Agatha Christie’s Murder on the Orient Express Programme
He pou atua, he pou whenua, he pou tangata.
Ko Waitematā te moana
Ko Waikōkota te whenua.
Ko Te Pou Whakamaharatanga mō Māui Tikitiki a Tāranga te tohu o te kaha, o te kōrero, o te whakapapa o tēnei wāhi, o tēnei whare.
Nau mai e te tī, e te tā ki te whare kōrero, ki te whare whakaari o ASB ki te tahatika o te moana.
Mauri tau, mauri ora!
Pouwhakamaumāharatanga mō Māui-Tikitiki-a-Tāranga
The Memorial Post of Māui the Topknot of Tāranga
Robert Jahnke ONZM (Ngāi Taharoa, Te Whānau a Iritekura, Te Whānau a Rākairo o Ngāti Porou) 2016
Laminated tōtara and Corten steel
Proudly commissioned by Auckland Theatre Company for ASB Waterfront Theatre
The symbols of support, of strength and of guardianship stand fast and proud.
The waters of Waitematā ebb and flow against the shores here at Waikōkota, the land upon which we stand.
The pou of remembrance to Māui Tikitiki a Tāranga stands tall as a beacon of courage, of stories passed down and of the history that connects us all to this place and to this space.
We welcome you all from near and far to this house of stories, to the ASB Waterfront Theatre.
Mauri tau, mauri ora!
ADAPTED FOR THE STAGE BY KEN LUDWIG
22 APR – 10 MAY 2025
The novel Murder on the Orient Express by Agatha Christie was first published in January 1934. It was later adapted many times for radio, film, video games, television, board games and comics in many languages. The Christie Estate commissioned playwright Ken Ludwig to adapt it for the stage. The world premiere was produced by the McCarter Theatre Centre (Emily Mann: Artistic Director, Timothy J. Shields: Managing Director), Princeton, New Jersey, opening on Tuesday 14 March 2017 before transferring to Hartford Stage (Darko Tresnjak, Artistic Director, Michael Stotts, Managing Director), Hartford, Connecticut. Agatha Christie’s Murder on the Orient Express had its New Zealand premiere at The Court Theatre, Christchurch, in a production directed by Dan Bain, opening on Saturday 2 March 2024.
Agatha Christie’s Murder on the Orient Express is the second play in Auckland Theatre Company’s 2025 season. Directed by Shane Bosher, it began previews on Tuesday 22 April and opens on Thursday 24 April 2025.
The production is 2 hours and 10 minutes long, including an interval. It includes references to the death of a child and suicide, and depictions of death.
By arrangement with ORiGIN™ Theatrical on behalf of Samuel French Ltd, A Concord Theatricals Company.
The taking of pictures or video is prohibited except during the curtain call. Silence all noise-emitting devices.
Engine Room Assistant Director — Nī Dekkers-Reihana
Paul Barrett — voice of Train Announcer & Radio Parts
Sophie Hambleton — voice of the Mother
Olivia Tennet — voice of Daisy Armstrong
PRODUCTION
Stage Manager — Natasha Thyne
Deputy Stage Manager
Lucie Everett-Brown
Assistant Stage Manager —
Sofia Miernik
Staging Coordinator Molloy
Technical Coordinator — Tim Jansen
Sound Coordinator Sam Clavis
Vision Coordinator — Michael Goodwin
Technical Operator Tony Black
Audio Mix Engineer Cathal McDonagh
Microphone Technician Joel Orme
Fly Technician T.J. Haunui
Show Crew
Benny Sarten, Joseph Noster
Wardrobe Maintenance
Rhiannon Hadlow
Set Construction
Grant Reynolds, Zorp Creative
Props Manager Jane Hakaraia
Make-up & Hair — Miranda Raman
Pattern Maker Joanne Hawke
Wardrobe Stitchers Natalie Miskin, Rosalind Sinel
Tailor Nasir Ali Payne, Payne Tailors
Fight Coordinator — Amand Weaver
Publicist
Michelle Lafferty, Elephant Publicity
Production Photography — Sacha Stejko
Music composed and performed by Paul McLaney with:
Cello — Ashley Brown
Violin Jessica Hindin
Trombone/trumpet —
Jake Krishnamurti
Flute Lewis McCallum
Recorded at Broome Recordings
Haere Mai
All aboard the last word in locomotive luxury.
In this lush production, created by director Shane Bosher and his outstanding design team of Elizabeth Whiting, John Verryt, Sean Lynch, Harley Campbell and Paul McLaney, we are swept up in the glamour and sumptuous upholstery of 1934.
Bringing this classic from Dame Agatha Christie to the stage has been a great deal of fun for us all. This is a brilliant ’whodunnit’, with a moral dilemma and a load of laughs. Our Poirot, Cameron Rhodes, leads a stellar cast of New Zealand’s most fabulous actors.
This production marks the second with our Engine Room Assistant Director, Nī Dekkers-Reihana, whose position is made possible by the Friedlander Foundation. This programme has as its objective to train future mainstage directors who want to work in major producing companies like ours. Nī is an exciting artist who will also be seen on stage later this year in Tiri: Te Araroa Woman Far Walking.
As we pull out from the platform, the next stop for Auckland Theatre Company will be the return of Kiwi theatre icon Sir Roger Hall in a new play about an obstreperous old grump who falls in love with Auckland. End of Summer Time begins previews on Tuesday 17 June and promises to be great entertainment.
For now, sit back and watch the snow-covered European countryside whisk by as we hurtle into the night, certain to encounter murder, mystery and mayhem.
P.S. Don’t reveal what happens for people yet to see the show: no spoilers!
Jonathan Bielski Artistic Director & CEO
Writer
Agatha Christie
Agatha Christie is known throughout the world as the Queen of Crime. More than a billion copies of her books in English have been sold, with another billion in other languages. She is the most widely published author of all time and, in many languages, outsold by only the Bible and Shakespeare. She is the author of 66 crime novels, 150 short story collections, more than 20 plays, and six novels written under the name Mary Westmacott. Her work includes Murder on the Orient Express, Death on the Nile and the genredefining And Then There Were None.
Agatha Christie’s first novel, The Mysterious Affair at Styles, was written towards the end of the First World War, in which she served in the Voluntary Aid Detachment (VAD) as a nurse. In it, she created Hercule Poirot, the little Belgian detective who was destined to become the most popular detective in crime fiction since Sherlock Holmes. It was published by The Bodley Head in 1920. In 1926, after averaging a book a year, Agatha Christie wrote her first masterpiece. The Murder of Roger Ackroyd was the first of her books to be published by Collins and marked the beginning of an author-publisher relationship that lasted for 50 years and well over 70 books. Ackroyd was also the first of Agatha Christie’s books to be dramatised – under the title Alibi – and to have a successful run in London’s West End.
