre credits include ALICE, THE SEX SHOWand PUNK ROCK with The Outfit Theatre Company. Hisscreen credits include 3 MILE LIMIT and SPARTACUS.ANNE BOLEYN has a stellar cast and Jordan's damnedstoked to be a part of it.Mikassa Cornwall(Lady Celia/Countrywoman)ANNE BOLEYN is Mikassa’s first production with AucklandTheatre Company.Mikassa began her training at Toi Whakaari New ZealandDrama School and graduated from the newly reputableThe Actors Program studying under the likes of JenniferWard-Lealand, Michael Hurst, Cameron Rhodes, John Callenand Michelle Hine.Since finishing The Actors Program last year, she has filmeda guest role in the upcoming season of New Zealand dramaTHE ALMIGHTY JOHNSONS. Also performing in “BUS STOP”for The Auckland Fringe Festival.Between acting jobs she is madly preparing gourmet delightsfor her recently established independent catering business.Anyone need catering?10 11

Lauren Gibson (Lady Jane Seymour)Lauren first appeared on stage in Wellington at Circa Theatrein 2007's BLACKBIRD and returned to the company in 2011for her Chapman Tripp award winning performance inAUGUST: OSAGE COUNTY. Lauren graduated from VictoriaUniversity the same year after completing a BA in Theatreand Media Studies, and also performed in two of BATSTheatre's YOUNG&HUNGRY Festivals during her time atUniversity. Lauren made the move back to Auckland in 2012after 14 years in Wellington to study at The Actors' Program,where she completed her diploma last year. This is Lauren'sdebut with Auckland Theatre Company.Stephen Lovatt (James I)Stephen, now mid career (he hopes) has performed intheatre, radio, television and cinema throughout NewZealand and Australia over the last 24 years.Recently, he has been on New Zealand television in TOP OFTHE LAKE and HARRY which is screening currently.He finished shooting on Gaylene Preston’s HOPE AND WIREin April and is delighted to be back on stage.Theatre highlights include THE MOTORCAMP (AucklandTheatre Company) and WHEN THE RAIN STOPS FALLING(Silo Theatre). Television highlights include SPARTACUS, GOGIRLS and 5 years as Max on NEIGHBOURS.George Henare (Cecil/Countryman/Courtier)"47 years in this vagabond but very rewarding profession.A career which began in 1965 with the NZ Opera Companyproduction of PORGY AND BESS, then subsequent operas,graduating from chorus member, to character principal,then into "Legit". Theatre appearances include performancesfor the Maori Theatre Trust, Downstage, Mercury, StetsonProductions, Court, Circa and Taki Rua. Across the ditchwith Melbourne Theatre Company, Sydney Ensemble andCompany B Belvoir - all these interspersed with Radio Drama,Television, Talking Books, Documentary Narrator, Films andhosting awards presentations.The honours, achievements and awards over the years havebeen an extremely humbling experience for which I will beeternally grateful."Raymond Hawthorne(Dean Lancelot Andrewes/Countryman)Raymond is one of New Zealand's mostsenior practitioners in the PerformingArts arena. His impressive repertoire (nowspanning fifty five years) commenced in1955 when he became a member of TheNew Zealand Players (New Zealand's firstmajor professional theatre company underthe direction of Richard Campion) withwhom he toured for two and a half years.In 1957 he was granted a NZ GovernmentBursary to study at the Royal Academy ofDramatic Art, London (RADA).On his graduation from RADA in 1959 hepursued a career in the UK as a singer, actorand dancer but became aware that hisinterest in the performing arts was movingtowards directing for theatre and to theteaching of acting. A career change intothese areas was successful and he remainedin England for the next 13 years, returningto RADA to teach and direct.Raymond returned to New Zealand in1971 and joined the Mercury Theatre(then under the directorship of AnthonyRichardson) and within two years hadinstigated the formation of TheatreCorporate (a Community Theatre / Theatrein Education / Resource Centre) in Auckland.He was Director of Theatre Corporate foreight years until 1981.In 1982 he was Director of the NationalOpera for New Zealand. He directed twolandmark operas for the company, Brecht /Weills' THE RISE AND FALL OF THE CITY OFMAHAGONNY and Benjamin Britten's THETURN OF THE SCREW.In 1985 Raymond was appointed Directorof Mercury Theatre. This was a majorposition he held for seven years. During histenure there he directed 12 major operas,numerous