THE SEASON OF - Auckland Theatre Company

DIRECTOR'S NOTESA SHORTCUT TO HAPPINESS is the twentiethplay by Roger Hall that I have produced, directedor performed in and as always it is has been full ofsurprises. What at first seems a simple tale of newlove unravels into a complex story of intolerance,letting go, and discovering new life, all in the pursuitof happiness.The first play of Roger’s I saw was GLIDE TIME in1976. I was working as a typist at Massey Universityand we went together as an office party. I was shocked. It was scarily accurate. Icouldn’t believe how much he knew about our little office. We were all there, everyphone call, every absurd preoccupation with lunches, staplers and heaters, as well asthe ridiculous office posturing and politics. I laughed until I cried, and I was hooked.This was something I related to.Roger has an extraordinary antennae for capturing the current pursuits, dreams andaspirations of us all. Right from the very beginning he has told the stories of a wholegeneration. He has shone a light into their working life, their marriages, their children,their holidays, their travel adventures, Share Clubs, Book Clubs, tramping, datingagain, getting older, facing death, grandchildren and now, new New Zealanders andtheir dances. For me, every new play has been a journey of discovery.PROUD PARTNER OF THEAUCKLAND THEATRE COMPANYOh no, we’re inthe spotlight!Being the Homeof Broadbanddoes that.In this play, we have learned to dance. We have learned folk dances from Israel,Australia, Poland, America, Greece and Russia. Nine dances in total. It was dauntingat first, with more left feet than right ones, and oh dear, the knees! But slowly wedanced more and stumbled less. We couldn’t have taken a step without the wonderfulMarija Stanisich, who has wrestled us into time, rhythm and style. “Bend!” she says,and bend we do. “Your feet have more brains than your head!” She is so right.We also discovered our country through the eyes of a recent Russian immigrant. Thenew people that come to our country teach us so much about ourselves. The clashesof language, and of hospitality at first but also the curiosity and care of each other weshare in the end.Being able to enjoy each other in the dance is indeed a shortcut to happiness. I hopeyou enjoy the dances tonight and I hope too that you enjoy your night at the theatre.Alison QuiganDirectorthe HOME of BROADBAND0508 88 99 6667

From the PLAYWRIGHTA few years ago I read the following quote by Vicki Baum,an author I had heard of but not read: “There are a fewshortcuts to happiness, and dancing is one ofthem”. It stuck in my mind and about a year later a friendurged Dianne and I to join an International Folk Dance class that met everyWednesday in Havelock North (where we live some of the time).We went and it was very enjoyable (and surprisingly hard work in terms offitness – at the end of two hours I was more than ready to stop). It is also,supposedly, very good for the brain, but I’m not sure in my case whether thishas kicked in yet. During that first session I jokingly said to the friend whohad brought us along, “I feel a play coming on”. About twenty minutes later,I realized that yes, there really was the background at least for a play.Here was where another possible theme came back to me: the plight ofmany of our well-qualified immigrants who cannot get jobs in their field. Atone time we had as our cleaning lady, a Russian woman chemistry professor(a friend said she needed the work). So I interviewed several Russian womento get their views on living in New Zealand; did more research on folkdancing… and then began the long process of writing the play.SYNOPSISHe doesn’t know it but when recently widowed Ned decides to join alocal folk dancing class run by a beautiful recent Russian immigrant,his life is about to change.Her name is Natasha and she teaches dance to supplementher income, improve her English and meet Kiwis. From humblebeginnings the class quickly grows with the help of Ned’s marketknow-how (never have classes on Saturday nights and offer anenticing discount to seniors) they are soon joined by others.Their weekly class and coffee catch up afterwards at Ned’s housesoon becomes a regular ritual in the lives of an eclectic and unlikelygroup of friends and over the course of a tumultuous year they dancetheir way through love, friendship, and an encounter with a charmingJaguar driving playboy. One by one they all seem to find a bit ofhappiness – sometimes in the most unlikely and surprising of places.I hope by the end of the play some of you will think, yes dancing does lookfun – I/we must give it a try. I am sure there are such groups who wouldwelcome you.Roger Hall8 9

