Little Shop of Horrors Programme

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NAU MAI, HAERE MAI

Barbara George Welcome to Little Shop of Horrors! It’s that wonderful time of year again when we celebrate both the holidays and New Year with a fresh, new approach to a musical. I have it on good authority that what you are about to see, you have not seen anywhere else.

There are a number of things that make The Court Theatre special. One is our unique

A big thank you to Artistic Director Dan Pengelly

presentation of large, high-quality shows like

who leads our creative processes from an idea to

Little Shop of Horrors, delivered in an intimate

the standing ovation.

setting with audience seating not quite reaching

It is also my pleasure to thank our show sponsor

400. When we designed our new Court in the City, due to open in 2024, we decided early and strongly that we didn’t want to lose this intimacy – this brand of theatre that we produce for our city, region and nation. And one of the best things about the new Court in the City is our democratic approach to audiences – there will be no bad seat in the house. (But we will still want you to book early)!

Of course, the thing that really makes The Court Theatre special is our people, from our core staff of production and administrators, to the many cast, crew, creatives and contractors who work with us all year long. What you are about to see

Golden Healthcare Group, in particular David Sidaway, for their loyalty and commitment.

A special thank you also to Janet McCormack who is always here with David, ensuring that their guests have a wonderful time.

If you loved the costumes then we’d like to let you know that Empire Health & Life Ltd – Neil and Kaye McKenzie - lent their sponsorship support this year to decking out our characters in fine, bespoke fashion.

A big thank you to all our sponsors, including Giesen Wines (Principal Sponsor) and Creative New Zealand (Core Funder).

is the work of everyone – kotahitanga - their

It’s been a difficult year for everyone, so tonight

determination, passion and excellence. Bravo!

we hope you have a chance to simply relax

to all of the Court Theatre whānau.

and enjoy.

Ngā mihi nui BARBARA GEORGE Chief Executive / Tumu Whakarae

pwc.co.nz

Enjoy the show!

As a long standing partner of The Court Theatre, we’re proud to support the Little Shop of Horrors.

© 2021 PwC New Zealand. All rights reserved.

Dan Pengelly Kia ora and welcome to our annual summer musical.

This year we bring you Little Shop of Horrors.

Last year, when we were contemplating what shows Cantabrians might enjoy in 2021, we considered several options, including Little Shop of Horrors. I love this show. It’s fun

I want to especially acknowledge and praise

and quirky but, as well-known as it is, I wasn’t

the creative team, cast and band on this show.

sure if it could still surprise and delight. As we

It has been a rocky road in the lead-up to

worked through the options, though, we kept

making this summer show, as the country has

coming back to it.

coped with changing Covid-19 levels. We had

We last did Little Shop of Horrors in 1985 and

a reduced timeframe in which to create this

some of our staff and Friends of The Court still remembered and raved about it. So, I went out and spoke to Benjamin Henson who came back within 24 hours with a big, bold, delightful vision for what he would do with it. The brief was

show, and every single person on this production has worked incredibly hard to create it and get it to the high level you, our audience, deserve. So, to our collective creatives, a huge THANK YOU; you have our

“Little Shop, like you have never seen before”.

absolute aroha for what you do.

I believe that he and Designer, Dan Williams, have

I hope you enjoy a wonderful ride with us on

created just that. Everyone who sees the costume

this show and, if you enjoy it, be sure to check

and set designs starts making loud noises - gasps,

out our 2022 season; brilliant, creative and

oohs, ahhhs or “OMG!” Tonight, I’m sure that you

excellent shows are available to book now.

will be just as impressed.

Ngā mihi nui DAN PENGELLY Artistic Director

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RETURN

Based on the film by ROGER CORMAN Screenplay by CHARLES GRIFFITH Originally produced by WPA THEATRE (KYLE RENICK, PRODUCING DIRECTOR) Originally produced at the ORPHEUM THEATRE, NEW YORK CITY by the WPA THEATRE, DAVID GEFFEN, CAMERON MACKINTOSH and the SHUBERT ORGANIZATION By arrangement with Music Theatre International (Australasia) CAST

PRODUCTION

Role Played by

Director

Seymour Krelbourn Rutene Spooner

Musical Director

Audrey Monique Clementson Set and Costume Designer

Audrey II Brady Peeti

Choreographer

Orin /

Sound Designer

Audrey II understudy Roy Snow

Lighting Designer

Mr Mushnik Jonathan Martin

Motion Graphics Designer

Ronnette Ezra Williams

Stage Manager

Chiffon Kristin Paulse

Lighting Operator

Crystal Jane Leonard

Sound Operator

Swing / Audrey standby Kira Josephson Assistant Stage Manager 1 (until 22 Dec) Ensemble, Seymour / Orin / Assistant Stage Manager 1 (from 22 Dec)

Mushnik understudy Ben Freeth

Assistant Stage Manager 2

Ensemble, Crystal /

Set, Costume and Props Construction Chiffon / Ronnette understudy Tiahli Martyn

Casual Costume Construction

ACKNOWLEDGEMENTS

We thank the entire Court Theatre whānau for their exceptional

Wig Stylist work and dedication in producing this play. Also:

Casual Props and Set Construction EBike - with support from Jamie Bennett at Ebikeznz

Photography – Danielle Colvin

Metal Worker Proudly Designed & Printed by Caxton

Graffiti Artist Costumes sponsored by Empire Health & Life Ltd

Choreography Intern ENGCO Consulting Engineers - Matt Cusiel and Erik Jorgensen Graphic Design (Signage) - Shalee Fitzsimmons

Mean Green Musician - Robert Dil

Mother Orchestrator Keyboard Programming – Nathan Firmin LITTLE SHOP OF HORRORS

Benjamin Henson Richard Marrett Dan Williams Kira Josephson Glen Ruske Giles Tanner Vanessa Gray Scott Leighton Darren McKane Paris Daniel Jo Bunce Tim Bain Danielle Rackham See The Court Theatre company page Tina Hutchinson-Thomas, Annie Graham, Pauline Laws, Monique Bartosh Sarah Greenwood-Buchanan Rochelle Wright, Simone Wiseman, Andrew Scott Richard Daem Nick Lowry Hana Pierce Mark Dickman

was originally Directed by Howard Ashman with Musical Staging by Edie Cowan Vocal Arrangements by Robert Billig I Orchestrations by Robert Merkin

RUNNING TIME: Two hours, including a 20-minute interval I WARNINGS: violence, adult themes and controversial elements.

