Ko Te Pou Whakamahara a Māui Tikitiki a Taranga 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!
Pouwhakamahara a Māui-Tikitiki-a-Taranga
The Memorial Post of Māui the Topknot of Taranga
Robert Jahnke ONZM (Ngāi Taharora, Te Whānau a Iritekura, Te Whānau a Rākairoa 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 Taranga 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!
AUCKLAND THEATRE COMPANY PRESENTS
28 JUL – 22 AUG 2026
Macbeth by William Shakespeare is the sixth production in Auckland Theatre Company’s 2026 season. Written around 1606, it is one of Shakespeare’s shortest and most enduring tragedies. Directed by Benjamin Kilby-Henson, this production began previews on Tuesday 28 July and opened on Thursday 30 July 2026.
The production runs for two hours and 30 minutes, including an interval. This production contains haze, depictions of violence, self-harm, infanticide and death. Please switch off all mobile phones and noise-emitting devices. Filming and photography are prohibited, except during the curtain call.
CAST
Lennox – Alison Bruce
Ross – Keagan Carr Fransch
Malcolm – Travis Graham
Lady Macduff –Marianne Infante Khee Choy
Macbeth – Mark Mitchinson
Macduff – Maaka Pohatu
King Duncan – Robert Pollock
Banquo – Jeff Szusterman
Porter – Amanda Tito
Donalbain – Lauie Tofa
Lady Macbeth – Sara Wiseman
Witches – Maxwell Andrews, Elsie Dilworth, Eva Gillespie, Lucy Goer, Harvey Gui, Quinn Hallas, Charlie Kawha Grey, Evelyn Towersey, Lily Williams
ENSEMBLE
Nadine Akimana, Liam Ashby, Christie Blair, Antacia D’Costa, Shayla Hann, Emma Jackson, Saffiya Johnson, Violet King, Molly Last, Erica Latu, Zoe Ysabel, MJ Salesa, Inaya Sinclair, Nesta Vaaelua, Ben Way, Cole Wilkinson, Fred Willans, Nieve Wilson
CREATIVE
Playwright – William Shakespeare
Director – Benjamin Kilby-Henson
Set Design – Dan Williams
Lighting Design – Rachel Marlow &
Bradley Gledhill, Filament Eleven 11
Costume Design – Elizabeth Whiting
Composer & Sound Design – Robin Kelly
Movement Direction – Katrina George
Vocal Direction – Cherie Moore
Fight Choreographer – Amand Weaver
Props Manager – Emma Aubin
Intimacy Coordinator – Miriama McDowell
Engine Room Assistant Director & Resident Director – Sepelini Mua'au
Engine Room Assistant Designer – Talia Pua
PRODUCTION
Stage Manager – Keira Howat
Deputy Stage Manager – Eliza Josephson-Rutter
Assistant Stage Manager – Mozz Smith
Head of Staging – Molloy
Head of Electrics – Spencer Earwaker
Head of Sound – Sam Clavis
Technical Operator – Max Koenig
Sound Operator – Joel Orme
Microphone Technicians –Lee Huxley & Louis McKendry
Publicity – Bridget de Launay, de Launay Enterprises
Photography – Andi Crown
Videography – Daryl Wong
Nau mai, haere mai
This new production of Macbeth is the third part in my series of the tragedies of William Shakespeare. In this series we are inviting theatre artists to make these classics anew, for the moment we live in now. Shakespeare always has a resonance to the times and so it is with Macbeth.
In director Benjamin Kilby-Henson’s version, war is a permanent state. The production design draws references from all wars, past and present. While the unending battles rage, the elites hide underground like rats and fight each other for power with murderous consequences. Our new Macbeth is a political thriller; it speaks to history and the current day, reflecting the everpresent pursuit of power and supremacy of some over others at any cost.
Ben and his creative team of Dan Williams, Rachel Marlow and Bradley Gledhill, Elizabeth Whiting MNZM, Robin Kelly, Katrina George, Cherie Moore, Amand Weaver, Emma Aubin and Miriama McDowell have created a monumental production. We dared them to go big and indeed they have. It’s a thrilling night of theatre.
Macbeth and Lady Macbeth lust for the throne of Scotland, driven by supernatural enchantment, naked ambition and ancient hatred. Played by two of our greats in Mark Mitchinson, making a criminally overdue debut with ATC, and Sara Wiseman, they are deliciously unhinged and terrifying.
During this season we are presenting nine dedicated performances for schools. Some 5,500 students will attend from all over Auckland and as far afield as Whangārei and Rotorua. The tickets for these school shows are just $20. Thanks to the ATC Patrons Group we can provide free tickets and buses to low-equity schools. Our work in education is made possible by Tindall Next Gen, Foundation North, Friedlander Foundation, The Lion Foundation and Whakaari Aotearoa.
This year we are marking 10 years since the opening of ASB Waterfront Theatre, our home. We are blessed to be the custodians of this gorgeous theatre: the place where theatre-makers can play on a big scale and our city can be entertained. A dream made possible by major gifts from Auckland Council, ASB, AUT, Foundation North and Creative New Zealand and the personal donations of many Aucklanders.
You may notice on the chair in front of you a plaque from one such Aucklander. However, we have 52 seats that have not yet been claimed. Please consider a tax-deductible donation of $1,000 to Take a Seat. On the inside back cover, you can find out how you can do that.
Jonathan Bielski Artistic Director & CEO
Note from the Director
From what we can make out, Macbeth was written in 1606 and less than a year after the attempt to blow up both Parliament and the Scottish King of England, James I.
While others simplistically villainised Guy Fawkes (and his fellow Gunpowder Plotters) so successfully we still burn his effigy every year on 5 November, Shakespeare went inside the mind of a traitor.
What does it take to contemplate, plan and, then, enact the murder of a leader? And how might that impact the fabric of the mind? Long before psychology entered the lexicon, Shakespeare could already see how murder spawns scorpions of the mind.
The Jacobean audience firmly believed their kings were ordained by God. Regicide was a far more shocking and deplorable act than it is in our desensitised world today. Jacobeans were still in the mind-set of warfare aligning with “sport”. There was a common-felt nobility to war and warfare. The defence or the gaining of “deserved” territory was seen as something entirely different from the secrecy and betrayal of plotted assassination. The Gunpowder Plot simply wasn’t sportsmanlike. It is
remarkable, then, that Shakespeare takes us inside the minds of those the nation had quickly learned to deplore.