By 1930, Agatha had introduced a new character to act as detective. When she created Miss Marple, Agatha did
not expect her to become Poirot’s rival but, with The Murder at the Vicarage, Miss Marple’s first full-length outing, it appeared she had produced another popular and enduring character.
The Mousetrap, her most successful play of all, opened in 1952 and is the longest-running play in history.
Agatha Christie was made a dame in 1971. She died in 1976.
Agatha Christie Limited (ACL) has been managing the literary and media rights to Agatha Christie’s works around the world since 1955, working with the best talents in film, television and publishing, and on stage and digital platforms, to ensure that her work continues to reach new audiences in innovative ways and to the highest standard. The company is managed by Christie’s great-grandson James Prichard.
Visit agathachristie.com for more information.
Stage Adaptor Ken Ludwig
Ken Ludwig has had six productions on Broadway and eight in London’s West End. His 34 plays and musicals are staged around the world and throughout the United States every night of the year.
His first play, Lend Me a Tenor, won two Tony Awards and was called “one of the classic comedies of the 20th century“ by The Washington Post. Crazy For You is currently running in London’s West End. It was previously on Broadway for five years and in the West End for three, and won the Tony and Olivier Awards for Best Musical.
In addition, Ludwig has won the Edwin Forrest Award for Contributions to the American Theatre, two Laurence Olivier Awards, two Helen Hayes Awards, the Charles MacArthur Award and the Edgar Award for Best Mystery of the Year. His other plays include Moon Over Buffalo, Leading Ladies, Baskerville, Sherwood, Twentieth Century, Dear Jack, Dear Louise, A Fox on the Fairway, A Comedy of Tenors, The Game’s Afoot, Shakespeare in Hollywood and Murder on the Orient Express. They have starred, among others, Alec Baldwin, Carol Burnett, Kristen Bell, Tony Shaloub, Joan Collins and Henry Goodman. His book How to Teach Your Children Shakespeare, published by Penguin Random House, won the Falstaff Award for Best Shakespeare Book of the Year, and his essays on theatre are published in The Yale Review. He gives the annual Ken Ludwig
Playwriting Scholarship at the Kennedy Center American College Theater Festival, and he served on the Board of Governors for the Folger Shakespeare Library for 10 years. His first opera, Tenor Overboard, opened at the Glimmerglass Festival in July 2022. His most recent world premieres were Lend Me A Soprano and Moriarty, and his newest plays and musicals include Pride and Prejudice Part 2: Napoleon at Pemberley and Lady Molly of Scotland Yard. His plays include commissions from the Agatha Christie Estate, the Royal Shakespeare Company, The Old Globe theatre and the Bristol Old Vic. For more information, visit kenludwig.com
Director Shane Bosher
Shane Bosher is an award-winning theatre director, playwright actor and producer with more than 20 years in the industry. Following training at Toi Whakaari: New Zealand Drama School, he has worked for most of Aotearoa’s mainstage companies and festivals including Auckland Theatre Company, The Court Theatre, Circa, Downstage and the New Zealand Actors Company. His repertoire includes celebrated productions of Angels in America, When the Rain Stops Falling, The Brothers Size, Homos or Everyone in America, Speaking in Tongues, Cock, Private Lives, Holding the Man, Things I Know to Be True, Take Me Out, The Little Dog Laughed and Both Sides Now.
He is renowned for his provocative excavations of classic texts by Chekhov, Ibsen, Molière, Williams, Miller and Stoppard.
For Auckland Theatre Company, Shane has directed Long Day’s Journey into Night by Eugene O’Neill (2022) and Venus in Fur by David Ives (2016).
From 2001 to 2014, Shane was the Artistic Director of Silo Theatre. During his tenure, he created a robustly contemporary programming portfolio and was responsible for developing one of the most distinct and multi-faceted audiences in the country.
He was named one of the Aucklanders of 2005 by Metro magazine and, in July 2007, was named one of the Most Influential People under 40. Shane was selected by Creative NZ to participate in the Future Leaders Programme and he has also undertaken professional development at the Donmar Warehouse and Young Vic in London and Public Theater in New York. He is the recipient of three Auckland Theatre Awards and has been awarded Director of the Year by the New Zealand Listener four times. In 2018, he won the Adam NZ Play Award for his own play Everything After, which he went on to stage in 2021. That same year, Shane became an Arts Foundation Laureate, receiving the Burr/Tatham Trust Award.
Note from the Director
Writing about her work, Agatha Christie talked about the austerity and stern discipline that goes into making a detective plot: “it is the kind of writing that does not permit loose or slipshod thinking“.
Emboldened by a sense of play and adventure, our company has spent much of this rehearsal period unpacking the intricacies and idiosyncrasies of Agatha’s complex puzzle of a plot. We’ve had to activate every little grey cell of our brains to determine how this tale of lies, deception and humanity really works. Such is the craft of the finest mystery writer of all time.
There’s something deeply satisfying about her signature formula: a mystery is solved: baddies are brought to justice; and order is restored. But, at the heart of this locked-room mystery is a deeply human question. When the systems set up to protect us don’t, what are we to do? Who holds the right to see justice served? And how? It’s a knotty moral issue that both Agatha and her adaptor Ken Ludwig have interrogated with rigour.
This gig has been an exciting and challenging journey. Ludwig’s adaptation sets up the Orient Express itself as a character in the play: the most opulent mode of transport taking us to multiple destinations. The actors are required to walk a tightrope between wild comedy and searing drama, integrating complex dialects, nuanced character arcs, historical etiquette and razor-sharp dialogue. (It really is daredevil stuff.) We’ve built costumes rich in period detail, found about a million props, created a filmic score and figured out how to stage some how-the-helldo-I-do-this moments of theatre. It’s been a resource-hungry undertaking. The ensemble gathered by Auckland Theatre Company to tell this story has embraced the ask with extraordinary dedication, an unwavering pursuit of excellence and limitless creativity.
Thanks to Jonathan, Anna, Kathryn and the wider Auckland Theatre Company whānau for this fabulous ride. I’m beyond grateful.
Bon voyage.
Winter. 1934.
Hercule Poirot, the famous Belgian detective, is in Istanbul after solving an ’unfortunate’ murder case when he receives a telegram from Scotland Yard begging him to return home.
Despite the train being fully booked, his friend, Monsieur Bouc arranges for Poirot to travel on the Orient Express, the most luxurious train in the world...
One murder, eight suspects and a wild ride that’s about to go off the rails.
Cast
BRONWYN ENSOR
Greta Ohlsson
TRAINING:
John Bolton Theatre School (2015); The Actors’ Program (2016); Bachelor of Laws, University of Auckland (2024).
FOR ATC:
BOYS (part of Auckland Theatre Company’s Here & Now Festival, 2017); The Seagull.