THE CASTStuart Devenie (Ned)2012 will mark Stuart’s 40th year as aprofessional actor. During these decadeshe has worked as a radio drama producerfor the NZBC; a television director for TVONE; Associate Director for the CourtTheatre and Artistic Director for CentrepointTheatre; an Equity committee member;an NZQA drama expert panellist and anassessor for Creative New Zealand. Hehas workshopped many new scripts forPlaymarket as both an actor and a director,acted and directed at both Downstageand The Fortune theatres, and was afounding councillor for Circa Theatre.He is a licentiate of Trinity College andhas a Diploma in Adult Teaching. Stuarthas tutored acting, vocal technique, anddirecting for Toi Whakaari: NZ DramaSchool, Northland Polytechnic andUniversities and High Schools throughoutthe country. He is an ambassador forShakespeare in Schools and regularlyadjudicates local, regional and nationalfestivals in Shakespeare. He has alsohad an extensive career in radio andtelevision acting.Stuart’s work for Auckland TheatreCompany over the past 16 years hasincluded workshopping, tutoring anddirecting. Acting appearances include:A MIDSUMMER NIGHT’S DREAM, MARYSTUART, AUGUST: OSAGE COUNTY,ROMEO AND JULIET, FOUR FLAT WHITESIN ITALY, THE POHUTAKAWA TREE,DISGRACE, TAKE A CHANCE ON ME,COPENHAGEN, MIDDLE AGE SPREAD,LADIES’ NIGHT, CALIGULA, SERIALKILLERS, ALL MY SONS, TWELVE ANGRYMEN, MOLLY SWEENY, UNCLE VANYA,MARKET FORCES, and HATCH: OR THEPLIGHT OF THE PENGUINS. This latterproduction toured the country in 2007.That year Stuart was awarded an MNZM forservices to the theatre and in 2010 he wasmade an Arts Laureate by the New ZealandArts Foundation.Stuart got his first paycheck as a stageactor at Downstage in Wellington inSeptember 1972. He will get his lastpaycheck as a stage actor at CentrepointTheatre in October 2012. A SHORTCUTTO HAPPINESS will be his last actingappearance in Auckland. Forty years is along time to live other people’s lives andStuart wishes to focus on directing andteaching for the foreseeable future. Stuartwould like to acknowledge the hundreds ofcolleagues who have travelled the path withhim and he looks forward to continuing thejourney on the unlit side of the footlights.And to the most important element in theprocess and the best teacher of the craft,you, the audience – thank you and arohanui.Laura Hill (Natasha)Laura majored in Theatre and Film atVictoria University, where she also gaineda 1st Class Honours Degree in EnglishLiterature.A familiar face to SHORTLAND STREETviewers, Laura played the characterToni Thompson from 2001 – 2008. Mostrecently she appeared on screen as Elliein GO GIRLS, and will feature in the nextseason of NOTHING TRIVIAL.In the last four years Laura has performedin theatres all over the country. Highlightsinclude THE GODS OF WARM BEER(Centrepoint), JANE EYRE (Fortune),BACKSTAGE (Court), AUGUST: OSAGECOUNTY and PENINSULA (Circa).Laura made her Auckland TheatreCompany debut in 2004 in the hit RogerHall comedy, SPREADING OUT, and laterappeared in UP FOR GRABS in 2005.Bronwyn Bradley (Coral)Catherine Downes (Janet)Catherine's career spans three decadesand several countries where she hasdirected and performed in numerousproductions. She toured her iconic onewoman play THE CASE OF KATHERINEMANSFIELD to unanimous acclaim inEngland, The Netherlands, The USA,Australia, New Zealand and Scotland,winning several awards.In 1988 she was appointed a MNZM forher Services to The Arts. Catherine wasArtistic Director of Downstage Theatrein Wellington and Court Theatre inChristchurch for almost a decade.Cited as one of New Zealand's NationalTreasures, she now lives on WaihekeIsland and once more works as afreelance actor/director. Her mostrecent performance at Auckland TheatreCompany was in CALENDARGIRLS last year. In Augustshe will star in Joan Didion'sone woman play THE YEAROF MAGICAL THINKINGat Circa Theatre.Bronwyn trained at Toi Whakaari: NZ Drama Schooland has since worked on a wide range of projects infilm, television and theatre.Theatre highlights since moving to Auckland six yearsago include: DESIGN FOR LIVING, ASSASSINS,CARNIVAL OF SOULS and TOP GIRLS. Bronwyn'srecent television work includes WHAT REALLYHAPPENED – THE WOMAN'S VOTE, LEGEND OF THESEEKER, and GO GIRLS.10 11