In doing so, Shakespeare gives us the blueprint of the original thriller. It breaks many of the dramaturgical rules of the time. Gone are any subplots – there’s no time. There’s barely time to finish a full sentence: the play employs more elision than any other of Shakespeare’s works. There are two forms of elision working hard to keep things moving: linguistic (“If it were done, when ’tis done, then t’were well, it were done quickly…”) and structural elision, whereby key plot events happen off stage or are alluded to only scantily (“He’s already named and gone to Scone…”).
Battles happen above ground on a terrain we never see. Our world exists underground: inside dark tunnels, dripping and echoing. Nothing is clean but hastily gathered possessions still hold value. Technology is anachronistic.
A Scotland, yes, but a fantasy Scotland, a black mirror of the one we know. This is a timeless, broken environment that evokes our own world, yet is not.
This world is peopled with those who scurry through tunnels, both physically and inside their minds. The characters
trapped in the perpetual night of Macbeth and Lady Macbeth’s creation can barely utter their darkest thoughts and fears.
Although a militant gun-for-hire, Macbeth is deeply poetic in his understanding of human suffering (albeit mostly his own). Perhaps that’s because he’s experienced it all-too firsthand in battle, slicing people from the nave to the chops. His fight is between the deep-feeling poet he might have been in another universe and the down-to-business brute he’s becoming. In the final act, he loses this battle. Our flawed but beloved Lady Macbeth and Macbeth can’t even face the magnitude of what they’re planning; they spend much of the play discussing the murder euphemistically. ”I have done the deed,” wink, wink.
Lady Macbeth may end her life chattering continuously but she does so on a loop, recounting the same events over and over, desperately trying to recount the moment she lost her husband irreconcilably, unable to pinpoint the exact moment of their schism. She ends her life in tunnel vision.
We’re escalating the cyclical, intergenerational impact of violence in our production. There’s the premature loss of Macbeth and Lady Macbeth’s male child (in our world, called Felix, the Latin word for success, we decided), the horrific slaughter of Lady Macduff and her children and Macbeth’s lamentation on ageing while on the hubristic cusp of his own death.
The three witches appear as three possessed young children. Eerily reminiscent of World War Two evacuees, they fail to match the postapocalyptic lens framing the rest of our tunnel world. Representing the cyclical nature of human violence, these gas-masked figures also play Fleance and Lady Macduff’s daughters. Banquo’s near-murdered son Fleance, as prophesied, is likely to violently take the crown from Malcolm.
If Romeo & Juliet is a panorama of love, then Macbeth is a panorama of violence. The witches come back at the end of our production because violence is not over and will never be. If you hurt me then I hurt you and you exact revenge. And so it goes, tomorrow and tomorrow and tomorrow...
Director Benjamin Kilby-Henson
Benjamin is one of New Zealand’s leading theatre directors, forging a diverse career spanning form, scale and medium, including original works, scripted premieres and opera. Prior to his move to New Zealand, Ben worked for one of the UK’s largest youth arts organisations, leading participatory projects for primarily at-risk youth, including taking six productions a year to the Edinburgh Festival Fringe for nine consecutive years. Ben later trained in theatre direction at the Mountview Academy of Theatre Arts, London, while continuing to direct for the London fringe and cabaret circuit. Following projects in Germany and France, Ben was director in residence at the Yvonne Arnaud Theatre, Guildford.
Ben teaches in Auckland’s drama schools and is Artistic Manager of The Actors’ Program, Aotearoa’s leading training ground for actors with one of the highest employment rates in the country.
Under theatre collective Fractious Tash, Ben has received critical acclaim for
Earnest, Not Psycho and Titus. Titus was then remounted for a sell-out season at the Pop-up Globe, featuring Beyoncé covers by New Zealand’s only steelpan band. The award-winning production of Last Tapes Theatre Company’s Valerie toured throughout New Zealand, following dates in Australia and Edinburgh, adding to its accolades the coveted Scotsman Fringe First Award at the Edinburgh Festival Fringe.
For The Court Theatre, Christchurch, Ben has directed Little Shop of Horrors, Strictly Ballroom, The King’s Speech and Something Rotten! The latter returned for a repeat season, thanks to audience demand.
For Auckland Theatre Company, Ben has directed Red Speedo, Rosencrantz & Guildenstern Are Dead, King Lear, The Effect and Romeo & Juliet. Ben will return later this year to direct Auckland Theatre Company’s Cabaret, premiering in late September. Ben is the Artistic Associate and Casting Director at Auckland Theatre Company.
Playwright William Shakespeare
William Shakespeare (1564–1616) was an English playwright and poet, widely regarded as one of the greatest writers in the English language. Born in Stratfordupon-Avon, he gained recognition for his plays during the late-16th and early17th centuries. His works, consisting of approximately 39 plays, 154 sonnets and several narrative poems, span various genres including tragedy, comedy and history, and have had a profound and enduring impact on literature, theatre and culture. His exploration of universal themes, such as love, jealousy, ambition and human nature, continues to resonate with audiences today, offering profound insights into the human experience.
The Tragedy of Macbeth is believed to have been first performed in 1606, most likely as a private performance for King James I at Hampton Court. Its first recorded public performance came some years later, on 20 April 1611 at the Globe Theatre in London, where astrologer Simon Forman was in the audience and left us with a written account of what he saw.
Saying the name of the play in the theatre is a real taboo among theatremakers but the evidence for the curse is mostly conjecture. Theories include real witches cursing the play for their stolen spells and the first-ever Lady Macbeth dying during a performance. However, it is true that an actor was killed in 1672, when real weapons were used rather
than prop swords and, in 1947, an actor died while playing the title role. The Astor Place Riots were caused by duelling performances of Macbeth and resulted in at least 20 deaths and hundreds of injuries. In an infamous 1937 production, Laurence Olivier was nearly hit by a falling stage weight, the director and actress portraying Lady Macbeth were nearly involved in a car crash, and stage manager Lilian Baylis actually died during rehearsals. Commentators note that Macbeth is an extremely popular play to stage and more productions create more opportunities for mishaps.
This is the first time Auckland Theatre Company has staged Macbeth. Alongside this, the Company has presented a number of other Shakespeare works, including Julius Caesar, directed by Raymond Hawthorne (1998), Twelfth Night, directed by Michael Hurst (2006), A Midsummer Night’s Dream, directed by Ben Crowder and Colin McColl (2012), King Lear, directed by Michael Hurst and Benjamin Kilby-Henson (2023), and, most recently, Romeo & Juliet, directed by Benjamin Kilby-Henson (2025). In 2008, Auckland Theatre Company’s Summer School presented Shrew’d, written and directed by Margaret-Mary Hollins and adapted from The Taming of the Shrew. In 2015, the Company presented Hamlet, directed by Dominic Dromgoole and Bill Buckhurst, broadcast live from London’s Globe Theatre in partnership with the New Zealand Festival of the Arts.