musicals and a wide variety ofclassic and modern plays.In 1992 he established his own acting studio,The Actors Space. This recessed in 1997 butresumed classes in June 2005. In Novemberof 1997 he became the Head of Major inDirecting and Writing for Theatre and Screenat UNITEC School of Performing and ScreenArts. At the end of his sixth year involvement,he was made Head of School.Raymond directed the first Auckland TheatreCompany production of LOVELOCK'SDREAM RUN and has acted and directedfor the Company throughout the last 21years. Highlights include performancesin SOMEONE WHO'LL WATCH OVER ME,TRAVELS WITH MY AUNT, THE JUDAS KISS,WAITING FOR GODOT, WHO WANTS TO BE100?, THE CRUCIBLE and last year playedPuck in ATC’s A MIDSUMMER NIGHTSDREAM.Other directing credits include POOR BOY,ANGELS IN AMERICA, THREE TALL WOMEN,THE HERBAL BED, JULIUS CAESAR, THEWIND IN THE WILLOWS, CABARET, INTOTHE WOODS, TRAVESTIES, HIGH SOCIETY,OLIVER! and LE SUD.In the 2000 Queen's Birthday Honours,Raymond was made an Officer of the NewZealand Order of Merit (ONZM) for Servicesto the Theatre.12 13

Colin McColl – DirectorOne of New Zealand's leading theatre directors, Colin cofoundedTaki Rua Theatre in 1983 and was Artistic Directorof Downstage Theatre in Wellington, 1984 - 1992. In the mid-90s, together with Hone Kouka, he led Te Roopu Whakaari, producing five original works, of which NGĀ TANGATATOA, starring Nancy Brunning, was the highlight. He has ledAuckland Theatre Company as Artistic Director since 2003.Colin has directed for the Norwegian National Theatre andthe Dutch National Theatre, as well as leading New Zealandand Australian theatre companies and is the only NewZealand director to be invited to present his work at theofficial Edinburgh Festival. His production of HEDDA GABLER,played there to great acclaim in 1990 and was also presentedat the Ibsen Festival, Oslo, the Covent Garden Festival,London and the 1991 Sydney Festival.Colin has also won Best Director at the Chapman TrippTheatre Awards several times - including for his 2002production of WHO'S AFRAID OF VIRGINIA WOOLF?His many productions for Auckland Theatre Companyinclude: MIDNIGHT IN MOSCOW, THE GIFT, AWATEA, AMIDSUMMER NIGHT'S DREAM, IN THE NEXT ROOM (ORTHE VIBRATOR PLAY), CALENDAR GIRLS, ON THE UPSIDEDOWN OF THE WORLD, MARY STUART, AUGUST: OSAGECOUNTY, THE POHUTUKAWA TREE, CAT ON A HOT TINROOF, THE FEMALE OF THE SPECIES, WHERE WE ONCEBELONGED, END OF THE RAINBOW, THE CRUCIBLE, HATCHOR THE PLIGHT OF THE PENGUINS, DOUBT, DISGRACE,THE DUCHESS OF MALFI, EQUUS, GOLDIE, WAITING FORGODOT, SERIAL KILLERS, THE SEAGULL, ROSENCRANTZ ANDGUILDENSTERN ARE DEAD and UNCLE VANYA.Opera directing credits include QUARTET (New ZealandInternational Arts Festival 2004), LA BOHEME (WellingtonCity Opera), THE ITALIAN GIRL IN ALGIERS, THE MARRIAGEOF FIGARO and THE PRODIGAL CHILD for the NBR NewZealand Opera. In 2009 he remounted his production ofTHE ITALIAN GIRL IN ALGIERS for the Scottish Opera.In November 2007, Colin was honoured for his artisticachievements and excellence at the eighth annual ArtsFoundation of New Zealand Laureate Awards and was madean Officer of the New Zealand Order of Merit in June 2010.Hera Dunleavy – Assistant DirectorHera is relishing the opportunity of assisting Colin with thedirection of ANNE BOLEYN. As the world is drawn deeperinto religious conflict, this play serves as something of aprophecy.Directing credits include TUSK, TUSK for ATC’s Next BigThing Festival in 2012, NAUGHTY GIRLS for GrobletteProductions in 2012, JOSEPH AND MAHINA for theWellington and Auckland Fringe Festivals and PIPA’sgraduation play THE LARAMIE PROJECT.Rachael Walker – Set DesignerWith a passion for both set and costume designs Rachael hasspent the past 12 years specialising in Theatre Design.For Auckland Theatre Company, her works include KINGS OFTHE GYM, THE GIFT, IN THE NEXT ROOM (OR THE VIBRATORPLAY), CALENDAR GIRLS, GOD OF CARNAGE, WHO NEEDSSLEEP ANYWAY?, END OF THE RAINBOW, THE TUTOR, THEBACH, THE VAGINA MONOLOGUES, PLAY 2 and PLAY 2.03.Theatre highlights for The Silo are PRIVATE LIVES, THEBROTHERS SIZE, LOOT, HOLDING THE MAN, BETRAYAL, THECUT, LOBBY HERO, SOME GIRL(S), THE CASE OF KATHERINEMANSFIELD, UNDER MILK WOOD and GLIDE TIME. Herdesigns were also seen in A NUMBER, THE RETURN andPROOF (A Lethal Set), THE DINING ROOM, JACQUES BRELIS ALIVE AND WELL AND LIVING IN PARIS, THREE SISTERS,TOP GIRLS, CLOUD NINE, MACBETH, SCENES FROM THEBIG PICTURE, MEASURE FOR MEASURE, SONS and THECRUCIBLE (Unitec) and ALADDIN (Auckland Festival 03). Shealso had fun designing the set for Tim Bray’s Royal JubileePerformance of HAIRY MACLARY in 2012!Rachael was the 2008 URBIS Best Stage Designer.She is also a tutor at Unitec’s School of Performing andScreen Arts in the Design and Management Major.16 17