OTHER THEATRE
INCLUDES:
Lads on the Island; ÉMILIE; Champions; Sleigh!; Medusa; Julius Caesar; Ranterstantrum; One Perfect Moment; As You Like It; Vernon God Little; Second Afterlife; 2b or nt 2b; Macbeth.
SCREEN INCLUDES:
Shortland Street; Kura; The Brokenwood Mysteries; Oddly Even.
SOPHIE HENDERSON
Countess Andrenyi
TRAINING:
Bachelor of Performing and Screen Arts, UNITEC (2006).
FOR ATC:
Murder on the Orient Express is Sophie’s debut at Auckland Theatre Company.
OTHER THEATRE INCLUDES:
Silo Theatre: The Writer; Revolt. She Said. Revolt Again; Belleville; Private Lives; Tartuffe; The Scene; The Little Dog Laughed; ’Tis Pity She’s a Whore; Based on Auckland.
SCREEN INCLUDES:
Workmates; Human Traces; Fantail; Outrageous Fortune.
OTHER:
Writer of Fantail (New Zealand Film Awards nominee: Best Film, Best Actress, Best Screenplay; Melbourne International Film Festival, People’s Choice Award); Baby Done (Toronto International Film Festival); The Justice of Bunny King (Tribeca Film Festival, Nora Ephron Special Jury Prize); and Workmates (releasing 2025). Metro magazine’s Best Actress Award 2009 and 2014 for The Scene and Belleville with Silo Theatre.
JENNIFER LUDLAM
Princess Dragomiroff
TRAINING:
Jennifer was in the first intake of students at Toi Whakaari: New Zealand Drama School (1970).
FOR ATC:
Peter Pan; August: Osage County; Filthy Business; Calendar Girls; Taking Off; Who’s Afraid of Virginia Woolf?; Take a Chance on Me; Social Climbers.
OTHER THEATRE INCLUDES: Silo Theatre: Mother Play (upcoming); Boys will be Boys; When the Rain Stops Falling. Nightsong: Peter Pan; I Want To Be Happy; Mr Red Light; Call it a Night.
SCREEN INCLUDES:
Jennifer played Leanne Miller as a core cast member on Shortland Street for more than 10 years.
OTHER:
Jennifer has won multiple awards for theatre, film and television, spanning her long career as a beloved New Zealand actor. In 2005, Jennifer was appointed a Member of the New Zealand Order of Merit (MNZM) for services to the theatre.
MAYEN MEHTA
Hector MacQueen
TRAINING:
The Actors’ Program (2013); Royal Academy of Dramatic Art (2024).
TRAINING: Bachelor of Arts, University of Otago (2003); Toi Whakaari: New Zealand Drama School (2005).
FOR ATC:
North by Northwest.
OTHER THEATRE INCLUDES:
Silo Theatre: A Streetcar Named Desire.
SCREEN INCLUDES: Film: Scoby; The Justice of Bunny King; Baby Done. Television: n00b; One Lane Bridge; Home and Away.
MIRABAI PEASE
Mary Debenham
TRAINING:
The Actors’ Program (2018); Bachelor of Arts, University of Auckland (2025).
FOR ATC:
Murder on the Orient Express is Mirabai’s debut at Auckland Theatre Company. With Auckland Theatre Company’s NEXT BIG THING Festival, 2015: BED.
OTHER THEATRE INCLUDES: Champions; As You Like It; Shabbat Shalom and Thank You for Coming; Car.
SCREEN INCLUDES: Film: Seen (upcoming); Evil Dead Rise.
Television: Shortland Street; A Remarkable Place to Die; The Brokenwood Mysteries; Duckrockers; My Life is Murder; Head High; Power Rangers Dino Fury; The Gulf; Black Hands; Lovely Little Losers; Harry.
CAMERON RHODES
Hercule Poirot
TRAINING:
Toi Whakaari: New Zealand Drama School (1987).
FOR ATC:
King Lear; North by Northwest; The Life of Galileo; Black Lover; Mrs Warren’s Profession; Lysistrata; The Good Soul of Szechuan; A Shortcut to Happiness; Mary Stuart; The Importance of Being Earnest; She Stoops to Conquer; The Thirty-Nine Steps; Design for Living; Sweet Charity; Mum’s Choir; The Duchess of Malfi; A Christmas Carol; Goldie; Ladies Night; Hamlet.
OTHER THEATRE INCLUDES: Silo Theatre: Tartuffe; Loot; The Real Thing. Other: The Threepenny Opera; Live Live Cinema: Carnival of Souls; Dementia 13.
SCREEN INCLUDES:
Spartacus: House of Ashur; The Royal Treatment (Netflix); Housebound; The Brokenwood Mysteries; The Gone; Rake; Under the Vines; The Lord of the Rings; Home and Away.
JORDAN SELWYN
Te Aupōuri & Ngāti Kuri
Michel & Head Waiter
TRAINING:
The Actors’ Program (2012); Philippe Gaulier – Clown (2008).
FOR ATC: Murder on the Orient Express is Jordan’s debut at Auckland Theatre Company.
Spartacus: House of Ashur; Tangata Pai; Ahikāroa; Good Grief; Shortland Street; Auckward Love; The Kick; When We Go to War; Flat3; Field Punishment No. 1; Harry; The Map Reader.
RIMA TE WIATA
Helen Hubbard
TRAINING:
Toi Whakaari: New Zealand Drama School (1983).
FOR ATC:
The Life of Galileo; Rosencrantz & Guildenstern Are Dead; The Curious Incident of the Dog in the Night-Time; Billy Elliot; Sons; A Midsummer Night’s Dream; Little Shop of Horrors; Calendar Girls; Poor Boy; The Crucible; Take a Chance on Me; Death of a Salesman.
OTHER THEATRE INCLUDES:
Silo Theatre: Hir; The Book of Everything; Top Girls. The Court Theatre: The Ladykillers; The Seagull; Backstage; Heartbreak House; Hamlet; Mum’s Choir; Lady Windermere’s Fan; The God Boy. Other: Jumpy; Sonnets Unplugged; A Little Night Music.
SCREEN INCLUDES:
Film: We Were Dangerous; The Breaker Upperers; This Town; Housebound; 50 Ways of Saying Fabulous; Via Satellite; Hinekaro; Cops and Robbers; Alex.
Television: The Brokenwood Mysteries; Madam; A Remarkable Place to Die; The Wheel of Time; My Life is Murder; The Tender Trap; Full Frontal; More Issues; Sons and Daughters.
OTHER:
Voice work: Kiri and Lou.
Awards: Best Actress, The Tender Trap (NZ TV Awards, 2022); Most Popular NZ Film Actress (New Zealand Film Awards, 2018); Best Supporting Actress, Hunt for the Wilderpeople (NZ Film Awards, 2016); Best Supporting Actress, Housebound (Fangoria 2015). In 2017, Rima Te Wiata was appointed a Member of the New Zealand Order of Merit (MNZM) for her services to film and television.