DISCLAIMER: All guns used in any production are either toy guns or are decommissioned and cannot fire any projectile.

There is also a register kept of use, and guns are locked away when not required.

VIDEOTAPING: The videotaping of this production is a violation of United States copyright law and actionable federal offense.

COVID-19: The Court Theatre will require visitors over 12-years-old to have a current vaccination certificate once the traffic light system is implemented in Canterbury.

More information is available at courthteatre.org.nz.

Little Shop of Horrors was produced by The Court Theatre 20 November 2021 - 15 January 2022

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BOOK & LYRICS

Howard Ashman Best known as a pivotal creative mind behind the renaissance of Disney animation and his work on The Little Mermaid, Aladdin and Beauty and The Beast (which is dedicated to, “Our friend, Howard Ashman, who gave a Mermaid her voice and a Beast his soul...”) Ashman’s first love was theatre. Ashman was a founder of off offBroadway’s renowned WPA Theater, where he conceived, wrote and directed God Bless You, Mr. Rosewater, as well as the classic musical, Little Shop of Horrors (both music by Alan Menken). In 1986, he wrote and directed the Broadway musical Smile (music by Marvin Hamlisch).

Lamented as a lost treasure of the 1980s theatre scene, Smile remains popular on High School and College campuses throughout the country. Howard Ashman died in 1991 from complications of AIDS. For more information, please visit howardashman.com.

THE COMPOSER

Alan Menkin Theatre: God Bless You Mr Rosewater, Little Shop Of Horrors, Real Life Funnies, Atina: Evil Queen Of The Galaxy, Kicks, The Apprenticeship Of Duddy Kravitz, Beauty And The Beast, A Christmas Carol, Weird Romance, King David, Der Glöckner Von Notre Dame, The Little Mermaid, Sister Act, Leap Of Faith, Aladdin and Newsies. Film: Little Shop Of Horrors, The Little Mermaid, Beauty And The Beast, Newsies, Aladdin, Pocahontas, The Hunchback Of Notre Dame, Hercules, Life With Mikey, Lincoln, Home On The Range, Noel, Enchanted, Shaggy Dog, Tangled and Mirror Mirror. Songs: Rocky V, Home Alone 2 and Captain America. Awards: 8 Oscars (19 nominations), 11 Grammys (including Song of the Year), 7 Golden Globes, Tony® (plus 4 nominations), Drama Desk, Outer Critics Circle, New York Drama Critics, Olivier and London’s Evening Standard Award, Drama League. Honors: Songwriter’s Hall of Fame, Doctorates from New York University and University of North Carolina School of the Arts.

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BETTER MUSIC. MORE VARIETY.

THE DIRECTOR’S NOTE Here we are in a time where even the most modest of us are wanting more - more options, more freedom, more scope. So, what better time to meet Seymour and the dishevelled populace of Skid Row where each urchin, wannabe-good girl or luckless flower shop owner has dreams of getting more from life.

The seduction of the American Dream, complete with the previous grandeur of 1950s bubblegum and Milk Bar life, have led designer Dan Williams and me on a journey to the tarnished American Diner. Once a place of aspiration, glamour, cherry lips and strawberry kisses, now a place of tarnish, greed and gluttony. Where better for an alien plant from outer space to sniff out our weak points? One of New Zealand’s most prolific and masterful designers, Dan joins The Court Theatre for the second time, his previous work here being the sell-out Once.

This time he brings you both set and costume in order to present a homogenous vision of alien take-over at its most camp and most colourful.

But what is Little Shop without its foot-stamping, finger-clicking musical numbers? Cue the perspicacious ear of Richard Marrett who has never let the intertextual reference-stealing of this wickedly naughty show jade the pursuit for sonic excellence. Kira Josephson complements the creative line-up as choreographer, blending the

old and the new to bring you the freshest take on your favourite numbers. Like alien beings hosting a take-over, this hugely collaborative team, including all the excellent artists here at The Court Theatre, have attacked this much-loved production from all sides.

Which leads me to the cast. And oh, what a cast!

I can hand on heart say what we present to you here is Aotearoa’s finest. For a musical that is presented again and again all over the world, for reasons that will become apparent as you make your way down Skid Row, this is a Little Shop that is uniquely Aotearoa, uniquely ‘now’ and belongs to Ōtautahi.

Let them look after you, let them lead you astray and - despite all warnings - for one night, let’s feed the plants!

BENJAMIN HENSON

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THE SONGS

Act One

Act Two

LITTLE SHOP OF HORRORS

CALL BACK IN THE MORNING

SKID ROW

SUDDENLY SEYMOUR

DA-DOO

SUPPERTIME

GROW FOR ME

THE MEEK SHALL INHERIT

YA NEVER KNOW

SOMINEX/SUPPERTIME REPRISE

SOMEWHERE THAT’S GREEN

SOMEWHERE THAT’S GREEN REPRISE

CLOSED FOR RENOVATION BE A DENTIST

FINALE

MUSHNIK & SON / SUDDEN CHANGES

MEAN GREEN MOTHER

GIT IT NOW (IT’S JUST THE GAS) ACT I FINALE

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THE DIRECTOR

Benjamin Henson Benjamin is one of New Zealand’s busiest theatre directors, forging a diverse career spanning form, scale and media and including original works, scripted premieres and opera.

Benjamin 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.

Benjamin 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, Benjamin was the Directorin-Residence at the Yvonne Arnaud Theatre, Guildford.

Benjamin teaches in Auckland’s drama schools and is Artistic Manager of The Actors’ Program.