INATUREINATURESylvia Rands (Laura)Sylvia has been part of New Zealandtheatre for over 30 years. Trainedat Theatre Corporate her careerencompasses a wide variety of roles onstage and screen, including devisingnew work; her solo show SUCH SWEETTHUNDER premiered at the 1990International Festival of the Arts andtoured NZ to wide acclaim. Sylvia alsoworks as a director and is one of NZ'smost experienced Voice teachers. Shewas on the steering committee thatinitiated Auckland's Unitec School ofPerforming Arts and was Head of Voiceat Toi Whakaari: NZ Drama schoolfrom 2005-8 after six years teaching atAustralia's leading drama schools.Favourite theatre roles include THEHOUSE OF BERNADA ALBA, THETEMPEST, BRIMSTONE AND TREACLE,INTO THE WOODS, THE MERCHANTOF VENICE, THREE SISTERS.Sylvia's Television credits include GOGIRLS, THE HOTHOUSE, SHORTLANDSTREET, HOMEWARDBOUND, GLOSS,HANLON, and film:SECOND HANDWEDDING andBONJOUR TIMOTHY.Alison Quigan (Bev)Also - DirectorAlison's theatrical experience spans over30 years. In that time she has acted inand directed over 100 plays, as well aswriting 12 original works. She was theArtistic Director of Centrepoint Theatrein Palmerston North 1987 - 2004.Alison is also well known for her workon SHORTLAND STREET where sheplayed Yvonne Jeffries from 2004 to2010. In 2001 Alison was awarded aQueen's Service Medal for Services tothe Theatre.In 2011, she directed THE TWITS,performed in CALENDAR GIRLSand CINDERELLA at the Civic andCONJUGAL RITES at CentrepointTheatre. Favourite roles include: ShirleyValentine, Lady Macbeth in MACBETH,Cathy in MUM'S CHOIR, and as MattieFae in AUGUST: OSAGE COUNTY forAuckland Theatre Company in 2010.Favourite productions include OTHELLO,HAMLET, MACBETH, ROMEO & JULIET,PACK OF GIRLS, MUM'S CHOIR,WHO WANTS TO BE 100? and recentlyKING ARTHUR for The Outfit TheatreCompany at TAPAC.Cameron Rhodes (Ray)A SHORTCUT TO HAPPINESS is Cameron'stwelfth appearance for Auckland TheatreCompany.Over an acting career that spans twenty-twoyears and more than seventy productions,Cameron's theatre credits include MARYSTUART, THE IMPORTANCE OF BEINGEARNEST, SHE STOOPS TO CONQUER andTHE THIRTY-NINE STEPS (ATC), HAPPY DAYS,ASSASSINS, LOOT and THE THREEPENNYOPERA (Silo Theatre), CARNIVAL OF SOULS:LIVEand LIVE CINEMA (AK Festival 2011).He directed the Basement Theatre's I HEARTCAMPING, Christmas hits TOYS and CHRISTALMIGHTY and won Best Director in the 2010SHORT+SWEET ten minute theatre festivalcompetition.Film and television appearances include theQantas Film Award nominated performance in I'MNOT HARRY JENSON and recently won the BestActor award for BRAVE DONKEY in the Show MeShorts Film Festival.Other work for the screen includes BLISS, SPIESAND LIES, JINX SISTER, WE'RE HERE TO HELPand LORD OF THE RINGS.Cameron's busy schedule includes voice-overs,working as an acting teacher and in the corporateworld as a voice/presenting coach. He wasinvolved in establishing a new one-year actingschool, The Actors' Programme, in 2012. He is agraduate of Toi Whaakari: New Zealand DramaSchool and a proud member of New ZealandActors Equity.David Aston(Sebastian)David has had an impressiveand varied career as anactor with films includingUNDERWORLD 3 and THEMATRIX, and televisionappearances includingSHORTLAND STREET,DUGGAN, STREET LEGALand GLOSS.Among his many stagecredits are lead roles inYOURS TRULY, MACBETH,KING LEAR, HAMLET, BLUEORANGE, A NUMBER, TOTALECLIPSE, MAJOR BARBARA,CLOSER, THE CARETAKER,ONE FOR THE ROAD andTHE JUNGLE. Other worksinclude THE CRUCIBLE, ACLOCKWORK ORANGE andMIDSUMMER'S DREAM andmusical theatre OLIVER!,JESUS CHRIST SUPERSTAR,BLOOD BROTHERS,WESTSIDE STORY,SWEENEY TODDand PHANTOMOF THE OPERA(Japan tour).12 13

THE CREATIVESJohn Parker(Costume & Set Design)Roger Hall (Playwright)Roger is New Zealand's most successfulplaywright. His distinctive comic voicecelebrates the resilience of his charactersand also encompasses social criticism.Hall's earliest drama was for television,but in 1976 he wrote his first stage playGLIDE TIME. The play catapulted himto the forefront of New Zealand theatrewriting and its characters have becomenational icons.Many successful plays followed, includingMIDDLE AGE SPREAD (which ran for 18months in London's West End and wonthe Comedy of the Year Award), FOURFLAT WHITES IN ITALY, SPREADINGOUT, BY DEGREES, MARKET FORCES,C'MON BLACK, SOCIAL CLIMBERS, THEBOOK CLUB, TAKE A CHANCE ON ME,A WAY OF LIFE, TAKING OFF, and WHOWANTS TO BE 100?, along with stagemusicals including FOOTROT FLATS,LOVE OFF THE SHELF and DIRTYWEEKENDS.In addition, Roger has writtenpantomimes, radio dramas, books andplays for children, and comedy seriesfor television, most notably, GLIDINGON, MARKET FORCES and CONJUGALRITES for Granada TV.John Parker is an award–winning setdesigner and is as well respected in theworld of ceramics as he is in set design.He is a member if the InternationalAcademy of Ceramics (Geneva). He hasa long history of designing for AucklandTheatre Company. His set designsinclude RED, MARY STUART, STEPPINGOUT, THE IMPORTANCE OF BEINGEARNEST, THE WIFE WHO SPOKEJAPANESE IN HER SLEEP, THE 25THANNUAL PUTNAM COUNTY SPELLINGBEE, END OF THE RAINBOW, SWEETCHARITY, DOUBT, MUM'S CHOIR,TAKING OFF, EQUUS, CALIGULA, THEBACH, MIDDLE AGE SPREAD, THEROCKY HORROR