EDWIN WRIGHT
Monsieur Bouc
TRAINING:
Theatre Studies, University of Otago (1996).
FOR ATC:
Rendered; The Good Soul of Szechuan; The Glass Menagerie; Black Confetti; The Pōhutukawa Tree; The Crucible; End of the Rainbow; Play 2.03.
OTHER THEATRE INCLUDES: Silo Theatre: Tartuffe; The Scene; Betrayal; Rabbit; Dying City; Plenty; Take Me Out; The Boys in the Band; Bruised; Unidentified Human Remains and The True Nature of Love; The Holden Caulfield Interviews. The Court Theatre: Uncle Vanya Other: Black Comedy; Richard III; Dead Funny; The Country Wife; Closer; One Flesh; Arcadia; Crimes of the Heart.
SCREEN:
Film: Guns Akimbo; The Meg; In Dark Places; Turbo Kid; Slow West; Matariki; Underworld 3; Apron Strings; King Kong; Blessed.
Television: East of Eden (upcoming); A Remarkable Place to Die; The Gone; Madam; The Luminaries; Power Rangers Beast Morphers; Straight Forward; Kiwi; Mistress Mercy; Dear Murderer; Hillary; The Roman Empire; Shortland Street; Tatau; Operation Overdue; Top of the Lake; Underbelly – The Martin Johnstone Story; What Really Happened; This Is Not My Life; Outrageous Fortune; Rude Awakenings. 13
Creative
JOHN VERRYT
Set Design
TRAINING:
Theatre Corporate; Mercury Theatre.
FOR ATC:
Peter Pan; King Lear; Long Day’s Journey into Night; The Haka Party Incident; Jesus Christ Superstar; Once on Chunuk Bair; Twelfth Night; Hair; Death of a Salesman; Rendered; The Pillowman.
OTHER THEATRE INCLUDES:
Nightsong: Peter Pan; 360 – a theatre of recollections; Spirit House; Head.
Theatre Corporate: Mother Courage; Foreskin’s Lament; The Threepenny Opera; King Lear.
Mercury Theatre: Porgy and Bess; Tosca; The Rose Tattoo; The Barber of Seville. Theatre at Large: Cyrano de Bergerac. Indian Ink Theatre: Krishnan’s Dairy; The Pickle King; The Candlestickmaker; Guru of Chai; Dirty Work; Paradise.
Silo Theatre: Badjelly the Witch; The Goat; Take Me Out; The Cripple of Inishmaan; A Streetcar Named Desire; Irma Vep; When the Rain Stops Falling; The Book of Everything; Three Days of Rain; Berlin; Tartuffe.
Red Leap Theatre: The Arrival; Dakota of the White Flats.
OTHER:
World of WearableArt 2009 – 2015;
NZ Opera: Gianni Schicchi; The Spanish Hour; Don Pasquale; Aida; Lucia di Lammermoor; Xerxes; Falstaff; The Magic Flute. Dance: Black Grace; Atamira; Ōkāreka; Douglas Wright; Malia Johnston; Michael Parmenter.
SEAN LYNCH
Lighting Design
FOR ATC:
Peter Pan; Long Day’s Journey into Night; Two Ladies; Grand Horizons; Rendered; The Audience; Winding Up; Black Lover; Jesus Christ Superstar; Once on Chunuk Bair; Lysistrata; Chicago.
OTHER THEATRE INCLUDES:
Nightsong: Peter Pan; I Want to be Happy. Silo Theatre: Break Bread; The Wolves; The Book of Everything; Angels in America; Hir. The Court Theatre: Things I Know To Be True; Everything After.
The Rebel Alliance: The Valentina; Watching Paint Dry.
ELIZABETH WHITING
Costume Design
FOR ATC:
Peter Pan; King Lear; Long Day’s Journey into Night; Two Ladies; The Life of Galileo; Shortland Street The Musical; The Miracle Worker; Joan; The Daylight Atheist; Nell Gwynn; Venus in Fur; The Ladykillers; Rupert; Lysistrata; In the Next Room; Little Shop of Horrors; Mary Stuart; Cabaret; The ThirtyNine Steps; Chicago; Anne Boleyn; Design for Living; My Name is Gary Cooper; The Pillowman; Doubt; The Duchess of Malfi; Equus; Goldie; Caligula; The Songmaker’s Chair; The Bellbird; The Daylight Atheist; Waiting for Godot; The Rocky Horror Show; Rosencrantz and Guildenstern are Dead; Hair; Angels in America.
OTHER THEATRE INCLUDES:
Nightsong: Peter Pan; I Want To Be Happy; The Worm; A Stab in the Dark; Call it a Night; Mr Red Light; Te Pō; Spirit House; 360: A Theatre of Recollections; Head.
The Court Theatre: The Country Wife; La Cage Aux Folles; The Great Gatsby; Cabaret. Silo Theatre: Tartuffe; Top Girls; Three Days of Rain; Irma Vep; The Scene; Holding the Man; When the Rain Stops Falling; Assassins; Angels in America.
NZ Opera: Faust; Carmen; La Bohème; Falstaff; The Barber of Seville; The Marriage of Figaro; Cosi Van Tutte; Cavalleria Rusticana; Pagliacci; Don Giovanni; Tosca; The Magic Flute; Brass Poppies.
Elizabeth designs for Indian Ink Theatre, Plumb Theatre, Te Pou, Red Leap Theatre, Ōkāreka Dance and many other companies.
PAUL MCLANEY
Composition & Sound Design
FOR ATC:
Venus in Fur; Enlightenment.
OTHER THEATRE INCLUDES:
Pop-up Globe: Romeo & Juliet; Twelfth Night; Hamlet; Measure for Measure; The Merchant of Venice; Julius Caesar; Macbeth; The Comedy of Errors; The Taming of the Shrew; Richard III; Othello; Much Ado About Nothing; As You Like It; Henry V; A Midsummer Night’s Dream.
Massive Theatre Company: Te Whare Kapua; Half of the Sky.
Other: Everything After; Cock; Conversations with Dead Relatives; A Gambler’s Guide to Dying; Homos, or Everyone in America; Vernon God Little; Lucrece; Manawa; Once There Was a Woman; Play On; FALLOUT: The Sinking of the Rainbow Warrior; Eight Gigabytes of Hardcore Pornography; Love and Information; K’Rd Strip; Speaking in Tongues; Call it a Night.
OTHER:
Solo Albums: Pedestrian; The Prayer Engine; The Shadows of Birds Flying Fall Slowly Down The Tall Buildings; Edin; Diamond Side; Play On; The Old Traditions; An Arrow Made of Air; As The North Attracts The Needle.