2019 marked the inaugural year of The Directors’ Program, the country’s only course of its kind, which was developed and created by Benjamin and a team of industry advisors. Under the theatre collective Fractious Tash, Benjamin has received critical acclaim for Earnest, Not Psycho and Titus, which was then remounted for a sell-out season at the Pop-Up Globe (featuring Beyoncé covers

by New Zealand’s only steelpan band...) The company presented the New Zealand premiere of Lucy Prebble’s The Effect to great acclaim and was set to collaborate with The Fortune Theatre on a new adaptation of Hansel and Gretel before the theatre’s closure.

Benjamin was one of two directors to engage in The Engine Room – a fast-track initiative between Auckland Theatre Company, New Zealand Opera and The Fortune Theatre.

As a result, Benjamin featured in Peer Gynt Recycled for ATC. Benjamin directed Twelfth Night for the Fortune Theatre, winning ‘Production of the Year’ at the Dunedin theatre awards.

Benjamin opened ATC’s 2018 season with the New Zealand premiere of Red Speedo by American playwright Lucas Hnath. He then closed their 2019 season with Rosencrantz & Guildenstern are Dead, winning best production design in the Auckland Theatre Awards.

The award-winning production of Last Tapes’ Valerie toured throughout New Zealand, following dates in Australia and Edinburgh, adding to its accolade the coveted ‘Fringe First Award’ at the Edinburgh Festival Fringe.

During the Covid-19 lockdown, Benjamin wrote and directed the short film Owls, produced from London and recorded over Zoom and featuring both Kiwi and UK actors. The film, produced

by Russell Productions, has now toured the film festival circuit from Venice to LA.

THE MUSICAL DIRECTOR

Richard Marrett Richard is well-known for his work throughout the country as a musical director, vocal coach, pianist, arranger and conductor. Previously, he worked at Ara Institute of Canterbury where he was manager of the degree programmes offered by the National Academy of Singing and Dramatic Art (NASDA) and Ara Music Arts.

His musical direction credits for The Court Theatre include My Fair Lady; South Pacific; The Rocky Horror Show; The Sound of Music; Jerry’s Girls; Oliver!; Guys and Dolls; The Producers; La Cage aux Folles; I Love You, You’re Perfect, Now Change!; Anything Goes; Cabaret; Side By Side By Sondheim; Grease; End of the Rainbow; Blood Brothers; Mary Poppins; Legally Blonde the Musical; Songs For Nobodies; Chicago; Jesus Christ Superstar and Jersey Boys.

His other musical direction credits include Mame; The King and I; Sweet Charity; Joseph and the Amazing Technicolor Dreamcoat; West End to Broadway I, II and III; Les Misérables; 42nd Street; Fiddler on the Roof; Annie; Into The Woods; Jesus Christ Superstar; Urinetown; Beauty and the Beast; The Witches of Eastwick; Cats; Curtains; Buddy; Avenue Q; Hair; Spring Awakening; The Phantom of the Opera; Miss Saigon; Mamma Mia!; Hairspray; Ragtime;

Evita; Wicked; We Will Rock You and Priscilla, Queen of the Desert.

He has conducted and arranged for Showbiz Christchurch, Wellington Musical Theatre, ARTCO, Dunedin Operatic, Invercargill Musical Theatre, Ashburton Variety Theatre, Wellington Vector Orchestra, and the Choral Federation, and arranged for the Christchurch City and Orpheus choirs.

Several of his orchestrations have been recorded with the NZSO and he is often found working as producer and arranger on a number of recording projects. Richard’s work with the Christchurch Symphony Orchestra has included seasons of Starry Nights and Classical Sparks in Hagley Park and the popular concert productions Oh, Danny Boy; Broadway Broads; Rodgers and Hammerstein; Bernstein and Sondheim; The Magical Music of Disney and The Music of Andrew Lloyd Webber. He was also responsible for the musical supervision, programming, tracks, and arrangements for the New Zealand consortium touring productions of Hairspray; The Phantom of the Opera; Mamma Mia!; Evita; Sister Act; Wicked; We Will Rock You and Les Misérables.

In 2019, Richard was appointed as Artistic Director of the popular choir, The Vocal Collective.

THE CAST

Brady Peeti A U D R E Y I I

Monique Clementson

No Ngāti Maniapoto me Te Ati Haunui-a-

Monique graduated from the National Academy

Pāpārangi, Wahine Māori. Brady is a graduate

of Singing and Dramatic Art (NASDA) in 2016

of the National Academy of Singing and

with a Bachelor of Performing Arts.

Dramatic Art (NASDA) (Bachelor of

Her performance credits at The Court Theatre

A K A T R E E YO N C E

Performing Arts).

AUDREY

include Cinderella in Space; Puff the Magic

Her theatre credits include Fever: Return

Dragon; A Paintbox Of Clowns; Legally Blonde

of the Ula (Fine Fatale); Black Ties (Te Rēhia

the Musical; Jesus Christ Superstar; Jersey Boys;

Theatre Company and Ilbijerri Theatre

The Wind in the Willows; The Arsonists; Crash

Company); Astroman (Auckland Theatre

Bash: What’s the Rush; Crash Bash: Reaction

Company); The Wizard of Ōtāhuhu (Mangere

and Time Machine. She is also a Court Jester and

Arts Centre) and Larger Than Life (Te Rēhia

teaches improvisation and drama for The Court

Theatre Company).

Theatre’s Education Programme.

Brady can be seen on Season 4 of the

Monique’s other credits include Saturday Night

television series Ahikāroa (Kura Productions).

Fever (Ben McDonald Productions); Catch Me

Her film credits include He Takatāpui Ahau;

If You Can the Musical (Blackboard Theatre

GURL; and Nancy From Now On.

Collective); Severely Queer, the Cabaret;

Brady is a proud transgender Wahine Māori

performing the role of Deloris Van Cartier in

who works as an actor in Tāmaki Makaurau.

She has also begun working as an agent with TMH Management specifically to support establishing careers for transgender artists.