Elizabeth Whiting – Costume DesignElizabeth has designed costumes for The NBR New ZealandOpera, Auckland Theatre Company, Silo Theatre, CourtTheatre, Red Leap, Okareka, Black Grace, Douglas WrightDance, Michael Parmenter, Atamira, Shona McCullagh andthe Royal New Zealand Ballet. She designed a play forPop-Up Theatre in London, which was performed at theEdinburgh Festival.Opera design credits include FAUST, CARMEN, LA BOHÈME(twice), FALSTAFF, THE BARBER OF SEVILLE THE MARRIAGEOF FIGARO (twice), COSÌ FAN TUTTE (NZO) and she designedCAVALLERIA RUSTICANA and PAGLIACCI for the NewZealand Opera 2011 winter season.Theatre design credits include: LITTLE SHOP OF HORRORS,IN THE NEXT ROOM (OR THE VIBRATOR PLAY), MARYSTUART, WELL HUNG, EQUUS, CABARET, INTO THE WOODS,SWEET CHARITY, HAIR, THE ROCKY HORROR PICTURESHOW, THE DUCHESS OF MALFI, PILLOW MAN, MY NAME ISGARY COOPER and THE IMPORTANCE OF BEING EARNESTfor Auckland Theatre Company; THE COUNTRY WIFE,LA CAGE AUX FOLLES, THE GREAT GATSBY and CABARET forCourt Theatre; THREE DAYS OF RAIN, IRMA VEP, THE SCENE,HOLDING THE MAN, WHEN THE RAIN STOPS FALLING,ASSASSINS and TARTUFFE for Silo Theatre.Elizabeth designed the World of Wearable Art core showfor Wellington in 2011 and 2012.In 2010 she won the Chapman Tripp Costume Design Awardfor THE ARRIVAL (Red Leap) She represented New Zealandat the Prague Design Quadrennial in 2003 with her costumesfor FALSTAFF, and again in 2007 with a team of designerswho created the exhibition Blow.Marija Stanisich – ChoreographerThis is the second production for ATC that Marija has beeninvolved with, having choreographed the very successfulRoger Hall play A SHORTCUT TO HAPPINESS in 2012.Her love of dance is eclectic she enjoys all genres. Marrying16th century style with the rock and roll era of thisproduction, proved a challenge, but she has thoroughlyenjoyed working with the ‘consummate professionals’ thatmake up the Anne Boleyn cast.Phillip Dexter MSc – Lighting DesignerPhillip's previous lighting designs for Auckland Theatre Company include: A SHORTCUT TOHAPPINESS, IN THE NEXT ROOM (OR THE VIBRATOR PLAY), CALENDAR GIRLS, MARY STUART,POOR BOY, LE SUD, EQUUS, THE BLONDE THE BRUNETTE AND THE VENGEFUL REDHEAD,DOUBT and UP FOR GRABS.He works regularly for all the major theatre companies in New Zealand. Recent productionsinclude: GOD OF CARNAGE, FOUR FLAT WHITES IN ITALY, ROCK 'N' ROLL (Circa Theatre,Wellington), DON JUAN IN SOHO, LUCKY NUMBERS (Fortune Theatre, Dunedin), LONG DAY'SJOURNEY INTO NIGHT, OLIVER! (The Court, Christchurch), THE GRADUATE, DRACULA, THEGOAT (Downstage, Wellington), AT THE WAKE (Centrepoint Theatre, Palmerston North), LUCIADI LAMMERMOOR and TURANDOT (NZ Opera).While based in London Phillip's international work included designs at Donmar Warehouse,The Globe, Hampstead Theatre, The Royal Opera House - Covent Garden, OperaConservatory - Royal College of Music (London).Phillip is director of Limeburner Design Ltd (www.limeburner.co.nz), which specialises intheatre and architectural lighting design. Training includes a Master of Science in light andlighting UCL, London. Product design includes lighting instruments for film recently used onthe studio components of AVATAR and THE LION, THE WITCH AND THE WARDROBE.Adrian Hollay– Sound DesignerAdrian has been working as a musicianand sound designer since 1999. He hascomposed and recorded numerous soundtracksfor dramas, animation films anddocumentaries in New Zealand and in hisnative Germany.Since 2006, he has been employed byRadio New Zealand as a Music Producerand Recording Engineer. His area ofexpertise is in recording and engineeringpredominantly classical music. In NewZealand he has extensively recorded theNew Zealand Symphony Orchestra, theAuckland Philharmonia Orchestra and theNew Zealand Opera.In 2012 Adrian was awarded the NewZealand Radio Award for 'Best TechnicalProduction of a Studio or Outside BroadcastRecording' for his recording of the AucklandPhilharmonic Orchestra's performance ofGustav Mahler's Symphony No.9.Adrian's formal training includes a Master ofArts in Sound Design and Sound Recordingfrom the University of Auckland.18 19