Bands: Gramsci (Permanence, Object, Like Stray Voltage, Inheritance, The Hinterlands, In Formation, Know Return); The Impending Adorations (multiple albums and singles)
Collaborations: The Blush Response; Nameless Sons; Immram; Heart’s Ease: Music from Pop-up Globe; Under The Greenwood Tree: Music from Pop-up Globe. 15
HARLEY CAMPBELL
Motion Design
FOR ATC:
Rendered; Joan; Astroman; Single Asian Female; The Life of Galileo; The Haka Party Incident.
KIRSTIE O’SULLIVAN
Accent & Dialect Coach
TRAINING:
Voice Studies, The National Institute of Dramatic Art (2006); Toi Whakaari: New Zealand Drama School (1999).
FOR ATC:
King Lear; Basmati Bitch; Rosencrantz & Guildenstern Are Dead; Red Speedo; Amadeus; The End of the Golden Weather.
OTHER THEATRE INCLUDES:
Agaram Productions: Boom Shankar Massive Theatre Company: Sightings; Chance to Ignite; The Wholehearted; Havoc in the Garden; Whero’s New Net. Silo: Midsummer; Angels in America; When the Rain Stops Falling; Holding the Man Pop-up Globe:
A Midsummer Night’s Dream; Romeo & Juliet; Hamlet; Julius Caesar; Much Ado About Nothing; Merchant of Venice; Twelfth Night; Measure for Measure; The Taming of the Shrew; Emilia.
SCREEN INCLUDES:
The Dead Lands; Shortland Street; TVC Dialect Coaching; Broadcast Screen Presenter Coaching.
OTHER:
The Voice Practice: High-Performance Voice Coaching; The Actors’ Program: Head of Voice (2012 – 2019); Unitec Institute of Technology: Voice Lecturer (2007 – 2011).
TODD EMERSON
Intimacy Coordinator
TRAINING:
Intimacy Coordination Certification, Intimacy Professionals Association (IPA); Consent Forward Artist Certificate, Intimacy Directors and Coordinators (IDC); Foundations of Intimacy 1 & 2, IDC.
FOR ATC:
As an intimacy coordinator: Daddy Ubu. As a performer: Grand Horizons.
OTHER THEATRE INCLUDES: The Perfect Image; Gravity & Grace; Losing Face.
SCREEN INCLUDES:
Mārama; Spartacus: House of Ashur; Chief of War; The Brokenwood Mysteries; n00b; The Boy, the Queen and Everything in Between; Raised by Refugees; Literally Dead.
OTHER:
Guest tutor at Unitec School of Performing and Screen Arts and ATC Youth Company
NĪ DEKKERS-REIHANA
Ngā Puhi, Te Rarawa, Ngāti Porou
Engine Room Assistant Director
FOR ATC:
Assistant Direction: a mixtape for maladies
OTHER THEATRE INCLUDES: Direction: Lads on the Island; ransom. co-directed with Stella Reid; This Long Winter co-directed with Micky Delahunty.
SCREEN INCLUDES:
Actingcoach: The Brokenwood Mysteries. Production manager: Puti. Production assistant: The Haka Party Incident.
Why Do Mysteries Grab Us?
by Ken Ludwig
About four years ago our family went on vacation in England, and during the London portion of the trip we went to the theatre and saw The Mousetrap by Agatha Christie. As you may know, The Mousetrap is the longest-running play in history. When we saw it, it had been running for 56 years (be still my heart) and it’s still running today as I write this.
As I watched the play unfold that night and saw the joy that it gave to our entire family, I resolved to try and write a mystery of my own. However, I knew, even then, that I wouldn’t have a chance of writing a good one until I figured out the allure of mysteries on the stage, and how and why the great ones entertain us so powerfully.
I started by reading every good mystery play I could lay my hands on. (Note: the phrase “mystery play“ can also refer to one of the succession of religious plays written from the 10th to the 16th centuries, illustrating Bible stories and performed by craft guilds. However, these rarely involved strychnine in the soup or eccentric lady detectives in pork pie hats and are not the mysteries referred to in this essay.) What I learnt from all my reading is that the greatest mystery plays written in the past 100 years have certain elements in common
and, by recognising these elements, I was able to understand more deeply the genre I was trying to tackle. Here is a summary of some of the lessons I learnt from my foray into the literature of mysteries.
1. THE GREATEST MYSTERY PLAYS ARE PLOTTED METICULOUSLY. They’re not character studies of a freewheeling nature; that’s not their territory. Think of the three great Agatha Christie stage mysteries: The Mousetrap, Witness for the Prosecution and And Then There Were None. Each one is an absolute model of architectural plotting.
When we speak of plot, it’s worth remembering the definition of plot offered by E. M. Forster in his book Aspects of the Novel. He illustrates the difference between story and plot as follows:
“The king died and then the queen died“ is a story. “The king died and then the queen died of grief“ is a plot. The time sequence is preserved, but the sense of causality overshadows it. Or again: “The queen died, no one knew why, until it was discovered that it was through grief at the death of the king.“ This is a plot with a mystery in it, a form capable of high development.
In other words, a plot requires causality. It’s not just “and then and then and then“. Great thrillers sometimes take this form, but great mysteries do not. In a mystery, one event must lead logically to the next. Events are caused by other events. A mystery play that lacks a good plot in this sense –that is not well plotted architecturally – is never a very good one.
I recently came across a longlost essay written in the 1930s by Agatha Christie herself, reprinted in the English publication The Guardian Review. In it, Christie confirms the need for tight architectural plotting in a mystery. She says, “I think the austerity and stern discipline that goes to making a ’tight’ detective plot is good for one’s thought processes. It is the kind of writing that does not permit loose or slipshod thinking. It all has to dovetail, to fit in as part of a carefully constructed whole.“
2. THE PLOTS OF GREAT MYSTERY PLAYS ARE RELENTLESSLY LINEAR. Mysteries take us on a ride, starting at the beginning and driving straight through to the end. Like roller coasters, the best mysteries may twist and turn, climb and plunge, but they’re always headed straight forward and zoom on to the finish.
Because the best mystery plays are so linear, there is rarely time for subplots. Everything usually stays on track and contributes to the main story. Think of Deathtrap by Ira Levin. This story about a writer of mystery plays who plans and executes a real murder, grabs us from the first minute and never lets go. Interestingly, it’s not really a whodunit so much as a whydunit – at least for the first half.
Equally compelling in the same way is Sleuth by Anthony Shaffer, about a man revenging his wife’s infidelity: I’ve seen this one described as a whodunwhat – which reminds us that mysteries don’t need to be formulaic, as they’re sometimes described. On the contrary, originality thrives in the world of mystery, be it in the basic plot, the setting of the story, the point of view, and, certainly, in the final twist.
But the one thing the best mystery plays have in common is that there are no superfluous subplots, even for purposes of theme. Great mysteries drive straight onward, staying on track from beginning to end.