In 2019, she won the Outstanding Newcomer Award at the Auckland Theatre Awards and dedicated it to the support and mentorship she receives as a whānau member of Te Pou Theatre.

three productions of Sister Act around New Zealand (at Invercargill Musical Theatre, Showbiz Christchurch and Hamilton Operatic); Éponine in Les Misérables (Showbiz Christchurch) and The Cat in the Hat Australian tour (Showcase Entertainment Group).

Rutene Spooner S E YM O U R

Rutene is of Ngāti Porou and Ngaruahine descent.

Since graduating in 2009 with a Bachelor of Performing Arts in Musical Theatre, the singer, actor and entertainer has toured nationally and internationally for various theatre and corporate entertainment companies.

He has appeared in such musicals as Anything Goes; The Buddy Holly Musical; Grease; Avenue Q; La Cage aux Folles; Oklahoma; Chicago; Billy Elliot (New Zealand premiere) and Jersey Boys (Australian Tour), to name a few.

The award-winning cabaret performer has been described

by New Zealand Herald as “a stalwart on the Auckland cabaret scene” and has toured his works both nationally and internationally to great acclaim.

Outside of his busy performance schedule, Rutene also works as a creative producer, television director and performance coach.

Rutene is a proud kaihaka of Te Kapa Haka of WhāngaraMai-Tawhiti, a member of the Modern Māori Quartet and a dedicated union member of Equity New Zealand.

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Roy Snow O R I N

Jonathan Martin

Roy’s previous Court Theatre credits include Anything

Jonathan is a graduate of the National Academy

Goes; Much Ado About Nothing; SNAP!; The Mikado;

of Singing and Dramatic Arts (NASDA) whose

End of the Rainbow; Blood Brothers; Plum; One Man,

Court Theatre credits include In The Next Room

Two Guvnors; Romeo and Juliet; Winston’s Birthday;

or The Vibrator Play; The Producers; Baghdad, Baby!;

Legally Blonde the Musical; The Curious Incident of the

The History Boy; Arsenic And Old Lace; Anything Goes;

Dog in the Night-Time; Chicago; Easy Money; Ideation,

I Love You, You’re Perfect, Now Change; Four Flat

Ladies Night and Frankenstein.

Whites In Italy; One Man Two Guvnors; La Cage

Other theatre credits include Middle Age Spread;

aux Folles; Shepherd; Romeo and Juliet; The Seagull

A U D R E Y I I U N D E R S T U DY

MR MUSHNIK

Poor Boy; Hair; Cabaret; The Rocky Horror Show;

and Cabaret.

My Name is Gary Cooper; Guys and Dolls (Auckland

Other theatre credits include Avenue Q; Winston’s

Theatre Company); Some Girls; This is How it Goes;

Birthday; Into The Woods (Fortune Theatre, Dunedin);

The Threepenny Opera; Assassins (Silo Theatre); Evita

A Little Night Music (Canterbury Opera); The Rocky

(Showbiz Christchurch); The Phantom of the Opera;

Horror Show (Hamilton Operatic) and Madagascar

Hairspray and Cats. Roy’s television credits include

The Musical (GMG Productions).

Shortland Street; Outrageous Fortune; Legend of the

Jonathan had the good fortune of working on the

Seeker; Orange Roughies; Go Girls (Series 3 and 4); Spartacus – War of the Damned and Shannara.

Pop-Up Globe stage in both Auckland and Australia in productions including Henry V; As You Like It;

His film credits include Raising Waylon; Stolen; What

A Midsummer Night’s Dream; The Merchant of Venice

Really Happened: Waitangi; Elevation; Serve and

and Twelfth Night. Jonathan has also featured in the

Protect; The Kick and Breakery.

Netflix film Falling Inn Love.

Jonathan is a proud member of Equity New Zealand.

A R C H I T E C T S 03 366 7165

Ezra Williams

UR CHIN - RONNET TE

Ezra is a passionate and motivated performer with several years of experience in music, dance, and theatre. As a skilled vocalist and proficient songwriter, she brings forth a self-motivated attitude and a lifelong love and commitment to music.

At the Manukau Institute of Technology in 2013 Ezra took on roles from Romeo & Juliet to the lead role Carmen in the musical Fame in 2014. In 2016 she played a role in People like Us, one of the first transgender musicals in New Zealand. Most recently she played one of the Penguins in Madagascar The Musical this year.

In addition to musical theatre, Ezra’s singing performances include headlining Coca-Cola Christmas in the Park (2019); Miss Universe NZ; live TV Shows such as What Now, and performing halftime shows at the Constellation Cup Netball games in 2018 and 2019.

Professional highlights include winning the Best Pacific Female Artist and Best Pacific Soul / RnB Artist at the Pacific Music Awards in 2019.

Jane Leonard

URCHIN - CRYSTAL

Jane is a graduate of the National Academy of Singing and Dramatic Art (NASDA) with a Bachelor of Performing Arts.

Some of her many previous Court Theatre credits include Amadeus; Mary Poppins; Vivienne in Legally Blonde the Musical; alternate Velma in Chicago; Jesus Christ Superstar and Jersey Boys. Her other theatre credits include playing Scaramouche in We Will Rock You; Elphaba in Wicked; Diva in Priscilla, Queen of the Desert; Mistress in Evita and Meg Giry in Phantom of The Opera (Showbiz Christchurch).

Jane also has performed in national tours of South Pacific and H.M.S Pinafore; Madagascar; as well as Kingdom of Katz in the Hamilton Gardens Festival. Commercially, Jane has worked as a singer for events such as the Westpac Business Awards and Super Rugby.

Jane also tutors the Wintec Media Arts Theatre’s Bachelor of Performing Arts in Hamilton and is a proud member of Equity New Zealand.

Kristin Paulse

URCHIN - CHIFFON

Kristin is currently studying at the Auckland University of Technology, completing her Bachelor of Communication Studies majoring in Radio.