Howard Brenton on Anne BoleynMy father, who was a Methodistminister, once had a blazingrow with a fundamentalist.This good soul – a butcher andfiery lay preacher always witha battered King James Bibletucked under his arm – arguedthat the miracles of Jesus reallyhappened. Dad was what wasthen called a "modernist":he believed that many of theBible stories, Old and NewTestament, were not literally truebut "symbolic"; in unguardedmoments he would hint thateven the resurrection of Jesusdid not necessarily happen,what mattered was that thegospel story illustrated a greatmystical truth.The butcher would have none ofthis. Everything in the Bible wastrue: the Red Sea literally parted,Lazarus rose from the dead, thedisciples saw the resurrectedJesus ascend into heaven. TheBible is the word of God, end ofargument. A realisation beganKing James Ito dawn on my father, and he said something like"but it is only a translation, from Hebrew and Greek".The butcher exploded. Translation? No! He believedJesus and the disciples actually spoke the wordsof the King James Bible. The language of biblicalPalestine was Jacobean English.This literalism seems absurd. The title page of theKing James version reads "newly translated out ofthe original tongues, and with former translationsdiligently compared and revised, by His Majesty'sspecial command". But I suspect that, since itspublication in 1611, millions in the English speakingworld have shared the butcher's certainty. NowadaysJames's "authorised version" is seen as merely amonument of beautiful but antiquated English. Butfor the faithful it was – and for many still is – theword of God made ink on paper.So the butcher was expressing a fundamentalProtestant belief: the word of God must beabsolute, certain, unquestionable, because it isthe only thing we have to live by. By attackingmy father's "rationalism" he was also expressing adeep, Protestant fear: call the literal interpretationof the Bible into doubt and God's word becomesincoherent. God begins to mumble, then falls silentand dies. The word is all.This is not a dry point of theology. It is the idea thatwas used to challenge and break the power of theRoman Catholic church in northern Europe, thedetonator of the 16th-century political and religiousexplosion we have come to call the Reformation.Countries, families and even individual conscienceswere torn apart. To some the Reformation gave thefreedom and ecstasy of voicing long-suppressedbeliefs, to others the choice of apostasy ormartyrdom, but to most it brought uncertainty andfear to everyday life: can I still pray to the VirginMary, why is the abbey burning, are those soldiers inthe village Papist or Protestant? In our country theaftershocks are still with us in the uneasy peace inNorthern Ireland and the sporadic violence at Celticv Rangers football matches.The great reform leaders – theFrenchman John Calvin livingin Geneva, Martin Luther inGermany, the EnglishmanWilliam Tyndale who spentmany years in hiding in theNetherlands – may havedisagreed theologically on manythings but on the word of Godthey were united: sola scriptura,the Bible not the Catholicchurch and its traditions is thesole source of authority for allChristians.King Henry VIIIIn England at the Court of HenryVIII a Protestant underground,led by Thomas Cromwell,broke cover and gave the Kingthe grounds for breaking withRome. Henry wanted a male heirto secure his family's dynasty.Cromwell wanted a new heavenon earth. Henry's wife, Catherineof Aragon had borne a daughter,Mary, but they had no sons whosurvived infancy. And so God'sword became enmeshed in abitter dynastic struggle.The well-known stories ofhistory seem so inevitable, as ifthey were set in stone – or oncelluloid – even as they happened. But actually mostof us, kings included, act in the moment. Historyis the mess "living in the moment" leaves behind.In the second when Anne caught the attention ofHenry VIII during a court masque – she had thrownan orange at him – a chaos of religious controversybegan. The Marxist view of history as the playingout of class conflict and commercial interest may betrue on a macro scale, but the "what ifs" of historytell us we are free and nothing is certain: what if oneof Catherine of Aragon's sons had survived – wouldEngland have stayed Catholic? What if Henry hadnot caught Anne's orange – would the Protestants atcourt have lost out? He could have chosen a fertileyoung Catholic – as he did later in Jane Seymour.And if Anne had had a surviving son she would havebeen unassailable, the church of England wouldhave been thoroughly Protestant and never havesplit into the factions that beset the reign of James I.It is my view that personalities do make history, alas.Henry was given to taking a lot of advice andprocrastinating; then suddenly something wouldprovoke him and he would decide on a course ofaction from which he never deviated. He was notso much a loose cannon as one which, though yousaw where it was pointing, you never knew whenor if it would fire. His reign was resplendent withpageantry, he built great palaces, held magnificenttournaments, but this was a policy of show to maska deep unease. He was only the second generationof a family that were little more than bandits whohad taken over the country by force, killing thePlantagenet King Richard III. Throughout Henry'sreign there were pretenders to the crown, someof whom, such as the colourful imposter PerkinWarbeck, were a serious threat. Henry's policywas to decrease the power of the aristocracy byconcentrating patronage in his court. Anyonewho dared to build bigger or throw more lavishentertainments than the king could find themselvesin the Tower. A new England was beginning toemerge – mercantile, with taxes regulated andcollected, and a strong central government. But ifthe Tudors fell England could return to the chaos ofthe wars of the roses. There had to be a male heir.The Catholic church forbade his divorce. There20 21

is, however, a verse in the OldTestament Book of Leviticus(20:21): "If a man shall take hisbrother's wife, it is an uncleanthing: he hath uncovered hisbrother's nakedness: they shallbe childless." Henry, to thealarm of the diehard CatholicThomas More but encouragedby the closet Protestant ThomasCranmer, argued that this versemeant that, in the eye of God,he should never have marriedCatherine because she was firstmarried to his elder brother,Arthur. Catherine, herself a greatpolitical infighter – these peoplewere extraordinarily tough –countered that she and Arthurhad never consummated theirmarriage.Cardinal Wolsey, Henry'schancellor, did his best withLeviticus but the pope washaving none of it. Complex andfrustrating negotiations peteredout. For his own political reasons– Catherine's nephew hadrecently sacked Rome and hewas terrified of her family – PopeClement forbade the divorce.The church's word was final.Anne BoleynBut the cannon had fired – the king had made uphis mind – and there must be a divorce. Wolsey fell,Cromwell became chancellor and the Protestants'moment had come in England. The word ofscripture, not the command of the Catholic church,would rule the king.When Dominic Dromgole, the artistic director ofShakespeare's Globe Theatre, asked me to write aplay about the translating of the King James Bible Icouldn't see how to do it. But I had long wanted towrite about the Tudors – I once had a crazy idea fora play called Tudor Rose in which one actor wouldplay all the monarchs, Henry VII to Elizabeth. ThenI remembered reading that Anne Boleyn owned acopy of Tyndale's translation of the New Testament.She also had got hold of a copy of his incendiaryThe Obedience of a Christian Man, published in1528. This was a key text of the Reformation; itattacked the Catholic church and argued that kings,like all of us, are responsible directly to God whospeaks to us through scripture, not through thechurch or the pope. Wolsey, forever trying to stemthe Protestant tide, confiscated the book from oneof Anne's ladies-in-waiting. Anne went at once tothe king and Wolsey was forced to return it. Shemarked up passages for Henry and gave it to him.He famously commented: "This book is for me andfor all kings to read." The word had wormed its wayinto the king's head.And I had another crazy idea: what if when Jamesascends the English throne in 1603 he is lookingthrough Queen Elizabeth's effects and, hidden in anold chest, he finds her mother's copies of Tyndale'sbooks and becomes obsessed with her?After Henry the country Catholic and Protestantmartyrs burnt. Elizabeth tried to damp downcontroversy but failed. James was faced with adangerous schism between "high church" – whoseadherents longed for the old Catholic glories andhierarchies – and "low church", where worshipperswanted