Synopsis
ACT ONE
King Duncan receives the report of a wounded soldier: the battle against the Norwegians has been won, thanks to the bravery of Macbeth. Ross tells the king that the Thane of Cawdor is a traitor.
The Witches meet Macbeth and Banquo and prophesy that Macbeth will be Thane of Cawdor, then king. They say Banquo will father a line of kings. Ross conveys the news that King Duncan has stripped the disgraced Thane of Cawdor of his title and awarded it to Macbeth. A post-battle feast is arranged at Macbeth’s castle. Lady Macbeth is enlivened by a message from her husband and then his arrival in person. Macbeth is stalling, unsure if he really wants to murder the king. Lady Macbeth convinces him to continue. Macbeth is beset by the vision of a dagger. When he fails to leave the real bloodied daggers alongside the guards, as planned, Lady Macbeth must do it for him.
The next morning, the castle wakes to a knocking at the door. Everyone appears shocked at the death of King Duncan. Macbeth kills the guards before they wake – out of rage, he says. Donalbain and Malcolm, the two sons of the king, fear for their safety and flee the country, causing suspicion to fall upon them.
Lord and Lady Macbeth are crowned King and Queen of Scotland. Macduff does not attend the ceremony. Banquo is also suspicious but he confirms to Macbeth he will attend the feast that evening, after riding with his son Fleance during the day. Macbeth manipulates two men into murdering Banquo. At the banquet, Macbeth’s guilt and paranoia overwhelm him. He sees the ghost of Banquo after being told by the murderer that he is dead – but Fleance escaped.
ACT TWO
Macbeth seeks out the Witches, who grant him three visions, each with a prophecy.
Lennox tells Macbeth that Macduff has fled to England and Macbeth vows to murder his family.
Lennox and Ross discuss the state of the country, the suspicions that Fleance murdered his father and where their own loyalties should now lie.
Lady Macduff is telling her children that their father’s treachery means he should be dead to them when they are themselves slaughtered.
Malcolm and Macduff join forces to revolt against Macbeth. Ross brings the awful news that Macduff’s entire family has been killed.
Back at Macbeth’s castle, a doctor has been called on account of Lady Macbeth’s sleepwalking and sleeptalking. He is alarmed by her confessions.
The English army, led by Macduff and Malcolm, marches ever closer. The soldiers chop down leaves from Birnam Wood to use as camouflage.
Macbeth is told that Lady Macbeth has killed herself and that Birnam Wood has begun to move towards them.
In battle, Donalbain is slain by Macbeth. Then, Macduff and Macbeth do battle. Macduff tells Macbeth he was born by caesarean section. The rebel forces are victorious and Malcolm is named King of Scotland.
The Witches meet again, and again, and again, and again...
Cast
ALISON BRUCE
Clan Bruce
Lennox
TRAINING:
Theatre Corporate Drama School (1982); Master of Creative Practice, Toi Whakaari: New Zealand Drama School (2025).
FOR ATC:
The Made; The Cherry Orchard; Nell Gwynn; Sons.
OTHER THEATRE INCLUDES:
The Dry House; Stab in the Dark; Everything After; Back to Square One?; The Arrival; Dust Pilgrim; Julius Caesar; Angels in America; White Rabbit, Red Rabbit.
SCREEN INCLUDES:
The Gone; Tinā; Shortland Street; It’s All About You; One Lane Bridge; The Power of the Dog; The Gulf; Mystic; The Wilds; Golden Boy; Ablaze; The Brokenwood Mysteries; In Dark Places; Kiwi; Dirty Laundry; Hillary; The Kick; Auckland Daze; Top of the Lake; The Almighty Johnsons; This Is Not My Life; Amazon High; Legend of the Seeker; The World’s Fastest Indian; Mercy Peak; Xena: Warrior Princess; An Angel at My Table.
OTHER:
Best Supporting Actress (The Gulf), New Zealand Television Awards (2021); Best Performance in a Short Film (Us), Air NZ Screen Awards (2006); Best Supporting Actress (Mercy Peak), New Zealand Television Awards (2003 and 2002).
KEAGAN CARR FRANSCH
Zimbabwe: Makoni, of the Nyati Clan
Ross
TRAINING:
Bachelor of Performing Arts, Toi Whakaari: New Zealand Drama School (2013); Master of Arts in Acting, Royal Central School of Speech and Drama, London (2018).
FOR ATC:
As Assistant Director: The Effect; The Heartbreak Choir. Keagan was the Programme Coordinator of the ATC Youth Company in 2022.
THEATRE INCLUDES:
ANTi; Dance Nation; Be Longing; A Midsummer Night’s Dream; Twelfth Night; The Curious Incident of the Dog in the NightTime; The Maids; Love and Information; A Servant of Two Masters; Measure for Measure; Othello.
SCREEN INCLUDES: Evil Dead Burn; Ghost in the Shell; Pete’s Dragon.
Diploma of Acting, Screen & Theatre, The Actors’ Program (2017); Bachelor of Arts with Honours: Theatre and English Literature, Victoria University of Wellington (2011).
FOR ATC: Macbeth is Travis’ debut at Auckland Theatre Company.
OTHER THEATRE INCLUDES: A Midsummer Night’s Dream; Twelfth Night; The Changeling; The Tempest; The Water Station.
SCREEN INCLUDES: Baddies; Shortland Street; East of Eden; Madam; The Lord of the Rings: The Rings of Power; Ahikāroa; The Panthers; Fresh Eggs; War News; Passion in Paradise.
MARIANNE INFANTE
KHEE CHOY
Kapampángan – Filipino Lady Macduff
TRAINING:
Bachelor of Performing and Screen Arts, Unitec (2016).
FOR ATC:
Macbeth is Marianne’s debut at Auckland Theatre Company.
OTHER THEATRE INCLUDES:
Ilang Ilang; Fairytales – The Bearskin; Othello; Tide Waits for No Man; Pinay; A Frickin Dangerous Spacemas; About Others; Aroha Mai; Mind Over Manner; As You Like It; Emotional Creature; Ruminations.
SCREEN INCLUDES: Shortland Street.
OTHER:
Outstanding Newcomer, WIFT Awards (2024); Best Actress, New Zealand Web Fest (2021); Excellence in Overall Production, Auckland Theatre Awards (2019); Outstanding Newcomer Award, Auckland Theatre Awards (2018).