Little Shop of Horrors is Kristin’s debut production at The Court Theatre. Her credits include Sister Act (Amici Productions Ltd); Tina: Simply the Best (Showtime Australia); The Dancing Queen Show: A Tribute to ABBA (Showtime Australia); Soul Lounge (Auckland Live Cabaret Festival) and Madagascar the Musical (GMG Productions NZ).

Kristin’s television credits include the TVNZ OnDemand web series Meme.

Kristin is a musician based in Auckland under the artist name KRISTN and has released her debut single ”Seasons”, produced by local Christchurch artist Wulfie, on all streaming platforms. She is also a proud member of Equity New Zealand.

ENSEMBLE, SEYMOUR / ORIN / MUSHNIK UNDERSTUDY

Ben’s previous Court Theatre acting credits include Romeo and Juliet; Mary Poppins; Cops and Robbers; Legally Blonde the Musical; The Ugly Duckling; Chicago; Titus Andronicus; Jesus Christ Superstar; Les Liaisons Dangereuses; The Wind in the Willows and Jersey Boys.

Other theatre credits include Once on Chunuk Bair (Imagine Charitable Trust); RAP-unzel; Botfarm 2014 (New Zealand Playhouse); Mamma Mia; Wicked and Les Misérables (Showbiz Christchurch); and Madagascar the Musical (GMG Productions).

Ben’s stage management credits include Catch Me If You Can; Severely Queer (Blackboard Theatre Collective); Sweet Charity; Ragtime (National Academy of Singing and Dramatic Art (NASDA)); Songs for a New World (So Keen Productions); and The Father (The Court Theatre).

Court Theatre directing credits include Time Machine; Crash Bash: Reaction; Crash Bash: What’s the Rush?; The Isolation Mixtape and The Isolation Mixtape Vol. 2 for Blackboard Theatre Collective.

Ben is a proud member of Equity New Zealand. Ben is a founding member of Christchurch-based theatre company, Blackboard Theatre Collective.

Tiahli Martyn

ENSEMBLE, CRYSTAL / CHIFFON / RONNETTE UNDERSTUDY

Tiahli recently graduated from Morea Performing Arts in the United Kingdom with a Diploma in Dance and Performing Arts.

Little Shop of Horrors is Tiahli’s debut production with The Court Theatre.

Her other theatre credits include the pantomime Aladdin (Everyman Theatre); Parade (Bravi Theatre); Allo Allo (Prime Productions); and Spamalot (Selwyn Arts Theatre), as well as the showcases Apasionadas and En Route during her training in England.

Tiahli hugely enjoys being part of the creative process of shows. Her choreography credits include School of Rock and Priscilla, Queen of the Desert (Selwyn Arts Theatre). Tiahli is also completing her Bachelor of Arts/Bachelor of Science part-time at the University of Auckland, majoring in French, Spanish and Psychology, while she pursues her career in the Performing Arts.

Tiahli is a proud member of Equity New Zealand.

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SYNOPSIS

Act One We open on Skid Row with Ronnette,

Despite his ministrations, the

has Audrey II to thank, and he is

Crystal and Chiffon, three urchins

plant doesn’t thrive until Seymour

determined to keep the plant at his

who provide a singing narration and

accidentally pricks himself – as his

store. Offering to adopt Seymour, he

warnings throughout the action; they

blood hits the plant, it suddenly

convinces the gullible and insecure

seem to know more than anyone

perks up! Its new lease of life brings

young man that he will make him a

else, including the audience.

customers into the shop, suddenly

full partner in the business.

We meet the staff of Mr Mushnik’s

making Seymour Mushnik’s favourite

However, Seymour is having

Flower Shop – shy Seymour, who

employee. Meanwhile, Audrey

difficulty providing enough blood

quietly pines for co-worker Audrey,

reveals her own interest in Seymour

to keep both himself and Audrey

and the cantankerous owner himself.

to us, dreaming of a picture-perfect

II healthy. When he stops feeding

The shop has obviously had little

life in the suburbs with him – a world

the plant, Audrey II reveals that it

trade for some time, but Seymour

away from her existence with her

can speak. In return for blood, the

presents a unique plant that he

abusive, motorbike riding dentist

plant promises to make sure that

discovered at a market, where it

boyfriend, Orin.

all of Seymour’s dreams come true.

mysteriously appeared after an eclipse. He names the plant Audrey II.

Experiencing newfound retail

Although he initially refuses, after

success, Mushnik realises that he

witnessing Orin abusing Audrey,

Seymour succumbs to the plant’s

but when it comes to it, he can’t do

as Seymour stands by. Seymour

suggestion that Orin is perfect plant

it. Fortunately for him, Orin’s love

returns to the shop with supper in

food. Seymour agrees to kill Orin,

of nitrous oxide ends in suffocation,

tow for Audrey II.

Act Two The flower shop has so many orders

Audrey II is getting ever hungrier.

the plant’s agenda all along – to

that Seymour and Audrey can’t

She demands more blood, warning

take over the world. Although he

keep up. As they pack up for the

Seymour that she made him and

attempts to kill it, nothing works;

night, Audrey confides in Seymour

can break him. Audrey arrives and

Audrey II lives, and Seymour

that she is secretly relieved that

a tortured Seymour is relieved to

is supper.

Orin has disappeared. They finally

learn that she would still love him

admit their feelings for each other.

without any fame. He resolves to kill

but, not finding Seymour, they

Mushnik enters the store, revealing

the plant, and move with Audrey

begin to take the cuttings.

that he has suspicions about

‘somewhere green.’ Seymour sends

The girls ceremonially relay that

Seymour’s part in the dentist’s

Audrey home so that he can kill

across the country, unsuspecting

disappearance. He has found Orin’s

Audrey II, but she later returns,

suckers seeking fame and fortune

uniform in a trash can; he has also

a fact of which Seymour is not

have been disappearing at the

noted drops of blood on the floor,

aware - but Audrey II is. When he

same time and in the same places

and how cosy Audrey and Seymour

leaves, the plant reveals its voice

as Audrey IIs appear.

are now getting. Meanwhile,

to Audrey and, enticing her close,

Audrey II begins to ‘whisper’ to

begins to eat her. Seymour returns

proportions, taking over the entire

Seymour that with Mushnik onto

in time to save her but, realising

world. More and more plants

him, he really only has one choice...

now what has led to their change

appear. Singing together they

He complies, enticing Mushnik into

of fortune, Audrey begs him to

remind us all that, whatever we do –

Audrey II’s mouth.

feed her to the plant so that she can

Don’t. Feed. The. Plants!!!!!