Of course, mysteries sometimes contain red herrings: developments that make us believe that someone other than the culprit committed the crime. But, in the best mysteries, the red herrings are woven into the
forward motion of the play. There are loads of red herrings, for example, in The Mousetrap. Indeed, they make up the bulk of the play. The play begins by telling us that a gruesome murder was recently committed, thus laying out the exposition. It then spends most of the rest of the time introducing us to suspect after suspect until the real killer is finally revealed. Christie uses the same technique in her mystery novel Murder on the Orient Express. And, in both cases, she adds a terrific unforeseen twist at the end.
When I started to write my own mystery play, The Game’s Afoot; or Holmes for the Holidays, I came up with a mantra for myself based on all my prior mystery reading.
Just as President Clinton put a note above his desk that said, “It’s the economy, stupid“, I put a note above my own desk that said, “Relentlessly Entertaining“. I decided that the best way to write a mystery for the stage was to make the piece as relentlessly entertaining as I possibly could – another way of saying that the forward propulsion of the piece should never flag.
3. THE GREATEST MYSTERY PLAYS, LIKE THE GREATEST PLAYS OF ANY KIND, SOMEHOW, ALMOST MAGICALLY, HAVE RESONANCES TO OTHER, DEEPER LAYERS OF MEANING. Take the greatest mystery play ever written Hamlet. It begins with the line “Who’s there?“ and it spends the rest of the night exploring that question. Who’s there? Who am I? Who is the ghost? Who is Claudius? And in the midst of these questions, it manages to be (if it’s possible to see it objectively any more) an edge-ofthe-seat mystery-thriller where the
victim’s son tries to figure out whether to trust a ghost who tells him to kill his own uncle in revenge for the brutal murder of his father.
As Hamlet above all others reminds us, mysteries speak to something central to us all. We try to find out who the killer is just the way we question other, deeper questions of identity. We want answers to vital questions that can make the world more rational and sensible because answers give us peace of mind.
4. MYSTERIES, BY THEIR VERY NATURE, CONTAIN CERTAIN RECURRING THEMES. These usually include questions about death, about justice and about appearance versus reality. Let’s start with death. Has there ever been a really successful stage mystery that doesn’t have a dead body in it? If there has been, I don’t know of it. In some stage mysteries, the death is far in the past –think of Angel Street (retitled Gaslight for the movies) by Patrick Hamilton, in which the murder occurred years before the opening of the play. By contrast, in Dial M for Murder, the murder doesn’t occur until well into the second scene of the play. Similarly, in Sleuth and Deathtrap, the first half of each play is spent plotting the malefaction. But, whether the death is remote or recent, onstage or off, death of some kind usually plays a part.
Sometimes, the death is morally ambiguous, which raises questions about justice. Should the culprit be punished if the victim is a predator on the community? Hamlet raises this question squarely. Is Hamlet morally wrong for murdering Claudius if Claudius in fact murdered Hamlet’s father in cold blood?
I raise this question myself in The Game’s Afoot; or Holmes for the Holidays. It’s hardly the central question of the play, but I’ve spoken with audience members who find the issue of justice to be one of the most interesting parts of the whole proceeding. If the culprit who is finally identified killed a character who was hateful to the whole society, is that culprit blameworthy or worthy of praise? And should that kind of culprit be punished, either by society or by the law? The answers to these questions are never clear-cut, nor should they be. But it’s interesting to remember that we certainly root for Prince Hamlet every step of the way. What about appearance versus reality? In one sense, all drama almost automatically raises this dichotomy. Actors play characters in the play; and while we’re meant to be invested in the characters who embody the story, we also realise that we’re sitting in a darkened room watching actors who have been hired to play parts. What is the appearance and what is the reality? Mystery plays always take this question one step further. Many of the characters, and certainly the culprit, are disguising their true identities for the sake of some kind of escape, be it from real life or from the hangman. Disguise is central to mysteries, just as it’s central to our own lives. Do we want anyone to know who we really are? How do we hide our true identities? What happens when our true identities are revealed? These questions are central to all stage mysteries, from Hamlet to The 39 Steps. And this is one of the reasons that we find mysteries so endlessly fascinating. Mysteries are journeys trying to answer the question of who we really are.
5. FINALLY, WHAT WE’RE REALLY SEEKING WHEN WE LOOK FOR ANSWERS IN A MYSTERY IS A SENSE OF ORDER.
In The Game’s Afoot; or Holmes for the Holidays, I have the inspector in the play, Inspector Goring, say to the protagonist, William Gillette (the actor who played Sherlock Holmes on stage for more than 30 years): “Order from chaos. Order from chaos. It’s what I do.“
And that’s what mysteries do. They fit the pieces together. First, all the disparate elements of the story are thrown up in the air by the murder or another corrupting event. Then, miraculously, all those elements fall back to earth and fit together again, like the pieces of a jigsaw puzzle, into a social order that society recognises and approves.
We as humans seem to crave that sense of order. We find it satisfying and it gives us peace. It seems to me that it’s somehow related to the puzzles that many of us like to solve on a day-to-day basis: like crosswords and Sudokus. Solving those puzzles and filling in all the space in an orderly manner gives us a sense of reassurance and closure.
Every mystery play I can think of – from the earliest examples of the genre, like Sherlock Holmes by William Gillette, which premiered in 1899, to more recent examples, like The 39 Steps by Patrick Barlow, which premiered in 2005 – has an ending where good triumphs over evil and society rights itself after a period of discord. In a sense, that’s the very definition of a mystery. Order from chaos. It’s what a mystery does.
Accessibility
Our mission is to make great theatre easy for all to enjoy. We welcome anyone with access needs, along with their friends and whānau, to our venue and we are on hand to help.
NZSL Interpreted Performance
Sat 3 May 2:00pm
NZSL interpreted performances feature trained interpreters from Platform Interpreting New Zealand. These professionals work closely with ATC to translate the play into NZSL. The interpreter performs on stage, providing realtime interpretation for d/Deaf patrons. We reserve great seats for interpreter viewing.
Audio Described Performance and Touch Tour
Sun 4 May – Touch Tour: 2:30pm,
Audio Described Performance: 4:00pm
Audio described performances feature live commentary from Audio Described Aotearoa professionals. They provide detailed visual descriptions between dialogue, relayed via complimentary earpieces to blind and lowvision patrons.
Touch tours, held 90 minutes before the performances, allow patrons to explore the sets, touch props and costumes, and meet actors. These free tours are designed for blind and low-vision patrons and their companions.
Supported by:
Assistance Dogs
Assistance dogs are welcome at the theatre. We can find a seat that’s comfortable for you and your dog or arrange for staff to look after your dog during the show.
Wheelchair Access
ASB Waterfront Theatre has three wheelchair spaces and eight companion seats in the auditorium. There is step-free, level access to all levels of the building and to seating in the stalls. Wheelchair-accessible toilets are located on the ground floor; accessible parking is available on Madden Street.