MARK MITCHINSON
Macbeth
TRAINING:
Degree in Performing Arts, London Guildhall School of Music & Drama (1988).
FOR ATC:
Macbeth is Mark’s debut at Auckland Theatre Company.
SCREEN INCLUDES:
Lee Cronin’s The Mummy; A Remarkable Place to Die; Under the Vines; Madam; Grafted; Uproar; Evil Dead Rise; The Convert; Our Flag Means Death; Safe Home; My Life Is Murder; Cowboy Bebop; The Panthers; The Gulf; The Wilds; The Luminaries; Mystery Road; Daffodils; Wellington Paranormal; Mortal Engines; Rake; The Shannara Chronicles; Dear Murderer; Bombshell; The Brokenwood Mysteries; High Road; The Hobbit: The Battle of the Five Armies; Consent: The Louise Nicholas Story; The Hobbit: The Desolation of Smaug; Mr. Pip; Siege; Spartacus; Underworld: Rise of the Lycans; Ash vs Evil Dead; Outrageous Fortune.
OTHER:
Outstanding Performance by an Ensemble (Mystery Road), Equity Ensemble Awards (2021); Best Performance (Siege), New Zealand Film and TV Awards (2012); Best Performance (Bloodlines), New Zealand Film and TV Awards (2011).
MAAKA POHATU
Ngāi Tāmanuhiri, Tūwharetoa, Ngāti Porou
Macduff
TRAINING:
Bachelor of Performing Arts, Toi Whakaari: New Zealand Drama School (2005).
FOR ATC:
Macbeth is Maaka’s debut at Auckland Theatre Company.
OTHER THEATRE INCLUDES:
The Monster in the Maze; The Modern Māori Quartet: Two Worlds; Don Juan; Ngā Bro E Whā; Toroihi rāua ko Kāhira – The Māori Troilus and Cressida; Sydney Bridge Upside Down; Mark Twain and Me in Māoriland; Strange Resting Places.
SCREEN INCLUDES:
NZ Wars 6: Waerenga-aHika; Blue Murder Hotel; Happiness; Tangata Pai; Warren’s Vortex; Conan O’Brien Must Go; The Rule of Jenny Pen; Time Bandits; Kairākau; Miles from Nowhere; Our Flag Means Death; Far North; Wellington Paranormal; Mystic; Savage; Vai; Tongue Tied; Poi E; The Umbrella Man; Find Me a Māori Bride; Two Little Boys.
ROBERT POLLOCK
King Duncan
TRAINING:
Diploma of Drama, Toi Whakaari: New Zealand Drama School (1986).
FOR ATC:
Lovelock’s Dream Run; Dancing at Lughnasa.
OTHER THEATRE INCLUDES: Alice in Wonderland; Twelfth Night; Just Frank.
SCREEN INCLUDES: Orange Roughies; The Lord of the Rings; Spin Doctors; Love Mussel; Shortland Street; City Life; Hercules; Riding High; Swimming Lessons; High Tide; Once Were Warriors; Sure to Rise.
JEFF SZUSTERMAN
Banquo
TRAINING: Diploma of Professional Theatre (Acting), Toi Whakaari: New Zealand Drama School (1995).
FOR ATC:
Macbeth is Jeff’s debut at Auckland Theatre Company.
OTHER THEATRE INCLUDES:
Close City; Time Stands Still; Treats; Toys; Christ Almighty; Take Me Out; Suddenly Last Summer; Tape; Comedy of Errors; The Merchant of Venice; Not About Heroes; The Seagull; Taking Sides; The Visit; Tzigane.
SCREEN INCLUDES: Spartacus: House of Ashur; Chief of War; Time Bandits; Uproar; Kid Sister; Juniper; The Gulf; Golden Boy; Big Man; War Stories; Why Does Love?; Ash vs Evil Dead; American Playboy; 6 Days; The Brokenwood Mysteries; Shortland Street; Power Rangers; The Wilson Dixon TV Hour; Legend of the Seeker; Hercules.
OTHER:
Best Actors, Portland Drama Circle 'Drammy' Award Not About Heroes (2000).
TRAINING: Bachelor of Performing & Screen Arts, Unitec (2012).
FOR ATC: Romeo & Juliet; Scenes from the Climate Era.
OTHER THEATRE INCLUDES:
Mother Play; The Book of Everything; Revolt. She Said. Revolt Again.; Sofija’s Garden; Just Above the Clouds; Over My Dead Body: Uninvited; Near Death Experience; Goddess; Call of the Sparrows; A Flock of Ashes.
SCREEN INCLUDES: Mean Mums; Bombshell; Step Dave; The Brokenwood Mysteries; Queen of Carthage.
OTHER: Director of Shortland Street; Best Performance –Theatre in Auckland Fringe Festival (2021); Best Actress in Short+Sweet Festival (2014).
LAUIE TOFA
Sāmoa: Vaito'omuli, Palauli, Savai'i South Auckland Donalbain
TRAINING: Bachelor of Creative Arts, Manukau Institute of Technology (2016).
FOR ATC: Dawn Raids
OTHER THEATRE INCLUDES:
Macbeth (The Black Friars); Dream; Othello Polynesia; Talosaga; Duffy Theatre Tour.
SCREEN INCLUDES: Ms. X; Spinal Destination; New Zealand Spy; ASB TV commercials; Jonah; God Bless You Mr Kopu; Filthy Rich.
SARA WISEMAN
Clan Grant
Lady Macbeth
TRAINING:
Bachelor of Performing and Screen Arts, Unitec (1996).
FOR ATC:
The Effect; Ladies Night; Collected Stories; Cabaret; Death of a Salesman; Amy’s View.
OTHER THEATRE INCLUDES:
The Bitter Tears of Petra Von Kant; Christ Almighty; Hate; Love, Loss and What I Wore; The Vagina Monologues; Killer Joe; This Is How It Goes; Proof; Lashings of Whipped Cream: Confessions of a Teenage Dominatrix.
SCREEN INCLUDES:
Blue Murder Mysteries; Crackhead; Home and Away; Territory; NCIS: Sydney; Kingdom of the Planet of the Apes; High Country; Under the Vines; Dark Noise; One of Us Is Lying; Harrow; The Gulf; Creamerie; Mystic; My Life Is Murder; Shortland Street; The Brokenwood Mysteries; The Sounds; One Lane Bridge; A Place to Call Home; Human Traces; Rake; Venus and Mars; Nerve; Crownies; What Really Happened: Votes for Women; The Insatiable Moon; The Almighty Johnsons; Street Legal; Jackson’s Wharf; Jinx Sister; Mercy Peak; Heavenly Creatures.