SHOW, NOISES OFF,WAITING FOR GODOT, ROSENCRANTZAND GUILDERNSTEIN ARE DEAD andINTO THE WOODS.Other works include FAUST, CAVALLERIARUSTICANA, I PAGLIACCI, THEBIRTHDAY PARTY, PUNK ROCK,CRIMINAL CHRISTMAS, THE SCENE,CREDITORS, IL TROVATORE, TRUEWEST, THE THREEPENNY OPERA,CHESS, ROMEO AND JULIET, TITUSANDRONICUS, TWELFTH NIGHT,F.I.L.T.H, ASSASSINS, WAIORA, CAT ONA HOT TIN ROOF, DECADENCE, ON THERAZZLE, CHICAGO, THE MARRIAGEOF FIGARO, BARBER OF SEVILLE,COSI FAN TUTTE, EVITA and TRASH TOFASHION.John has also designed for The LouisVuitton Ball and The America's Cup Ball,Bendon's Next To Nothing, BellsouthPharaohs, Precious Legacy and Peru:Gold and Sacrifice for the AucklandMuseum. He was awarded a WaitakereCity Millennium Medal for services to theCommunity. In 2010 John was awardedan Arts Laureate by the New Zealand ArtsFoundation.Phillip Dexter MSc(Lighting Design)Phillip's previous lighting designs forAuckland Theatre Company include INTHE NEXT ROOM (OR THE VIBRATORPLAY), CALENDAR GIRLS, MARYSTUART, POOR BOY, LE SUD, EQUUS,THE BLONDE THE BRUNETTE ANDTHE VENGEFUL REDHEAD, DOUBTand UP FOR GRABS. He works regularlyfor all the major theatre companiesin New Zealand. Recent productionsinclude GOD OF CARNAGE, FOURFLAT WHITES IN ITALY, ROCK 'N'ROLL (Circa Theatre, Wellington), DONJUAN IN SOHO, LUCKY NUMBERS(Fortune Theatre, Dunedin), LONG DAY'SJOURNEY INTO NIGHT, OLIVER! (TheCourt, Christchurch), THE GRADUATE,DRACULA, THE GOAT (Downstage,Wellington), LUCIA DI LAMMERMOORand TURANDOT (NZ Opera).While based in London Phillip'sinternational work included designsat Donmar Warehouse, The Globe,Hampstead Theatre, The Royal OperaHouse - Covent Garden, OperaConservatory - Royal College of Music(London).Phillip is director of Limeburner DesignLtd (www.limeburner.co.nz), whichspecializes in theatre and architecturallighting design. Training includes aMaster of Science in light and lightingUCL, London. Product design includeslighting instruments for film recentlyused on the studio components ofAVATAR and THE LION, THE WITCHAND THE WARDROBE.J. P. M’Ginty (Sound Design)J. P. M’Ginty has been working as anaudio designer and/or operator for anumber of years, in a number of differentsituations. While this is his first designwith the Auckland Theatre Company,you can be pretty safe to say he’s beenbehind-the-scenes in some form oranother in a large portion of their recentseasons.“A SHORTCUT TO HAPPINESS posednumerous challenges to me as a Designer.To be honest, traditional Russian folkmusic hasn’t ever been my first choiceof music to sit back and enjoy, however,in my research I’ve discovered a worldof music which I hope to bring toaudiences through the play.”The show contains Russian traditionalmusic, as well as Greek, Israeli,Australian and Western American music,not only in the dances, but throughoutthe play.Working with Marija has been anabsolute pleasure. As a designer Iwork with numerous different flavoursof choreographer, however, it isalways a joy to work with someone asknowledgeable as her and I’ve learntfar more than I dare admit because ofit. Having someone who knows whatthey want, but is also totally open to mythoughts and ideas makes for a veryenjoyable environment to work in!14 15

INTERVIEW WITH MARIJACan you tell us about your dancebackground?I was primarily a ballet dancer, but I havebeen influenced by many different sortsof dance. I have done, and love, all sortsof dance. I'm very eclectic in my tastes.Was it a natural progression fromdancing to teaching?I never actually learnt how to be aMarija Stanisich (Choreographer)Marija’s dance experience spans from the age of six years, whenshe first started ballet (she has her solo seal from the R.A.D.London). Her love of theatre became absolute when she danced inthe musical OKLAHOMA at Her Majesty’s Theatre at the age of 14.Many, many shows followed, as diverse as pantomimes and lightopera to ballet productions with the New Zealand Ballet Company,with whom she toured briefly.At 18, Marija traveled to Australia and there had the opportunityto train in many other forms of dance. She toured professionallyin Garnet H Carroll’s production of THE KING AND I, which touredAustralia and New Zealand, and also appeared in Noel Coward’sBLITHE SPIRIT at the Princess Theatre in Melbourne.On returning to New Zealand Marija became involved in the culturaldances of her heritage. She has traveled to Europe many times toattend folklore seminars and has worked as cultural director withinthe Croatian community here for the past 30 years. She has beenresponsible for many cultural concerts, at the Maidment and otherAuckland theatres.In 1989 Marija took a group of dancers to the International FolkloreFestival in Zabreb, the first time a group had gone from NewZealand, and