Relaxed Performance
Tue 6 May 7:00pm
Relaxed performances are an inclusive, welcoming environments for neurodivergent individuals and anyone seeking a less formal theatre experience. They offer a flexible approach without changing the show. Audiences can expect pre-show resources, brighter lighting, an open attitude to movement and noise, and a dedicated breakout space. An optional pre-show demonstration invites patrons to enjoy theatre on their own terms. Everyone is welcome.
Hearing Assistance
The theatre has a T-Loop radio frequency system to amplify the sound of the performance. If you don’t use a hearing aid or your hearing aid does not have a T setting, there is a listener unit available on request from the box office.
HOW TO BOOK ACCESS TICKETS
Access tickets are available for $20 for Deaf or disabled audience members attending an accessible performance. One companion ticket per theatre-goer is also available for $20. Access tickets for the relaxed performance can be purchased online, via email or over the phone. For tickets to all other accessible performances, to reserve wheelchair seating or for assistance with your booking, email boxoffice@atc.co.nz or call 09 309 3395.
NZSL Interpreted Performances – Platform Interpreting New Zealand
Audio Described Performances – Audio Described Aotearoa Ltd
Relaxed Performance Consultants – Miriama Ashby, Stacey Francis, Gabby Hogg, Christopher Michael Deaf community engagement advisor – Rachel Walker
Thanks to Katie Querin and Arts Access Aotearoa for your support and guidance.
Sign up to receive news about the accessibility programme: atc.co.nz/access
Acknowledgments
Auckland Theatre Company would like to thank the following for their help with this production: Dr. Yusuf Cakmak, Ephraim Frame (Toi Whakaari: New Zealand Drama School Design Intern), Andrew Gibson, Jazmyne van Gosliga, Sophie Hambleton, Peter Haynes, Robert Larsen, Mark Leedom, Denny Monk, Fiona Sole, Daryl Wong, Auckland Arts Festival, BounceNZ, Creative Ambiance, Fabrication Specialists, Juggernaut, Lotech Media, Propellor, Q Theatre, Theatrical Solutions, Xytech
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In Focus: Auckland Theatre Company’s Open House Programme
At the heart of Auckland Theatre Company’s Mt Eden studios lies a thriving creative hub making an impact on Auckland’s theatre community.
Since 2011, when Auckland Theatre Company brought its administration and rehearsal spaces under one roof in the lower ground floor of the Mt Eden War Memorial Hall in Balmoral, this historic building has been home to the company’s creative process. The refit of the former Eden-Roskill RSA was undertaken by architect Gordon Moller ONZM, an Auckland Theatre Company board member who would later design the ASB Waterfront Theatre.
Through the Open House Programme, Auckland Theatre Company offers free studio space to independent artists and companies developing new work, with priority given to those workshopping or rehearsing theatre and live performance.
In 2024, our two studio spaces hosted 72 different groups across 467 days, with 1,064 artists using the space to create, collaborate, workshop and meet. From these sessions, 41 new works were developed alongside 17 workshops and other activities. In 2025, the programme continues to thrive, and the studios are busier than ever.
Beyond the practical benefits of a professional space, Open House creates a community where artists can feel welcomed and supported. Recent feedback shows that 98% of users reported positive development in their arts practice, while 96% celebrated
the space’s creative atmosphere. The programme particularly benefits emerging and mid-career artists, who make up the majority of users.
“Open House made all the difference,“ shares one participant. “The space allowed us to devise and then rehearse our show almost full time in the final lead up to our season, which was invaluable time we wouldn’t have otherwise had.“
Located within the Auckland Theatre Company’s headquarters on Dominion Road, the space fosters both creative work and connection with the Auckland Theatre Company team. As another artist noted, “We loved coming to Auckland Theatre Company. We loved connecting with some of our Auckland Theatre Company colleagues. We loved feeling part of the whānau.“
Beyond providing creative space, Auckland Theatre Company loans out Props and Costumes from past productions. These costumes and props find second lives in productions across Auckland, transforming the remnants of past theatrical worlds into the building blocks of new artistic visions.
Through Open House, Auckland Theatre Company continues its commitment to nurturing Auckland’s theatrical ecosystem, ensuring independent artists and companies have the resources they need to create, collaborate, and thrive.
Supported by:
GMGP & SEG presents The Play That Goes Wrong
14 MAY – 1 JUN
The smash-hit Olivier and TonyAward-winning, The Play That Goes Wrong, returns to Auckland in May 2025. It’s guaranteed to leave you aching with laughter!
Auckland Theatre Company presents Roger Hall’s End of Summer Time
17 JUN – 5 JUL
The godfather of Kiwi comedy once again strikes gold.
Auckland Theatre Company presents William Shakespeare’s Romeo & Juliet
15 JUL – 9 AUG
These violent delights have violent ends.
Auckland Theatre Company presents MARY: The Birth of Frankenstein by Jess Sayer
19 AUG – 7 SEP
To make a monster, you must first become one.