Seymour is now very much in demand as the owner of the store

help bring him the life he deserves.

Seymour reluctantly complies.

that boasts the incredible Audrey II

The following day Seymour is

and becomes a reluctant ‘celebrity’.

visited by Martin, a representative

The prospect of money and fame

of World Botanical Enterprises

is tempting, but Seymour is deeply

– their plan is to take cuttings of

conflicted. In the end, however,

Audrey II and sell them worldwide.

believing he will return to poverty

As the reality of what this means

and lose Audrey, he signs

dawns on Seymour, he also

a contract.

understands that this has been

Martin and the Urchins return

Audrey II has grown to enormous

THE BAND understanding weight and movement throughout each scene. I want the audience to understand that costume can help portray the way someone is feeling, just as much as the expression ... Continued from page 30

on their face” says Steven.

Steven’s vision for each of the show’s

Whilst each design reflects an element

individual pieces went far deeper than

of its character’s emotions, the visual

simply representing the story’s 19th

magnitude must also be acknowledged.

century setting. When asked what inspired

An important extension of Steven’s

each design, he reveals that he played

vision was to create pieces that

heavily into the emotional journey that

are so momentous, they practically

each character goes through during the

become part of the set.

show. This can especially be seen as we

As you immerse yourself in this thrilling

get to know Frankenstein’s Creature and

drama, we are certain you will be amazed

his female counterpart.

by what Steven’s talent and vision has

achieved – the characters of Frankenstein “I wanted to use costume as an emotional FROM LEFT: Mitchell Thomas, Bradley Grainger, Iain McLachlan, Michael Ferrar, Kimberley Wood, do not simply wear costumes; they are landscape; to show the audience how Georgina Rees-Stevenson, Richard Marrett, Jimmy Rainey. Absent: Caelan Thomas and Barrett Hocking. clothed in art. the body can interact with clothing,

Challenge yourself and grow your skills through The Court Theatre’s Education Programme.

An improvised comedy show that’ll have you on the edge of your seat, wondering what will happen next!

With drama classes for all ages, dare to dream at courteducation.org.nz

Running on Friday nights at 10:15pm.

3 1

Georgina Rees-Stevenson

Michael Ferrar

Mitchell Thomas

Georgina Rees-Stevenson is a

Mike is a graduate of the Ara

Mitchell is a graduate of Ara Music

graduate of the University of Durham

Institute of Canterbury (Bachelor

Arts (Bachelor of Music Arts,

(BA Hons Music), Trinity College of

of Musical Arts).

Jazz Performance - Drum Set).

Music (Performance Clarinet), and the

His previous Court Theatre credits

His previous Court Theatre credits

include Grease; Blood Brothers;

include Jersey Boys,End of the

Her previous Court Theatre credits

Jesus Christ Superstar and Jersey

Rainbow and Blood Brothers.

include Cabaret (2010/11). She has

Boys. His other theatre credits

His other theatre credits include

played in numerous productions with

include Mamma Mia!; Hairspray;

Wicked; We Will Rock You (Showbiz

Showbiz Christchurch, Ara Institute

Evita; Priscilla, Queen Of The Desert

Christchurch); Holiday Inn; On The

of Canterbury’s National Academy of

and We Will Rock You (Showbiz

Town (National Academy of Singing

Singing and Dramatic Arts (NASDA), and

Christchurch).

and Dramatic Art (NASDA)) and Catch

the North Canterbury Musical Society, as

Mike has toured nationally and

Me If You Can (Blackboard Theatre),

REED 1

University of Canterbury (PGDipTchLn).

well as for Blackboard Theatre and many

G U I TA R

DRUMS

internationally with artists including

among others.

Elaine Paige and Aled Jones,

Mitchell is a freelance drummer,

and is an active musician on the

percussionist and teacher based

Christchurch scene, performing

in Christchurch. He is a confident

with his original guitar trio Toro!,

and versatile performer with an

Georgina is a proud founding member

alongside many other projects.

abundance of experience playing

of The All Girl Big Band and Atlas Voices.

He is the jazz guitar tutor for the

in different styles of music including

companies in the UK. Georgina has also played with the Christchurch Symphony Orchestra and as a guest soloist with many local groups.

By day, she is a high school music teacher with the Forte ITM unit, a teacher at the Christchurch School of Music, musical director of several big bands, conductor of the Canterbury Schools Regional Orchestra and Course Co-ordinator for the New Zealand Secondary Schools Symphony Orchestra.

jazz programme at Ara and also

Jazz / Blues, Pop / Rock and

writes and produces music from

Musical Theatre.

his sailboat moored in Lyttelton

Mitchell is an in-demand musician

Harbour.

who is currently a member of many local ensembles. He has gained a wealth of experience performing different styles of music in music festivals, at iconic venues and events, as well as performing around New Zealand.

Kimberley Wood

Caelan Thomas

Bradley Grainger

Kimberley is a graduate of the

Caelan is a Christchurch-based

Bradley is a graduate of Ara Music

University of Canterbury (BMus;

accompanist, musical director,

Arts School (Bachelor of Music).