OTHER:
Outstanding Performance by an Ensemble, Equity Ensemble Awards (2025); Best Performance by an Actress, New Zealand Television Awards (2012); Best Supporting Actress in a Feature Film, Aotearoa Film & Television Awards (2011). Sara is a co-founder of The Actors Programme.
The New Zealand Actors Benevolent Fund is a charity that exists to help entertainment professionals when they need it most. The fund is currently growing its financial pool so as to provide assistance to past and present industry professionals living with injury, illness or disability. If you appreciate the work that our storytellers and story-makers do, and wish to see them do more, please show your appreciation and make a tax-deductible donation, using the QR code. And, if you so choose, please tell your family and friends about how they can contribute or leave a bequest to the Actors Benevolent Fund in their will. Support the
Witches
Three covens of witches alternate across this season of Macbeth.
Elsie Dilworth Clan Falconer
Witch & Macduff’s Daughter
Quinn Hallas Clan Hall
Witch & Macduff’s Daughter
Harvey Gui
Witch & Fleance
Maxwell Andrews
Witch & Fleance
Lucy Goer
Witch & Macduff’s Daughter
Evelyn Towersey
Clan Graham, Clan McPherson, Clan Douglas
Witch & Macduff’s Daughter COVEN
Eva Gillespie Clan MacPherson
Witch & Macduff’s Daughter
Charlie Kawha Grey Whakatōhea, Te Whānau-ā-Apanui, Clan Warnock
Witch & Fleance
Lily Williams
Witch & Macduff’s Daughter
Ensemble
Auckland Theatre Company is committed to creative pathways for artists and creatives in training to grow through professional work both on stage and off stage. In Macbeth, two teams of actors in training alternate as the Ensemble across the season.
TEAM HARPIES:
Back row, left to right: Ben Way, MJ Salesa, Saffiya Johnson (Ngāti Raukawa ki te Tonga), Nadine Akimana, Christie Blair (Ngāpuhi), Nesta Vaaelua Front row, left to right: Emma Jackson, Zoe Ysabel, Antacia D'Costa
TEAM GRAYLINGS:
Back row, left to right: Cole Wilkinson, Violet King, Inaya Sinclair, Erica Latu, Fred Willans Front row, left to right: Shayla Hann, Molly Last, Nieve Wilson Absent: Liam Ashby (Cook Islands: Atiu; Mapumai)
About our Ensemble
The Ensemble is comprised of 18 actors in training: six students at Unitec and twelve members of ATC’s Youth Company.
ATC YOUTH COMPANY
Our Youth Company is a free, part-time, yearlong programme for rangatahi aged 18 to 25. Now in its fifth year, it gives young performers the chance to learn inside a working theatre, in an environment that acknowledges that being an artist takes enormous strength and resilience.
This year’s cohort is an ambitious group, deeply committed to learning about and creating theatre.
Auditions for the 2027 cohort open in November.
UNITEC SCHOOL OF CREATIVE INDUSTRIES
We partner with training institutions across Aotearoa to bring ākonga into the room alongside professional practitioners.
In Macbeth, we are proud to welcome Unitec Performing and Screen Arts (Acting) students into the ensemble.
Ngā mihi to Sam Snedden, Will Wallace and the kaiako at Unitec for their support and collaboration.
Auditions for 2027 are now open.
Youth Company is proudly made possible by the generous support of the Youth Company Supporters Group
Unitec School of Creative Industries is thrilled to continue our partnership with Auckland Theatre Company, offering students the chance to join the ensemble of Macbeth. This collaboration is an invaluable opportunity for our ākonga to work alongside a premier professional company and gain the kind of practical experience that is so crucial to their development. Ngā mihi to Auckland Theatre Company for facilitating this experience and for the incredible manaakitanga shown to the students by the Company and the cast and crew of Macbeth.
Sam Snedden, Discipline Leader Acting, School of Performing and Screen Arts
Creative
DAN WILLIAMS Set Design
TRAINING:
Bachelor of Performance
Design, Massey University and Toi Whakaari: New Zealand Drama School (2006).
FOR ATC:
Helen Clark in Six Outfits; Romeo & Juliet; The Effect; When Sun & Moon Collide; Filthy Business; Enlightenment; Boys; The Seagull.
OTHER THEATRE INCLUDES:
Venice Biennale: Just Between Me & Jesus. Silo Theatre: D.R.A.G (Dressed Resembling a God); Mother Play; Taniwha; Camping; The Writer; Here Lies Love. The Court Theatre: Strictly Ballroom The Musical; The King’s Speech; Something Rotten!; The Girl On The Train; Once; Little Shop of Horrors. Designs for other theatre: Downstage; Circa Theatre; BATS Theatre; Basement Theatre; Fortune Theatre; The Conch; Taki Rua Productions; Massive Theatre Company; TAPAC; Q Theatre; World of WearableArt; Summer in the Square; Auckland Live Cabaret Festival.
SCREEN INCLUDES: Happiness; Workmates; Whina; The Legend of Baron To’a; The Letter for the King.
OTHER:
Award for Set Designer of the Year, Wellington Theatre Awards (2023).
FILAMENT ELEVEN 11 Lighting Design
RACHEL MARLOW | TRAINING:
Victoria University of Wellington (2007); Royal Holloway, University of London (2006).
BRADLEY GLEDHILL | TRAINING: Diploma of Performance Technology, Unitec (1999).
FOR ATC:
Production Design: a mixtape for maladies; Hyperspace; Things That Matter; Basmati Bitch; Scenes from a Yellow Peril. Lighting and Video Design: The Made; The Resistance (co-pro with ATYP); Little Shop of Horrors; My Name is Gary Cooper; The Wife Who Spoke Japanese in Her Sleep. Lighting Design: Helen Clark in Six Outfits; Romeo & Juliet; Girls & Boys; Black Lover; 48 Nights on Hope Street; Single Asian Female; Rosencrantz & Guildenstern Are Dead; Red Speedo; My Own Darling; Sons; Kings of the Gym; Well Hung; RED; The Twits; Stepping Out; Design for Living; The Female of the Species; The Tutor; The Talented Mr Ripley; The Shape of Things; Play 2 & Play 2.0; The Thirty-Nine Steps. Video Design: Who Needs Sleep Anyway?; Calendar Girls.