to be like the early Christian communitieswhich had no bishops at their head, just Christ andhis word.James saw where this could lead: a challenge tothe authority of the throne itself, the divine rightWilliam Tyndaleto rule. He called a conferenceat Hampton Court to settle thecontroversy. The exchangesbetween the divines and theirking are a dramatist's sweetshop;James was a brilliant, savagedebater with a scabrous witthat stunned the assembly. Theidea for a new translation camefrom a moderate Puritan scholarfrom Oxford, John Reynolds.Immediately James saw theopportunity: a new Bible couldunite the Protestant factionsin agreement. He set up manycommittees of translatorsfrom all sides. The King JamesBible was a brilliant, inventivepolitical manoeuvre. The textwas largely based on Tyndale'stranslation subtly amended toenhance the authority of thestate and downgrade personalfaith (Tyndale's "congregation"became "church", "elder" became"priest" and "love" became"charity".) Now controversy couldend. The word of God was clearfor all to read.James's settlement failed. TheProtestant revolution that beganin Henry's time exploded intothe English civil wars of 1642 to 1649. What Jamesfeared came to pass: monarchy's divine power wasbroken forever.For there is a deadly fault-line in the Protestantdependence on the word. My father and the butcherwere standing on it: it is interpretation. Tyndale'sbook gave Henry the intellectual authority to breakwith Rome. But in a virulent pamphlet, The Practiceof Prelates, Tyndale attacked Henry's desire for adivorce quoting the Book of Deuteronomy (25:2): "Ifbrethren dwell together, and one of them die, andhave no child. The wife of the dead shall not marrywithout unto a stranger but her brother's husbandshall go unto her." But which is true, Leviticus orDeuteronomy? Is God contradicting himself?Anne Boleyn and Tyndale never met but in myplay they do (it's what playwrights call "the Schillermanoeuvre", after the great scene in MARIA STUARTwhere Elizabeth I meets Mary Queen of Scots). Annechallenges him: which of the two verses is God'sword? Tyndale replies that Leviticus refers to takinga brother's wife when the brother is still living.ANNE: Nowhere does it say that!TYNDALE: That is the revealed meaning.ANNE: Revealed how?TYNDALE: By prayer.ANNE: Oh, then let's pray and make anything true!This is the tyranny of the word of God. It is meant tofree you. But interpret it wrongly – that is against theinterpretation of the men with swords or guns – andit can kill.(Printed with permission of The Guardian)22 23

Rendered image provided byAUT University providesa bright future for AucklandSUPPORTERS OF THE NEW THEATRE PROJECTWe have recently received someextremely exciting news about thewaterfront theatre project, which meansthat we are another step closer to breakingground! We are delighted to announcethat AUT University has committed tobecome a major funder by pledging$5 million, on top of the $250,000 theydonated to enable us to bring the detaileddesign to 100 per cent completion. Thisbrings our total amount raised to $31.3million.The donation cements the industryleadingpartnership between AucklandTheatre Company and AUT University,which is focussed on delivering jointinitiatives that benefit both the arts andeducation sectors.The support from our audiences so farhas been fantastic but now it really iscrunch time, as we need to raise theremaining $3.8 million to make the dreama reality. The theatre will provide you, ouraudience, with a world-class experience,both on and off stage, but we can only doit with your help.Please visit waterfronttheatre.co.nz todonate or find out ways to assist.FOUNDING BENEFACTORS, PATRONSAND DONORS24 25

JOIN THE NEWTHEATRE’SFOUNDERS CLUBThe Founders Club is a group of highlycommitted people who are passionateabout securing this new theatre forAuckland. In recognition of theirinvestment in this visionary project,they are afforded a number of benefits,including:• Name recognition in the new theatrein perpetuity• Invitations to the Gala Opening Nightand Champagne Reception• Invitations to special events• Premier subscriber benefitsdeveloped for the new theatreJoining the Founders Club offers you aunique opportunity to be involved withcreating this world-class performingarts venue as a legacy for Auckland. Thelevels of investment for this exclusivemembership are as follows:FOUNDERS CLUBRECOGNITIONINVESTMENTPlatinum