they received critical acclaim.For the last 20 years Marija has taught dance to acting students inthe UNITEC School of Performing and Screen Arts.Marija is really enjoying working with the cast of A SHORTCUTTO HAPPINESS.teacher. In my day there were no coursesfor teaching, you just did it from your ownexperience. I danced professionally inAustralia, and we even toured here at onestage, so I've had lots of experience firstof all as a dancer. When you've dancedand been onstage, and you have done itprofessionally then you learn things byosmosis.Did you know all the ethnicities ofdance in the script for A SHORTCUTTO HAPPINESS?I knew the styles, but I did not knowsome of the exact folk dances that Rogerwanted, therefore I did some researchand it was pretty easy for me to pick up.The word I'd like to use about my workis integrity, I've tried to keep the styleand steps as close as possible to thetraditional dances.You have an eclectic dancebackground, do you have a favouritedance or genre of dance?I've been working with the Croatiancommunity for 30 years. I started offwhen it was Yugoslavia, so there wasthe Bosnian, the Serbian, the Croatian,the Macedonian, so I guess that's mybackground and I like that the best... butI also love Greek, and I love Russian, so Ican't chose one in particular!Do you have a favourite dance in theplay?Not really, I love them all, and I love themusic, it's really get up and go. TheBrown Jug Polka and the Todah reallyget you going, and the greek one – I lovegreek music and dancing.In the play Natasha doesn't like squaredancing. How do you feel about it?I like all dancing – one size doesn't fit all.Somebody might love square dancing,and somebody else another form ofdance, but in the script, with Natasha'sbackground I can understand why shewould be looking down her nose. TheRussian tradition is so steeped in historyand tradition that anything outside thatbox is considered, well, lower. That'swhy the famous dancers Baryshnikovand Makarova left Russia, because theywanted a broader spectrum of dance. ButI admire the Russian training, the way theRussians train their dancers is fantastic,very disciplined and focused, so you canunderstand that Natasha doesn't like thefreedom and the yahoo-ing that is goingon. She's been steeped in the Russiandance tradition and so that's why she isvery abrupt with them while teaching.Do any of the cast have two left feet?No, they have all picked things upextremely well, in fact it surprised me,I didn't really expect them to pick it upso quickly.Do you believe dance is a shortcut tohappiness?Absolutely, since time immemorial everyethnic group has danced for somereason, they danced for sadness, theydanced for weddings, they danced forfunerals, and it's a great way of lettinggo of all your hangups or frustrations,emotions and stress. If you can danceyour emotions out of you, I think it'sterrific.Do you have any advice to peopleconsidering joining a dance class?I would say just go along and give it a go,you just don't know until you try. Colincame into rehearsal one day and did apolka with us and he throughly enjoyed it.It's great exercise, you can lose weight,and dance exercises the brain as well asthe body because you have to think, yourfeet have to be told what to do, so go forit. I've been dancing for so long and it stillgives me great satisfaction.16 17

ABOUT THE DANCESChuluThis is an Israeli dance. The namemeans ‘Lets Dance!’KorobushkaThis is a Russian mixer dance, wheredancers change partners each time thedance repeats. The name Korobushkameans ‘the peddler’, and comes from apoem by the 19th century Russian poetNekrasov, for which the tune ‘Korobushka’was originally written. This tune becamevery popular in late 19th century Russiaand soon a dance, Korobotschka, wasdeveloped. As the dance is over 100years old there are many variations.Brown Jug PolkaThe polka step originated in Poland and isnow used in many different dances aroundthe world. Brown jug polka is danced inmany countries, with our version comingfrom Australia.TodahThis is an Israeli dance created in 1986.Todah means ‘thank you’ and the wordsshow the very real sense of gratitude to ‘thecreator’ that is ingrained in Jewish culture.KalinkaKalinka Malinka is a traditional Russianfolk song that evolved into a dance, alsocalled the Kalinka. Kalinka was written byRussian composer and theatre performerIvan Petrovich Larionov in 1860. It quicklybecame a popular folk song around whichdeveloped an energetic dance tradition.Kalinka is played at many gatherings,including weddings, parties or anycelebratory occasion. The quick rhythmsand intense emotions in Kalinka haveallowed it to be transformed into modernperformances, especially in club musicand electronica mixes.Musette WaltzBal-musette is a style of French musicand dance that first became popular inParis in the 1800s. A traditional Musetteis a French bagpipe of the 17th and early18th centuries, with several chambersand drones, and with the wind suppliedby bellows rather than a blowpipe.Parisian and Italian musicians whoplayed the accordion adopted the styleand in time Musette dance forms arosefrom people looking for easier and moresensuous steps.Cherkyssia KfulaA simple, lively and fun traditional Israelidance, where one foot crosses the other,first one way, then the other way.18 19