MCom). In 2021, she commenced

and piano teacher. His theatre

her study towards a PhD.

credits include Jersey Boys (The

This is Bradley’s first show working

Kimberley has musically directed

Court Theatre); The Wedding

KE YB OA R D 2; KE YB OA R D I COVE R

Jesus Christ Superstar (2016); Spring Awakening (2017); Miscast: An Arts Month Cabaret (2017) and Footloose (2019) for MUSOC. She has played keys for Dirty Rotten Scoundrel (NCMS, 2019);

KEYBOARD 2 COVER

Singer (National Academy of Singing and Dramatic Art (NASDA)); Chicago; Legally Blonde Jr (CentreStage Rolleston); Bad Girls (Riccarton Players) and The Witches of Eastwick (Kirwee

42nd Street (National Academy

Players).

of Singing and Dramatic Arts

Caelan became an Associate of

(NASDA), 2019); Beauty and the

Trinity College, London (ATCL) in

Beast (CentreStage Rolleston,

2015, and is currently working

2019); Miss Saigon (Showbiz

with The Vocal Collective as

Christchurch, 2019); Jersey Boys

their accompanist; as one of two

(The Court Theatre, 2020-21);

musical directors working with the

Chicago (CentreStage Rolleston,

Selwyn Community Choir; and

2021); Joseph and the Technicolor

regularly as an accompanist for

Dreamcoat (NCMS, 2021);

students at NASDA.

The 25th Annual Putnam County Spelling Bee (NASDA, 2021) and The Drowsy Chaperone (NASDA, 2021).

Kimberley is currently working at NASDA as a theory and singing tutor, as well as at the University of Canterbury, taking tutorials for music theory courses.

BASS

with The Court Theatre. His other theatre credits include The Drowsy Chaperone; I Love You, You’re Perfect, Now Change; Holiday Inn (National Academy of Singing and Dramatic Art (NASDA)); He Says She Says and Or So They Say (Blackboard Theatre), amongst others.

Bradley is an in-demand electric and double bassist living in Christchurch. He has worked with numerous notable international artists such as Andy Sugg, Steve Barry, Stefan Nagler as well local bands such as Mundi, Yurt Party and Symposium.

Bradley has performed in festivals throughout New Zealand which include Christchurch, Wellington, Martinborough, Waiheke and Nelson jazz festivals, as well as Christchurch’s World Buskers Festival. His career has also seen him perform on Princess and Holland America Cruise Lines as part of the show band.

Jimmy Rainey

Iain McLachlan

Jimmy is a graduate of the

Iain is a freelance trumpet

Barrett Hocking performs regularly

Conservatorium van Amsterdam

and flugelhorn player from

for the Christchurch Symphony

and Ara Music Arts (Bachelor of

Christchurch. Little Shop of

Orchestra. He also performs around

Music).

Horrors will be his second

the globe with the double platinum-

His previous musical theatre

production with The Court

selling group The Black Seeds, and

Theatre, having previously

iconic New Zealand supergroup

Chaperone; Holiday Inn (National

worked on Chicago.

Salmonella Dub. Barrett is also

Academy of Singing and Dramatic

He studied Performance Jazz

the principal trumpet of Orchestra

Art (NASDA)); Yesterdays

at CPIT (now Ara Institute of

Wellington.

(Stetsons NZ Tour); Grease

Canterbury), moving from there to

Barrett is on the Brass Faculty at the

(Ben McDonald Productions)

join the New Zealand Navy Band

University of Canterbury and is the

and Spamalot (Showbiz

in Auckland. During this time,

Chieftain of The Tooting Tribe based

Christchurch). Little Shop of

he was also a full-time member

at The Piano, Christchurch. He has

Horrors is his first production

of the Rodger Fox Big Band,

recently been an artist-teacher at the

with The Court Theatre.

playing both Lead Trumpet and

New Zealand School of Music (Victoria

Outside of the theatre, Jimmy

Solo Jazz chairs.

University), Wellington.

has worked and performed

As a showband musician on

Barrett holds a Master of Arts from

with Scribe and P-Money, Tami

cruise ships for 15 years, he had

the Royal Academy of Music, London,

Neilson, Snarky Puppy, Yurt

the opportunity to work with

a Licentiate of the Royal Academy of

Party, and the Jong Metropole

many world-class musicians and

Music (Brass Education).

Orkest, as well as his own projects

performers.

HARMONY & RHYTHM and

Barrett is a skilled musician with

Iain is currently enjoying being an

many ensembles and styles to his

active performer with The Court

credit. Prior to his study abroad,

Theatre, Showbiz Christchurch

he completed a Bachelor of Music

and many other bands. He has

(Jazz) and gained an Honours degree

performed in various theatre

(Classical) from the New Zealand

productions around the country

School of Music (Victoria University),

including Les Misérables; Priscilla,

Wellington.

Queen of the Desert; Phantom of

Barrett is also a keen outdoors

R EED 2

credits include The Drowsy

03 Sessions.

OR

T RU MP E T

the Opera and Wicked.

Barrett Hocking T R UMP E T

enthusiast, competing in Endurance and Multisport events around the country.

This fantastic offer is for Schools, Churches, Operatic Societies & other Non-Profit Organizations. $12 each per day or $672 for a rack of 8 radios for a week.

Enquire now through our website or phone

www.BounceNZ .com 03 366 2321

support local journalism by subscribing Your subscription to The Press directly supports our dedicated team of local Canterbury journalists.

Subscribe today at stuff.co.nz/subscribe-chp or call 0800 339 000

THE CREATIVES

Dan Williams

SET AND COSTUME DESIGNER

Daniel graduated with a degree in Performance Design from Massey University and Toi Whakaari: New Zealand Drama School in 2006. His theatre career has seen him design sets and costumes for works all over New Zealand and internationally.

He won the Q Theatre Auckland Newcomer Award at the 2013 Auckland Theatre Awards and has been nominated multiple times at the Wellington Theatre Awards, winning ‘Weta Workshop Set Designer of the Year’ in 2008.

Kira Josephson

Giles Tanner

Kira is from the USA, where she

Giles is a graduate of Hagley Theatre Company (Diploma in Performing Arts), where he concentrated on technical production, and holds a Bachelor of Arts in Political Science and Philosophy from the University of Canterbury.

CHOREOGRAPHER (AND SWING / AUDREY STANDBY)

attended the Orange County School of the Arts and received her B.F.A. in Theatre Arts from Stephens College.