OTHER THEATRE INCLUDES:
Production Design: The Court Theatre: Next to Normal. New Zealand Opera: The Monster in the Maze; The Strangest of Angels. EBKM: Heartbreak Hotel. Silo Theatre: Taniwha; ScatterGun; The Writer; Every Brilliant Thing. FFC: The Savage Coloniser Show; Tropical Love Birds. Red Leap Theatre: Wrest. Touch Compass: White Noise. Lighting and Video Design: Red Leap Theatre: Dakota of the White Flats. Lighting Design: Silo Theatre: The Writer; Night of the Living Dead; Peter and the Wolf; The Blind Date Project; Wild Dogs Under My Skirt; Here Lies Love; Mr Burns; Boys Will Be Boys; Tartuffe. The Court Theatre: The King’s Speech; 9 to 5 The Musical. Red Leap Theatre: Owls Do Cry; Dust Pilgrim.
SCREEN INCLUDES:
Lighting Design: Topp Class: Tribute to the Topp Twins; Stand Up Aotearoa; Class Act.
OTHER:
Rhythm and Vines festival (2022 – present); Elemental Nights (2020 – 2023 Auckland Town Hall – Live Nation); Teeks – One Night Only; Home Brew and ABC for Tom Scott (2018 – present); Silver Scroll Awards (2018 –present); Pacific Music Awards (2017 – present); Fat Freddy’s Drop (Aotearoa shows 2020 – 2024); The Rock 2000 (2020 – present); SIX60 (2016 – 2019, 2024 – present).
ELIZABETH WHITING
Costume Design
DESIGNS FOR ATC INCLUDE:
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 Thirty-Nine 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; Waiting for Godot; The Rocky Horror Show; Rosencrantz & 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; The Mystery of Irma Vep; The Scene; Holding the Man; When the Rain Stops Falling; Assassins; Angels in America. New Zealand Opera: Faust; Carmen; La Bohème; Falstaff; The Barber of Seville; The Marriage of Figaro; Così Fan Tutte; Cavalleria Rusticana; Pagliacci; Don Giovanni; Tosca; The Magic Flute; Brass Poppies.
OTHER:
Elizabeth designs for Indian Ink Theatre Company, Plumb Theatre, Te Pou Theatre, Red Leap Theatre, Ōkāreka Dance Company and many other companies. Elizabeth was appointed a Member of the New Zealand Order of Merit in the 2026 New Year Honours, in recognition of her services to costume design.
ROBIN KELLY
Clan Kelly, Clan Wallace
Composer & Sound Design
TRAINING:
Bachelor of Music (Composition) and Bachelor of Science, Honours (Molecular Biology), University of Auckland (2012).
FOR ATC:
Romeo & Juliet; Rosencrantz & Guildenstern Are Dead; Amadeus; Guys and Dolls; Jesus Christ Superstar.
OTHER THEATRE
INCLUDES:
Silo Theatre: Here Lies Love; The Events. Fractious Tash: The Effect; HeadSand. Red Leap Theatre: Kororāreka: The Ballad of Maggie Flynn. Last Tapes Theatre Company: Valerie.
OTHER:
Stimmung Choir – Musical Director; Auckland Live Cabaret Festival –The Piano Bar Host.
KATRINA GEORGE
Sāmoa: Malie, Pākehā Movement Direction
TRAINING:
Bachelor of Performing Arts (Acting), Toi Whakaari: New Zealand Drama School (2017).
FOR ATC:
As Assistant Director: Tiri: Te Araroa Woman Far Walking; Mary: The Birth of Frankenstein; Romeo & Juliet. Movement Direction: Tiri: Te Araroa Woman Far Walking; Romeo & Juliet; The Effect.
OTHER THEATRE INCLUDES:
Direction: Moe Miti; AHI After Mahuika. Movement Direction: Emilia.
CHERIE MOORE
Ngāti Porou
Vocal Direction
TRAINING:
The Voice Centre
London (2023); The Actors’ Program (2013); University of Auckland (2007).
FOR ATC:
Vocal Coach: Tiri: Te Araroa Woman Far Walking; Romeo & Juliet; a mixtape for maladies; The Effect; Witi’s Wāhine; Guys and Dolls.
OTHER THEATRE INCLUDES:
Vocal Direction: Romeo & Juliet; A Midsummer Night’s Dream; Moe Miti; Fake News; seven methods of killing kylie jenner; My Heart Goes Thadak Thadak. Performance: AHI After Mahuika; The Trojan War; Next To Normal; Birdland; Into The Woods; Twelfth Night; The Tempest. Direction: The Trial; Spring Awakening; Radium Girls; Vanity Fair; The Candidate; School Of Rock; JTFNZ; Legally Blonde.
SCREEN INCLUDES:
Vocal Coach: Tangata Pai; Mr Hugo's Little Library.
OTHER:
Cherie is Head of Voice at The Actors’ Program and Voice Lecturer at Unitec. Cherie also runs a private studio for vocal training.
AMAND WEAVER
Clan McFarlane
Fight Choreographer
FOR ATC:
Murder on the Orient Express; Peter Pan; O le Pepelo, le Gaoi, ma le Pala’ai; Switzerland; Red Speedo.
OTHER THEATRE:
A View from the Bridge.
SCREEN INCLUDES:
Viva La Dirt League; nOOb; Literally Dead; The Boy, the Queen and Everything in Between; Shut Eye; Mum, I’m Alien Pregnant; Socks; Breathe; Munkie; Chrysanthemum; Oh Nah; The Last Sāmoan Zombie; Pain; Close; Seen.
OTHER:
Instructor for the New Zealand Stunt School.
EMMA AUBIN
Clan Monro
Props Manager
TRAINING:
Bachelor of Theatre Design, National Institute of Dramatic Art, Sydney (1993).
FOR ATC: Switzerland.
SCREEN INCLUDES: As Costume Designer: Black Sheeps; Tontine Massacre; I’ll Make You Happy; Mick Jagger in Knights of Prosperity; Frank Sargeson and Nigel Latta’s What Next As Costume Buyer: Pike River; Went Up The Hill; A Mistake; Why Does Love; Predator: Bad Lands.
OTHER:
Emma has designed extensively for film, TV, music and print media.
Bachelor of Arts (Acting), Toi Whakaari: New Zealand Drama School (2002).
FOR ATC:
As Intimacy Coordinator: The Effect; Hyperspace. As Actor: Tiri: Te Araroa Woman Far Walking; Romeo & Juliet.
OTHER INTIMACY WORK INCLUDES: Theatre: Prima Facie; Pakaru. Screen: Camp Be Better; Love Amongst the Vines; Shortland Street; A Question of Justice; The Brokenwood Mysteries; Life is Easy; Ahikāroa.