364131259171114102828 JUN – 28 JUL 2012HERALD THEATRE 09 308 238315We are all standingon the fault lines...16171920ossACROSSat famous Russian piece of musicich inspired 5. What a famous folk dance Russian piece was of music thattten by composer inspired a folk and dance, theatre was written by composerformer Ivan and theatre Larionov? performer Ivan Larionov?at country 6. What is country Natasha is Natasha from? from?hat Hawkes Bay town did Roger9. In what Hawkes Bay town did Roger first do at do a folk dancing class? (2folk dancing class?rds)at are 11. the What initials are the of initials the of theatre companypany presenting this this production of A SHORTCUT TOShortcut HAPPINESS? To Happiness?hich city 14. In on which the city A on Shortcut the A SHORTCUT To TOpiness tour HAPPINESS would tour you would find you the find the Govettett Brewster Brewster Art Art Gallery? (2rds)16. Which actor recently performed on stageich actor recently performed onalongside his daughter in A MIDSUMMERge alongside his daughter in ANIGHT’S DREAM?summer Night’s dream? (2 Words)o is both 17. Who directing is both directing and and starring in Ahortcut To SHORTCUT Happiness TO HAPPINESS? (2 Words)er Hall 19. teamed Roger Hall up teamed with up Philip with Philip Normanman and and A.K. A.K. Grant for for a stage a stage adaptation of whatptation of famous what New famous Zealand comic New strip by Murray Ball,land comic starring strip a character by Murray called The Ball Dog?rring a character called The Dog?20. In this production, what town centre in Aucklandords)is A SHORTCUT TO HAPPINESS set (it’s thehis production, what town centrelocation of the Bruce Mason Centre)?uckland is A Shortcut Topiness 20 set (it’s the location of thece Mason Centre)?18DownDOWN1 What town is the last centre in the tour1. What of town A Shortcut is the last centre To Happiness?the tour of A SHORTCUT2 TO What HAPPINESS? is the capital Russia?2. 3 What What is the play capital was of Russia? a sequel to Glide Time ina post-Rogernomics office? (2 Words)3. What play was a sequel to GLIDE TIME in a post-4 Which county in England was Roger HallRogernomics office?born?4. 7 Which What county telecommunications in England was Roger Hall born? company and7. What staunch telecommunications supporter company of theatre and staunch and thesupporter arts has of theatre and slogan the arts “now’s has the slogan good”? “now’s8 good”? What play made Roger Hall a householdname in New Zealand and inspired his8. What play made Roger Hall a household name in New1980s TV series Gliding On? (2 Words)Zealand and inspired his 1980s TV series GLIDING ON?10 Which actor has performed in A10. Which Shortcut actor has To performed Happiness A SHORTCUT in both TO DunedinHAPPINESS and Wellington? both Dunedin (2 and Words) Wellington?12. 12In which In which city on city the A on SHORTCUT the A TO Shortcut HAPPINESS To tourwould Happiness you go to for tour the FUEL would festival you of New go Zealand to for theTheatre? FUEL festival of New Zealand Theatre?13 On what Auckland landmark does13. On what Auckland landmark does Auckland TheatreAuckland Theatre Company proposeCompany propose building a new theatre?building a new theatre? (2 Words)15. 15Which Which Roger Roger Hall play, Hall that is play, also a catch that cry is at also All aBlacks catch matches, cry at was All set Blacks in South Africa matches, after the loss was in setthe in final South of the 1995 Africa Rugby after World the Cup? loss in the final18. In which of the country 1995 did Rugby the FOUR World FLAT WHITE Cup? drinkers (2holiday Words) in, in Roger Hall’s 2009 smash hit?18 In which country did the four flat whitedrinkers holiday in, in Roger Hall’s 2009smash hit?theGIFTby joanna murray-smithWhat is more honourable:the truth that hurts, or thelie that heals?If youcould haveanything,what wouldyou wish for?13 SEP – 06 OCT 201219 JUL – 11 AUG 2012MAIDMENT THEATRE 09 308 2383MAIDMENT THEATRE 09 308 2383