Member $50,000 +Gold Member $25,000 +Silver Member $10,000 +Bronze Member $5,000 +We would be delighted to welcomeyou into this select group of supportersplaying a vital role in ensuring thesuccess of this project. If you areinterested, please contact LindenTierney on 09 309 0390 ext. 272,linden@atc.co.nz.The Waterfront Theatre Trust is aregistered charity and donations areeligible for a tax rebate. Donations canbe paid in installments over a period oftime to assist financial management orto maximise tax effectiveness.For more information on the project, or to make a donation,please visit www.waterfronttheatre.co.nzAnne Boleyn Fun Facts»»Anne was accused of being a witch. According to widely held beliefs,witches were lustful, cast spells and sorcery to entice men into marriage,committed unnatural sexual acts, had sex with the Devil, gave birthto deformed children, committed incest and could afflict men withimpotence. This myth was popularised by her opponents in order toexplain Anne’s power over Henry and her inability to provide a male heir.»»Anne was rumoured to have had six fingers on one hand.»»Anne was an expert card player who won masses of money and goodswhen she played against Henry»»It only took two weeks between the initial accusations and her death forAnne to be charged, tried and executed for adultery, incest and treason.»»Anne was vindictive. She had Henry Percy (the man she was oncebetrothed to before Wolsey blocked the union) arrest Cardinal Wolseyafter his failure to secure an annulment. Henry Percy was then on thejury that condemned Anne to death.»»Anne had a quick and nasty temper – she once spoke to her uncle withwords that “shouldn’t be used to a dog.”»»Catherine of Aragon’s daughter, Mary, refused to acknowledge Anne asQueen, and was abused by Anne and refused access to her father Henrybecause of this.»»Lady Rochford was eventually beheaded herself for being implicatedin Catherine Howard’s (Henry’s fifth wife) crime of adultery.»»A number of people have reported seeing Anne’s ghost. In 1864 a soldierwas almost sent to prison for fainting on the job after seeing Anne’s ghost.He was only saved from being charged by a General’s testimony that hetoo had seen the ghost.26 27

What's on in theatresaround the country?AUCKLAND THEATRE COMPANYTHE HERETICBy Richard Bean | Maidment Theatre18 July – 10 AugustCENTREPOINT THEATRE | Palmerston NorthPENINSULA | By Gary Henderson20 July – 24 AugustThe politics of science, the idiocy of academia andthe chaos of family life collide in this wonderfullyirreverent comedy about truth, lonely hearts, brilliantminds and blowing yourself up on Top Gear.Provocative, pugnacious, contrarian and entertaining.SILO | AucklandWHITE RABBIT, RED RABBITBy Nassim Soleimanpour | Q, 305 Queen Street01 – 13 JulyThis Iranian writer's audacious theatrical experimentwill come as a shock - not least to the performerhanded the script the moment they walk on stage.A different performer will take the stage each night;joining the audience on a journey into the unknown;stumbling upon the humorous, terrifying and utterlypersonal. This internationally acclaimed new workforges connections across time and continents.In association with Aurora Nova Productions.Ten year old Michael becomes fascinated with where he fits inthe world after his new teacher describes how his hometownon Banks Peninsula was formed millions of years ago. Butas he starts mapping his tiny community, undercurrents ofchange and discontent slowly rippling through the adult worldthreaten his cosy, comfy place in the universe.DOWNSTAGE THEATREWellingtonSYDNEY BRIDGE UPSIDE DOWNBy Taki Rua20 June – 6 JulyThe terrible happenings take place at the abandonedmeatworks in Calliope Bay, a forbidden and dangerousplace, where the cries of animals being slaughtered canbe heard in the wind. It’s a place where young Harry findshimself drawn, a place where accidents happen. A placewhere people die...COURT THEATREChristchurchKINGS OF THE GYMBy Dave Armstrong29 June – 10 AugustCIRCA THEATREWellingtonREDLaurie Connor is an old-school P.E.teacher whose comfortable existence ischallenged when a new headmistressdecides to modernize the syllabus anddo away with such terms as “winners”and “losers”.By John LoganTo find out what else is goingon in Auckland be sure toread the latest copy of13 July – 10 AugustPassion. Rage. Blood. What do you see?A moving and compelling account of one of thegreatest artists of the 20th Century and the mostcritically acclaimed play on Broadway in 2010.FORTUNE THEATREDunedinTRIBESBy Nina Raine15 June – 13 JulyBilly’s fiercely intelligent, idiosyncratic andproudly unconventional family are theirown tiny empire where conversation isa no-holds-barred struggle for attention.Father, mother, brother and sister flingopinions, arguments and insults aroundwithout any attention being paid to thepossible damage being caused.28 29