Thank You
Auckland Theatre Company Supporters
ATC PATRONS GROUP 2025
Co-Chairs The Hon Justice Anne Hinton KC and Lady Dayle Mace MNZM
Patrons Margot & Alastair Acland, Margaret Anderson, John Barnett CNZM, Betsy & Michael Benjamin, Louise & Mark Binns, Patrick Bourke, Stephen Brown, Barbie & Paul Cook, Jacqui Cormack & Matthew Olde, Jane & Tiff Day, Annette & Kim Ellis, Jan & Trevor Farmer, Antonia Fisher KC & Stuart Grieve KC, Virginia Fisher & Stephen Fisher QSO, Sir Michael Friedlander KNZM, Andrew Gelonese & Michael Moore, Anna Gibbons, Dame Jenny Gibbs DNZM, Stephanie & Michael Gowan, Joséphine & Ross Green, Sue Haigh, Georgiana Harper & Tim Olphert, The Hon Justice Anne Hinton KC & Peter Hinton, Michael Horton CNZM & the late Dame Rosie Horton DNZM, QSO, QSM, Sally Jackson, Katie Jacobs & Chris Aughton, Stella Johnston, Judy Jordan & Trevor Bayly, Heather & Len Jury, Anita Killeen & Simon Vannini, Philippa Smith Lambert & Chris Lambert, Margot & Paul Leigh, Antonia & Tim MacAvoy, Lady Dayle Mace MNZM & Sir Chris Mace KNZM, Peter Macky, Charlotte & Ian McLoughlin, Pip Muir & The Hon Kit Toogood KC, Christine Nolan & Derek Nolan KC, Prue Olde, Heather Pascual, The Hon Dame Judith Potter DNZM, CBE, Robyn & Malcolm Reynolds, Fran Ricketts, Julie & Russell Tills, Louise & Karl Von Randow, Joan Vujcich, Susan & Gavin Walker, Lynne Webber & Priscilla McGirr, Ian Webster, Dona & Gavin White
YOUTH COMPANY SUPPORTERS 2025
Co-Leaders Peter Macky and Joan Vujcich
Saints Aaron Boonshoft, Peter Macky, Joan Vujcich
Angels Paul Boakes & Andy Eakin, Dame Jenny Gibbs DNZM, Charlotte & Ian McLoughlin, Sam & Elías, Jane & Mark Taylor, Ian Webster
Cherubs Peggy & Richard Greenfield, Coriamber Hogan & Martin Kunz, Michael Synnott Charitable Trust, Keiko Pulin & Graham Astley
Friends Brenda & Stephen Allen, Margaret Anderson, Denese Bates KC, Jonathan Bielski, Susan Buckland, Ron Elliott & Mark Tamagni, Virginia Fisher & Stephen Fisher QSO, Karen Fistonich, Prue & John Gilbert, Martin Gillman, Alexandra Goldkorn & Craig Birch, Conor Greive, Deb Haworth, Helen & Hamish, Wayne Hughes, R Inder & R Bergs, Sally Jackson, Judy & Andrew Jarvie, Joy Keith, Margot Leigh, Louise Pagonis, The Hon Dame Judith Potter DNZM, CBE, Annette Stewart, AD Swinburn, Kerry Underhill & Daan van Gulik, Joanne & Rob Wills, Anonymous (10)
30TH ANNIVERSARY FUND
Visionary Dame Jenny Gibbs DNZM, Jan & Trevor Farmer
Lead Nicole & Guy Domett, Prue Olde
Ensemble Barbie & Paul Cook, Andrew Gelonese & Michael Moore
Curtain Call Anne Hargreaves, David Inns, Rosemary Langham, Caroline List, Rob Nicoll, Shona & Barry Old, Anonymous (2)
Take A Bow Dale Bailey MNZM, Sir Roger Hall KNZM, QSO, Jan Hilder, Sue & Murray Lee, Judy & Allen McDonald, The Hon Dame Judith Potter DNZM, CBE, The Hon John Priestley CNZM, KC, Sarah Sinclair, Georgia Smith, Anthea & Peter Springford, Anonymous (2)
Applause Britta Christiansen, Trish Clapham, John Dwyer, Marilyn Eales, Jane Hanley, Jan Hilder, Christine King, Giri Mahadevan, Shona McCullagh MNZM, Dawn & Peter McEniery, Jan Milne, Fay Pankhurst, Janette Partington, Jennifer Price, Maxine Priestley, Brigitte Richards, Deb Shepherd, Jenny & Andrew Smith, Suren Surendran, Isaiah Tour, Kerrin Vautier CMG & Noel Vautier, Debbie & Mike Whale, Jenny Whatman & Kerry Harvey, Anonymous (3)
Auckland Theatre Company Partners
ASB Waterfront Theatre Supporters
AUCKLAND THEATRE COMPANY
BOARD OF DIRECTORS
Vivien Sutherland Bridgwater MNZM (Chair)
Ngāti Whātua
Bronwyn Bradley
Nathan Joe 周润豪
Tony Larsen
Derek McCormack
Graeme Pinfold
LEADERSHIP
Artistic Director & CEO: Jonathan Bielski
ARTISTIC
Artistic Associate & Casting Director:
Benjamin Kilby-Henson
Youth Arts Coordinators: Dan Goodwin, Acacia O’Connor Ngāti Porou, Beatriz Romilly, Munashe Tapfuya
ARTISTIC OPERATIONS
Director, Artistic Operations & Deputy CEO: Anna Cameron
Director, Production: Kathryn Osborne
Producer: Sums Selvarajan
Head of Learning & Participation: Sam Phillips
Operations Manager: Lucy Gardner
Production Coordinator: Paige Pomana
Ngāti Porou, Ngāti Rakaipaaka, Rongomaiwahine
Participation Coordinator: Kalia Regan
Balmoral Coordinator: Chiara Niccolini
Engine Room Resident: Nī Dekkers-Reihana
Ngā Puhi, Te Rarawa, Ngāti Porou
MARKETING & TICKETING
Director, Marketing: Joanna O’Connor
Marketing Manager: Kate Shapiro
Graphic Designer: Wanda Tambrin
Marketing Executive: Maxene London
Marketing Assistant: Hazel Oh
Ticketing Manager: Bruce Brown
Box Office Team Leader: Gary Hofman
Ticketing Assistants: Ella Blake Brislen, Mia Crossan, Molly Curnow, Talia Pua, Toby Swann, Tom Webster, Rachael Yielder, Daphne Zondag
FINANCE & ADMINISTRATION
Director, Finance: Elena Nikolaeva
Finance Officer: Dina Abramova
Accountant: Reena Mudliar
Head of Strategy: Natasha Pearce
Archives Assistant: Kalia Regan
ASB WATERFRONT THEATRE
Director, ASB Waterfront Theatre: Sharon Byrne
Co-Front of House Managers: Billy Blamires, Dario Kuschke
Events Coordinator: Amy Robertson
Venue Technical Manager: Johnny Chen
Senior Venue Technician: Nathanael Bristow
Technical Team: Tayla Brittliff, Dominic Halpin, T.J. Haunui, Luuk Heijnen, Mathew Illek, Michael Keating, Dario Kuschke, Max Manson, Louis McKendry, Aaron Mitchell, Nick Mulder, Joseph Noster, Finlay Pinkerton, Benny Sarten
Front of House Supervisors: Billy Blamires, Jack Clarkson, Lucie Everett-Brown, Gary Hofman, Sofi Issak-Zade, Pearl McCracken, Rachael Yielder
Front of House: Luke Bishop, Ella Blake Brislen, Elliot Blakeley, Ruben Cirilovic, Bailey Cropp, Mia Crossan, Molly Curnow, Sam Dawkins, Merlia De Ridder, Nat Dolan, Shannon Freeman, Eugene Garry, Mary Grice, Lara Grozev, Shayla Hann, Amy Henwood, Kirsty Leggett, Vena-Rose Lennane, Emre Logan, Michaela MacFarlane, Prakritik Mal, Isla Mayo, Ida Munro, Demos Murphy, Carla Newton, Joseph Noster, Finlay Pinkerton, Talia Pua, Tema Pua, Manunui Rainey, Ailsa Scott, Mikaela Stroud, Emily Smith, Mandy Smith, Toby Swann, Geo Tughushi, Tom Webster, Daphne Zondag
CONTACT ATC
487 Dominion Road, Mt Eden PO Box 96002
Balmoral, Auckland 1342
P: 09 309 0390
atc@atc.co.nz atc.co.nz
CONTACT BOX OFFICE
ASB Waterfront Theatre 138 Halsey Street Wynyard Quarter, Auckland
General Box Office: 09 309 3395
boxoffice@atc.co.nz
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The godfather of Kiwi comedy once again strikes gold. 17 JUN – 5 JUL |