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GREEN THE SCENEWe are very proud to announcethat in March this year AucklandTheatre Company received an EcoWarranty Certification. This is aninternational certification that verifiesthat we have met the requirementsof implementing and executing anEnvironmental Management System.An Environmental ManagementSystem is the process by which wemonitor office practices that impactthe environment. This includes ouruse of natural resources includingpaper, water and electricity andhow we dispose of or recycle ourwaste. The six month Eco SmartBusiness Programme, run by EMAand Auckland Council, was attendedby 50 businesses and culminated in aawards celebration in March for thosewho passed the audit process.We made lots of changes aroundthe office, but the most dramaticfor the staff was taking away theirunder desk rubbish bins. Enter stageleft – the black cube. We replacedthem with a 100 x100 mm blackplastic cube for rubbish to be kept ontheir desk top and a paper recyclingbox for under the desk. This haseliminated the unconscious throwingaway of recyclable paper into rubbishbins. We have also implemented arecycling program for bottles, cansand plastic and have reduced ourtake to landfill by more than half. Ourfood scraps are collected and used ina local compost. We have had greatbuy in from the ATC staff as well asthe contractors (actors, directors andcreatives) that use the building.The next step is to tackle one of ourbiggest green challenges which isthe disposal of the sets. We reuseas many props and costumes aspossible. In the past, due to timeconstraints and lack of storage mostof our sets were going to landfill, butthis year we have teamed up with acompany called Collect and Forgetwho take away and store the itemswe’re not able to reuse, and sellthem on Trademe. Collect and Forgetdonates 10% of their sales backto ATC for re-investment in futureproductions. In 2014 we hope toproduce a zero waste productionso watch this space...MAGAZINE26 27

WHAT'S ON IN THEATRES AROUND THE COUNTRY?AUCKLANDTHEATRE COMPANYBLACK CONFETTIBy Eli Kent28 June – 28 JulyA new play from award-winning writer Eli Kent(THE INTRICATE ART OF ACTUALLY CARING andTHINNING).Packed full of big ideas and a squillion little surprises,poetry, mysteries and full-on theatricality, BLACKCONFETTI is about the death of the party andsurviving the earthquakes in our lives.CENTREPOINTTHEATREPalmerston NorthENLIGHTENMENTBy Shelagh Stephenson09 June – 14 JulyWhen Lia and Nick’s son disappears atthe time of the Bali bombings in 1992, allthey have is an email that he was thinkingof going to Jakarta, leaving them with theirown grief and uncertainty. And just whenthey think they have exhausted all channelsin trying to discover his whereabouts - thephone rings and it seems Adam has beenfound. Or has he?SILO THEATREAucklandTRIBESBy Nina Raine07 June – 30 JuneBilly’s fiercely intelligent andproudly unconventional family aretheir own tiny empire, with theirown private language, jokes andrules. You can be as rude as youlike, as possessive as you likeand as critical as you like. Afterall, arguments are an expressionof love: the soundtrack of life. ButBilly, who is deaf, is one of the fewwho actually listens. Meeting Sylviamakes him finally want to be heard;but can he get a word in edgeways?BATS THEATREWellingtonSTANDSTILLBy Anders Falstie-Jensen14 June – 23 JuneThree actors on three treadmills forsixty minutes. It's as simple as that inSTANDSTILL, a sharp and constantlysweaty dark comedy about the hopes,dreams and fears we have for our lives. Withthe actors fighting to keep up as the paceinevitably cranks up to the Max, this is ashow that really will leave you breathless.CIRCA THEATREWellingtonALL MY SONSBy Arthur Miller02 June – 07 JulyA brilliant and compelling family dramaof love, guilt and the corrupting power ofgreed, ALL MY SONS was the first greatsuccess of Arthur Miller's supremelyinfluential career.COURT THEATREChristchurchTHE MOTOR CAMPBy Dave Armstrong23 June – 04 AugustThe problem with holidaying at amotor camp is anyone can parktheir caravan next to you. Whenthe hard-case Hislops pull upnext to the liberal Redmonds,what was supposed to be arelaxing getaway turns into theholiday from hell.FORTUNE THEATREDunedinIN THE NEXT ROOM(OR THE VIBRATOR PLAY)By Sarah Ruhl30 June – 28 JulyDOWNSTAGETHEATREWellingtonTHE INTRICATEART OF ACTUALLYCARINGBy Eli Kent25 May – 03 JuneTo find out what else is going on inAuckland be sure to read the latest copy ofIt’s been compared with On the Road,Goodbye Pork Pie and Waiting for Godot.Written by a young playwright who hasswiftly earned the respect of young artistsand literary veterans alike, The PlayGroundCollective’s THE INTRICATE ART OFACTUALLY CARING has toured NewZealand collecting awards and rave reviews.Mistress of Ceremonies Magenta Diamondleads her cohorts of the revolving stage ona journey of frightening delights.In a seemingly perfect Victorian home, Dr Givings hasinnocently invented an extraordinary new device fortreating hysteria in women – ‘the vibrator’ – with whichhe has achieved remarkable results. Adjacent to thedoctor’s laboratory his young and energetic wife triesto tend to their newborn daughter while wonderingexactly what is going on IN THE NEXT ROOM.28 29