OTHER:
Miriama has worked on multiple productions with ATC, both as an actor and intimacy coordinator. She is a founding member of Intimacy Coordinators Aotearoa, a board member of Equity NZ and, in 2024, was made an Arts Laureate by The Arts Foundation Te Tumu Toi.
Engine Room Assistant Director & Resident Director
TRAINING:
Bachelor of Arts in Theatre (Hons), Victoria University of Wellington (2014); Master of Arts in Theatre, Victoria University of Wellington (2016).
FOR ATC:
As Engine Room Assistant Director: Sons of Vao; Helen Clark in Six Outfits.
OTHER THEATRE INCLUDES:
Direction: U R Here, co-directed with Jo Randerson; Flames: A Hip-Hop Musical; The Handlers, co-directed with Carrie Green.
OTHER:
Alongside his placement in Auckland Theatre Company’s Engine Room programme, Sepelini is currently undertaking a PhD in Theatre, with a focus on decolonising processes and rehearsal practices.
Engine Room Assistant Designer
TRAINING:
Bachelor of Creative Technologies, AUT (2019).
FOR ATC:
As Engine Room Assistant Designer: Helen Clark in Six Outfits.
OTHER THEATRE INCLUDES: As Designer: Playfight; Mother Play; Body Story; Balloon Dog; A Slow Burlesque; A Short History of Asian New Zealand Theatre; Rituals of Similarity; How to Throw a Chinese Funeral; Not Woman Enough.
OTHER:
Talia is a recipient of the Springboard Award for Theatre, The Arts Foundation Te Tumu Toi (2025).
The Engine Room is Auckland Theatre Company’s professional development residency for early-to-mid-career theatre practitioners. It supports artists who are ready to expand their practice and step into company-scale work, with opportunities to learn inside Auckland Theatre Company’s mainstage productions and collaborate across departments in a professional environment.
We have two residencies running within Macbeth. We welcome Talia Pua as our Engine Room Assistant Designer and Sepelini Mua'au as our Engine Room Assistant Director. Sepelini will continue to serve as Resident Director during the performance season.
The Engine Room 2026 is supported by the Friedlander Foundation, an Excellence Partner of Auckland Theatre Company.
TALIA PUA
Thank You
Auckland Theatre Company Supporters
ATC PATRONS GROUP 2026
Co-Chairs The Hon Anne Hinton KC and Lady Dayle Mace MNZM
Patrons Margot & Alastair Acland, Margaret Anderson, 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, Ruth Foreman, 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 Anne Hinton KC & Peter Hinton, Julie & Rod Inglis, 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 & Juma Maya, Charlotte & Ian McLoughlin, Pip Muir & The Hon Kit Toogood KC, Christine Nolan & Derek Nolan KC, Heather Pascual, The Hon Dame Judith Potter DNZM, CBE, Robyn & Malcolm Reynolds, Fran Ricketts, Julie & Russell Tills, Louise & Karl Von Randow, Joan Vujcich, Susan Walker & Gavin Walker ONZM, Lynne Webber & Priscilla McGirr, Ian Webster, Dona & Gavin White
YOUTH COMPANY SUPPORTERS 2026
Co-Leaders Peter Macky and Joan Vujcich
Saints Aaron Boonshoft, Cynthia Braithwaite, Peter Macky & Juma Maya, Joan Vujcich, Ray White Grey Lynn
Angels Andy Eakin & Paul Boakes, Dame Jenny Gibbs DNZM, Charlotte & Ian McLoughlin, Sian & Elias, Jane & Mark Taylor, Ian Webster
Cherubs Sarah Fay, Coriamber Hogan & Martin Kunz, Irene Norbis, Keiko Pulin & Graham Astley, Colin & Maree Reynolds, Fran Ricketts, The Hon Judith Tizard, Anonymous (1)
Friends Brenda & Stephen Allen, Margaret Anderson, Alix & Erich Bachmann, Jonathan Bielski, Susan Buckland, Sarah & Nick Cole, Cumiskey Family, Rosey Eady & David Nicoll, Ron Elliott & Mark Tamagni, Virginia Fisher & Stephen Fisher QSO, Kristen Flannery, Sarah & Martin Gillman, Alexandra Goldkorn & Craig Birch, Sally Jackson, Mary Jean & Len (USA), Michael Kavanagh, Joy Keith, Melissa & Tony Larsen, Margot Leigh, Lesley & Philip Lindesay, McKegg family, Brian McKibbin, Tim Melville, Helen & Hamish Neal, Louise Pagonis, William Peake, The Hon Dame Judith Potter DNZM, CBE, Vaughan Smith, Swinburn family, Kerry Underhill & Daan van Gulik, Joanne & Rob Wills, Sarah Yates, Anonymous (3)
30TH ANNIVERSARY FUND
Visionary Dame Jenny Gibbs DNZM, Jan & Trevor Farmer
Lead Nicole & Guy Domett, Prue Olde & Family
Ensemble Barbie & Paul Cook, Andrew Gelonese & Michael Moore
SUPPORTING ACTS
Standing Ovation Cynthia Braithwaite, Sandy & Alan Bulmer, Claudia Elliott, Dame Jenny Gibbs DNZM, Rosemary Langham, Sue & Murray Lee, Peter Macky & Juma Maya, Shona & Barry Old, Liz & Ray Payne, Anonymous (1)
Curtain Call Shirley Bollard, Shane & Richard Compton, The Hon Anne Hinton KC & Peter Hinton, Patricia Holden, Mindy & Mark Levene,
Applause Samuel Baker, Frank Ball, Michael Barley, Carl Davies,
Auckland Theatre Company Partners
ASB Waterfront Theatre Supporters
Accessible Theatre
We believe theatre should be for everyone. Our accessible performances and services make it easier for all audiences to share in the magic of live performance. Our team is here to ensure your visit is welcoming, comfortable and enjoyable.
Audio Described Performance and Touch Tour
Sunday 9 August Touch Tour 2:30pm
Audio Described Performance 4:00pm
Audio described performances feature live commentary from Audio Described Aotearoa. They provide detailed visual descriptions through earpieces to blind and low-vision patrons.
Touch tours, held 90 minutes before the show, allow blind and low-vision patrons and their companions to explore the sets, touch props and costumes, and meet actors. Supported by:
Service Dogs
Service 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.
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.
Relaxed Performance
Tuesday 11 August 7:00pm
Relaxed performances are inclusive, welcoming environments for neurodivergent individuals or anyone seeking a less formal theatre experience. They offer a flexible approach without changing the show. Audiences can expect pre-show resources, an open attitude to movement and noise, and breakout space. An optional pre-show demonstration shares lights, sound and surprises so patrons know what to expect from the show. All are welcome.