PRODUCTION SUPPLIERS:BLACK PMS 382SET BUILDERS ■ STAGING ■ BUILDING SERVICESmatt munford021 554 0782 Construct’s specialist team of carpenters,scenic artists, metalworkers and designers143A TARGET ROAD, WAIRAU VALLEY, NORTH SHORE CITY 0627, AUCKLANDPOSTAL ADDRESS 71 SMALE STREET, PT CHEVALIER, AUCKLAND 1022can meet TEL 09 the 443 set 3099 EMAIL building twoconstruct@ihug.co.nz requirements andwww.2construct.co.nzbudget of every client; from design services andconstruction to delivery and installation.www.2construct.co.nzSET BUILDERS ■ STAGING ■ BUILDING SERVICESchook birch021 776 105Xytech Lighting provides lightingequipment and services to the widerentertainment industry. They have rentalstock that covers the film, television,stage, corporate and dance party areas.www.xytech.co.nzAUCKLAND THEATRE COMPANYARTISTIC DIRECTOR – Colin McCollGENERAL MANAGER – Lester McGrathASSOCIATE DIRECTOR – Lynne CardyLITERARY MANAGER – Philippa CampbellYOUTH ARTS CO-ORDINATOR – Whetu SilverOPERATIONS MANAGER – Kathy RussellCOMPANY MANAGER – Fern ChristieTECHNICAL & PRODUCTION MANAGER – Paul NicollFINANCE OFFICER – Kerry TomlinRECEPTIONIST – Sue EastMARKETING & COMMUNICATIONS MANAGER – Michael AdamsGRAPHIC DESIGNER – Claire FlynnTICKETING & SALES MANAGER – Anna Nuria FrancinoTICKETING & SALES REPRESENTATIVE – Rosalind HemmingsDEVELOPMENT MANAGER – Linden TierneyDEVELOPMENT CO-ORDINATOR – Alex Little143A TARGET ROAD, WAIRAU VALLEY, NORTH SHORE CITY 0627, AUCKLANDPOSTAL ADDRESS 71 SMALE STREET, PT CHEVALIER, AUCKLAND 1022TEL 09 443 3099 EMAIL twoconstruct@ihug.co.nzwww.2construct.co.nzSpot-light Systems provides lightingsystems for Theatre, Concert andTelevision. Email:alex@spot-light.co.nzBEAUTY AND PRODUCT SPONSORS:Oceania is your premium sound, lighting,staging and screen partner in New Zealandfor any sized event.www.oceania-audio.co.nzM.A.C. Cosmetics offer a large selection of makeup, skin care products and nail care items.Visit Smith & Caughey’s, St Lukes, Britomart or Botany Downs.AUCKLAND THEATRE COMPANY BOARD OF DIRECTORSGordon Moller ONZM (Chair), Anne Hinton QC, Karen Fistonich, Ross Green,Scott Kerse, Patricia Watson.ATC PATRONSMargaret AndersonJohn BarnettJohn and Stephanie ClarkErika and Robin CongrevePaul and Barbie CookTrevor and Jan FarmerStephen and Virginia FisherCameron FlemingMichael FriedlanderDame Jenny GibbsMichael and Stephanie GowanRoss and Josephine GreenSue HaighRod and Penelope HansenAllyson and Paul HarveyAnne and Peter HintonMichael and Dame Rosie HortonPeter and Sally JacksonLen and Heather JuryBrian KeeneRoss and Paulette LaidlawDayle and Chris MaceJackie and Phillip MillsDenver and Prue OldeMaria RenhartFran and Geoff RickettsMark and Catherine SandelinLady TaitJulie and Russell TillsSusan and Gavin WalkerSir James WallaceAnnemarie YannaghasAdrian Burr and Peter TathamStuart Grieve and Antonia FisherRobert Johnston and Stella McDonaldAndrew Mackintosh and Hilary LiddellPeter Macky and Michael BestMike Smith and Dale d'RosePhilippa Smith-Lambert andChris LambertKit Toogood and Pip MuirSimon Vannini and Anita KilleenFor more information about how you can support AucklandTheatre Company visit www.atc.co.nz/Partnerships or contactLinden Tierney 09 309 0390 ext. 272 or linden@atc.co.nzSUPPORTING ACTS 2013Our Standing OvationSupportersBetsy and Michael BenjaminSandy and Alan BulmerOur Curtain Call SupportersColin MindelRob NicollFay PankhurstElizabeth SheppardPam and Brian StevensonOur Take A Bow SupportersShane and Richard ComptonGeoff DalbethSandra GreenfieldRosemary LanghamPhillipa MeadowcroftJohn and Anne PriestleyAlison RingThomas StazykLucy TapertSandra TurnerTed van Arkel30 31

JENNIFER WARD-LEALANDANDREW GRAINGER JORDAN MOONEYJESS HOLLY BATES LAUREN GIBSON18 JUL — 10 AUGShe’s the antidote to political correctness.She makes her carbon footprint in Jimmy Choo.She is anti-everything.She is the heretic.MAIDMENTTHEATREBOOKINGS09 308 2383www.atc.co.nzdirected by ALISON QUIGAN