SHOW TOURING INFORMATION:BRUCE MASON CENTRE, AUCKLANDCHIEF EXECUTIVE — Andrew ScottFINANCIAL CONTROLLER — Greg MartinMARKETING MANAGER — Lynda BarlowLIVE PERFORMANCE CO-ORDINATOR— Terence HarpurPRODUCTION AND OPERATIONS MANAGER— Jep SavaliCLARENCE ST THEATRE, HAMILTONBUSINESS DEVELOPMENT MANAGER— Megan LyonEVENT SERVICES MANAGER— Richard SutherlandTECHNICAL SERVICES MANAGER— Sven LadewigHAWKE’S BAY OPERA HOUSE, HASTINGSGENERAL MANAGER — Roger ColemanTHEATRE EVENTS MANAGER — Dale ReidTECHNICAL MANAGER – Henry NortonPRODUCTION SUPPLIERS:TSB SHOWPLACE, TARANAKIVENUE MANAGER — Nelita ByrneMARKETING CO-ORDINATOR — Megan BrownOPERATIONS CO-ORDINATOR— David LiggettTICKETING & EVENT CO-ORDINATOR— Penny BurmesterTECHNICAL — TSH Audio and VideoBAYCOURT CENTENNIAL THEATRE,TAURANGAMANAGER (TAURANGA CITY VENUES ANDEVENTS) — Dale HendersonOPERATIONS MANAGER — Pip LoaderTEAM LEADER TICKET SALES — Lee GribbinMARKETING EXECUTIVE — Sarah MoorcroftTECHNICAL MANAGER — Jacob KellyBLACK PMS 382AUCKLAND THEATRE COMPANYARTISTIC DIRECTOR – Colin McCollGENERAL MANAGER – Lester McGrathASSOCIATE DIRECTOR – Lynne CardyLITERARY MANAGER – Philippa CampbellDRAMATURG – Anders Falstie-JensenYOUTH ARTS CO-ORDINATOR – Whetu SilverPARTICIPATION CO-ORDINATOR – Amo IerikoPRODUCTION MANAGER – Paul TowsonSENIOR STAGE MANAGER – Fern ChristieTECHNICAL MANAGER – Paul NicollMARKETING & COMMUNICATIONS MANAGER – Michael AdamsTICKETING & SALES MANAGER – Anna Nuria FrancinoMARKETING ASSISTANT – Laura JonesTICKETING & SALES REPRESENTATIVE – Sophie NicholsGRAPHIC DESIGNER – Claire FlynnDEVELOPMENT MANAGER – Linden TierneyDEVELOPMENT CO-ORDINATOR – Sarah NutbrownBUSINESS MANAGER – Kathy RussellFINANCE OFFICER – Kerry TomlinRECEPTIONIST – Sue EastAUCKLAND THEATRE COMPANY BOARD OF DIRECTORSGordon Moller ONZM (Chair), Anne Hinton QC, Karen Fistonich, Ross Green,Scott Kerse, Derek McCormack, Patricia Watson.Xytech Lighting provides lighting equipment andservices to the wider entertainment industry. Theyhave rental stock that covers the film, television,stage, corporate and dance party areas.www.xytech.co.nzARC Lighting was established in 2004 with an aim toprovide quality lighting products to the market as wellas offering lighting design expertise to its customers.www.arclighting.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.SET BUILDERS ■ STAGING ■ BUILDING SERVICESmatt munford021 554 0782 Construct’s specialist team of carpenters, scenic143A TARGET ROAD, WAIRAU VALLEY, NORTH SHORE CITY 0627, AUCKLANDartists, metalworkersPOSTAL ADDRESS 71 SMALEandSTREET,designersPT CHEVALIER, AUCKLANDcan meet1022the setTEL 09 443 3099 EMAIL twoconstruct@ihug.co.nzbuilding requirementswww.2construct.co.nzand budget of every client; fromdesign services & construction to delivery & installation.www.2construct.co.nzSET BUILDERS ■ STAGING ■ BUILDING SERVICESchook birch021 776 105143A 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.nzOceania is your premium sound, lighting,staging and screen partner in New Zealandfor any sized event.www.oceania-audio.co.nzATC PATRONSMargaret AndersonJohn BarnettBetsy and Michael BenjaminMark and Louise BinnsAdrian Burr and Peter TathamJohn and Stephanie ClarkErika and Robin CongrevePaul and Barbie CookTrevor and Jan FarmerAntonia Fisher and Stuart GrieveStephen and Virginia FisherCameron FlemingMichael FriedlanderDame Jenny GibbsMichael and Stephanie GowanRoss and Josephine GreenSue and John HaighRod and Penelope HansenAnne and Peter HintonMichael and Dame Rosie HortonPeter and Sally JacksonLen and Heather JuryRoss and Paulette LaidlawDayle and Chris MaceAndrew MacIntosh and HillaryLiddellPeter Macky and Michael BestLaurie Matthews and Koen BoonsJackie and Phillip MillsDenver and Prue OldeMaria RenhartFran and Geoff RickettsMike Smith and Dale d'RosePhilippa Smith-Lambert and ChrisLambertMike and Tiare RobinsonLady TaitRussell and Julie TillsKit Toogood and Pip MuirSimon Vannini and Anita KilleenSir James WallaceEvan and Katie WilliamsATC 2012SUPPORTING ACTSOur Standing OvationSupportersSandy and Alan BulmerOur Curtain Call SupportersRob NicollTed and Wendy Van ArkelOur Take A Bow SupportersShane ComptonAnna ConnellSandra GreenfieldRosemary LanghamPhillipa MeadowcroftEwan and Jenny PriceJoanne SmoutBrian and Pam StevensonFor more information about how you can support Auckland Theatre Company visitwww.atc.co.nz/Partnerships or call Linden Tierney 09 309 0390 ext. 27230 31