NZSL Interpreted Performance Friday 14 August 8:00pm
NZSL interpreted performances feature trained interpreters from Platform Interpreting New Zealand, providing live interpretation for Deaf patrons. We reserve great seats for interpreter viewing. Supported by:
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.
HOW TO BOOK ACCESS TICKETS
Access tickets for Deaf, disabled and neurodivergent patrons are available for $20. One companion ticket per theatre-goer is also available for $20. To find out more and for Deaf and blind/low-vision-friendly booking options, contact us:
Youth Arts Coordinators: Beatriz Garcia, Dan Goodwin
ARTISTIC OPERATIONS
Director, Artistic Operations & Deputy CEO: Anna Cameron
Director, Production: Kathryn Osborne
Senior Producer: Sums Selvarajan
Company Manager: Lucy Gardner
Head of Learning & Participation: Sam Phillips
Participation Coordinator: Kalia Regan
Production Coordinator: Paige Pomana (Ngāti Porou, Ngāti Rakaipaaka, Rongomaiwahine)
Operations Coordinator: Lyndee-Jane Rutherford
MARKETING & TICKETING
Director, Marketing & Development: Terri Cumiskey
Marketing Manager: Ari Katsoulis
Graphic Designer: Wanda Tambrin
Marketing Executive: Lucy Diver
Ticketing Manager: Bruce Brown
Customer Relationships Manager: Gary Hofman
Ticketing Assistants: Ella Blake Brislen (Ngāi Tahu, Ngāti Kurī), Molly Curnow, Merlia De Ridder, Amy Henwood, Michaela MacFarlane, Katie Peacock, Talia Pua, Tom Webster, Daphne Zondag
FINANCE & ADMINISTRATION
Director, Finance: Alice O’Connor
Financial Analyst: Dina Abramova
Accountant: Reena Mudliar
Head of Strategy: Natasha Pearce
ASB WATERFRONT THEATRE
Director, ASB Waterfront Theatre: Sharon Byrne
Co-Front of House Managers: Jack Clarkson, Dario Kuschke
Events Manager: Amy Robertson
Venue Technical Manager: Johnny Chen
Technical Administrator: Joseph Noster
Technical Team: Alylai Flynn, T.J. Haunui (Te Whakatōhea, Ngāpuhi, Ngāti Rangitihi), Luuk Heijnen, Dominic Halpin, Keira Howat, Lee Huxley, Mathew Illek, Amanda Joe, Michael Keating, Max Koenig, Dario Kuschke, Max Manson, Louis McKendry, Dave McSmith, Patrick Minto, Aaron Mitchell, Nick Mulder, Joseph Noster, Sho Okumoto, Finlay Pinkerton, Mitchell Rayner, Benny Sarten, Ruby Van Dorp
Front of House Supervisors: Ella Blake Brislen (Ngāi Tahu, Ngāti Kurī), Nat Dolan, Lucie Everett-Brown, Gary Hofman, Sofi Issak-Zade, Vena-Rose Lennane, Pearl McCracken
Front of House: Claudia Armitage, Eloise Cain, Cedric Charles, Ruben Cirilovic, Molly Curnow, Merlia De Ridder, Callum Easterbrook,Taylor Finley, Lexie Fisher, Shannon Freeman, Eugene Garry, Mary Grice, Lara Grozev, Shayla Hann, Amy Henwood, Winston Katoanga, Kirsty Leggett, Emre Logan, Michaela MacFarlane, Isla Mayo, Joseph Noster, Alex Parkinson, Katie Peacock, Finlay Pinkerton, Talia Pua, Tema Pua, Manunui Rainey (Ngāti Tūwharetoa, Ngāi Tūhoe), Zoe Ritchie, Niki Saeidian, Ailsa Scott, Mikaela Stroud, Hanah Tayeb, Geo Tughushi, Te Ohorere Williams, Tom Webster, Xanthe Werder, Jessica Winkle, Daphne Zondag
ACKNOWLEDGEMENTS
Auckland Theatre Company would like to thank the following for their help with this production: Aimee Maria Aranha, Amanda Billing, Janis Blake, Paul Brislen, Joanna Campbell, Justine Conroy, Malcolm Dale, Jane Dobson, Katherine Dewar, Rachelle Duncan, Courtney Eggleton, Matt Eller, Didee Ensor, Frankie, Miranda Harcourt, Clinton Hendry, Abraham Kunin, Ben Larom, Harriet Morris, Emily Patterson, Clare Poulgrain, Nikolai Puharich, Jonathan Price, Jess Sayer, Rebekka Schulze, Ricky Simmonds, Jason Te Kare, Isabella Temm, Trae Te Wiki, Anna Turner, Te Ohorere Williams, AJ Thompson, John Verryt, Tiger Wood-Weaver.
Rebecca Parkes – Flute, Michelangelo Bisquera – Piccolo, Peau Halapua – Violin, Adam Michie – Bagpipes, Demons of Noon: Abraham Kunin – Guitar, Jonathan Burgess – Bass, Adam Tobeck – Drums, Aria Jones and Tamsyn Matchett – Vocals
Evoke Audio, Fork Catering, MJF Lighting, New Zealand Opera, Propellor, Rough Town, Safeguarding Children NZ, Tree Fellas, Xytech Lighting.
Interns and Observers
Kieran Craft, International Institute of Modern Letters
Logan Pocock, Toi Whakaari: New Zealand Drama School
Nadia Officer, Toi Whakaari: New Zealand Drama School
Jill Kathleen, Victoria University of Wellington
Ximena Ruiz Barba, Whitecliffe College of Arts and Design
Esther Miranda, Whitecliffe College of Arts and Design
Based on the play by John Van Druten and stories by Christopher Isherwood
BOOK BY JOE MASTEROFF
MUSIC BY JOHN KANDER
LYRICS BY FRED EBB
Directed by Benjamin Kilby-Henson
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It’s our 10 Year Anniversary! The ASB Waterfront Theatre opened in 2016, thanks to many donations, large and small, from theatre-loving Aucklanders.
As we commemorate a decade on stage, the opportunity is here to Take a Seat once again. For a donation of $1,000, you can leave a lasting mark on our theatre with a plaque engraved with a name, message or quote of your choice. This is a great way to show your love for the theatre or commemorate a loved one.
There are just 52 plaques left to snap up. Donate now to make your mark on the theatre and to help us thrive for many more years to come.