She has performed with Tony-nominee Susan Egan and choreographed a show for Tony-winner Alice Ripley.

With Blackboard Theatre Collective she created and directed Waiting in the Wings and Bechdel Test: An Evening of Women in Theatre.

Choreographing credits include The Drowsy Chaperone, Wedding Singer

Designs include work for Circa Theatre, Centrepoint Theatre, Fortune Theatre, Downstage Theatre, Silo Theatre, The Court Theatre and Auckland Theatre Company. Daniel was the Associate Show Director of the 2017 World of Wearable Arts Awards show and has spent most of 2019 and 2020 art directing largescale events like Summer in the Square and film production design.

and Urinetown (NASDA); Little Women

Daniel recently designed the set for Once at The Court Theatre. You can check out more of his work at danielwilliamsdesign.com

Kira is a proud member of Equity

and Spelling Bee (Stephens College); and The Boyfriend and Into the Woods (OCHSA). Performing credits include Catch Me If You Can (Blackboard Theatre Collective); Les Misérables and Wicked (Showbiz Christchurch); and Weird Romance (USA West Coast premiere and European premiere in France and Scotland).

New Zealand and is represented by Kathryn Rawlings & Associates. She is currently appearing as “Jane” on Power Rangers Dino Fury [Season 28 / 29].

COSTUMES FOR LITTLE SHOP OF HORRORS SPONSORED BY

LIGHTING DESIGNER

Experienced in lighting, sound and audio-visual design, Giles started working with The Court in 1995 as a casual technician. After operating his first co-production in 1996, Giles became House Technician in 1998.

Currently Head Technician at The Court Theatre, Giles has worked on more than 50 Court productions including Amadeus; Hui; When the Rain Stops Falling; Blood Brothers; Constellations; Macbeth; Educating Rita; The Little Mermaid; Waiora: Te U Kai Po - The Homeland; The Events; Ropable; Venus in Fur; Titus Andronicus; In the Next Room, or the Vibrator Play; Stephen King’s Misery; Astroman; Hedwig and the Angry Inch; The Father; Fresh Off the Boat; The Wind in the Willows; A Streetcar Named Desire; Ladies Night and Once.

Glen Ruske

SOUND DESIGNER BOUNCENZ

Glen has been designing and operating sound for orchestras, theatre shows and corporate events since the early 1990s. He is sought after worldwide, and his talents have seen him tour with numerous professional and amateur theatre companies, orchestras, and international artists throughout New Zealand.

Glen has designed and operated sound for productions as diverse as The Rocky Horror Show in Singapore; Maui; The Merry Wives of Windsor; Les Misérables; Sweeney Todd; Miss Saigon; Phantom of the Opera; My Fair Lady; Macbeth; Jesus Christ Superstar and Mary Poppins.

In 2007 he purchased Redd Acoustics and formed BounceNZ, which specialises in sound reinforcement for theatre, orchestra, outdoor festivals and corporate work.

BounceNZ are regular suppliers, designers, consultants and Sound Engineers in the New Zealand Theatre scene. They are the preferred suppliers for Musical Theatre New Zealand, Auckland Theatre Company, Auckland Music Theatre, Christchurch Symphony Orchestra, The Court Theatre, New Plymouth Operatic and Showbiz Christchurch, to name a few.

Scott Leighton STAGE MANAGER

Scott is a graduate of Hagley Theatre Company and Toi Whakaari NZ Drama School (Bachelor of Performing Arts Management).

His previous Court Theatre credits include Hedwig and the Angry Inch (Assistant Stage Manager); The Pink Hammer (Stage Manager); The Wind in the Willows (Assistant Stage Manager); Crash Bash: What’s the Rush? (Stage Manager); Jersey Boys (Assistant Stage Manager) and Things I Know to be True (Stage Manager).

As a freelance Stage Manager, Scott has also worked with Victoria University of Wellington - New Zealand School of Music on its shows Eat Your Heart Out and A Feast of Opera Scenes (Stage and Production Manager) and Suor Angelica & Gianni Schicchi (Production Manager); New Zealand Opera’s touring production of Eight Songs for a Mad King (Stage Manager) and Blackboard Theatre Collective’ s production of UGLY: The Untold Story of the Stepsisters (Stage Manager).

Ruby

CANINE CREATIVE

Theatre Dog; Canine Creative; Companion Pet and Official Sound Hound for Little Shop of Horrors.

Look out for Ruby at intermission!

Written by Alison Quigan & Ross Gumbley Are you coming out for the dance tonight?

19 FEB TO 26 MAR 2022 COURTTHEATRE.ORG.NZ SHOW SPONSOR

PRINCIPAL SPONSOR

SEASON SPONSOR

CORE FUNDER

Join now

and receive all the benefits that being a Friend offers.

Email friends@courttheatre.org.nz Web courttheatre.org.nz

3 6

The Friends of The Court are a group of 2,000-strong champions, supporters and advocates who are one of The Court’s greatest assets.

As a Friend you will: • Save significantly on the cost of your tickets (Top tip: when becoming both a subscriber and a Friend of The Court, you can save up to a third on the cost of your seats!)

• Meet some of the stars from your favourite productions in exclusive Friend-only events • Receive the Court Cues bi-monthly (six per year) newsletter with behind-the-scenes details and exclusive scoops involving our writers, actors, directors and designers • The Friends of The Court make up The Court’s volunteer usher base, a group that you can join once you’re a Friend.

L I L LY - M A R I E CHAPMANS

BRIAR JA R M A N

IVONKA

IVONKA

All it takes to join is a small annual membership fee. These are currently: • • • • •

Briar currently studies Drama at The Court Theatre’s after school Drama Classes, vocal tuition with Amy Bowie and danced with The Ballet Academy, learning Classical & Jazz dance genres.

Lilly-Marie is a $40 current student of Mt Pleasant Adult Single Primary School. $55 Adult Double

Senior (65+ yrs) Single $30

She has attended weekly drama classes Senior (65+ yrs) Double $45 at The Court Theatre for the past two years.

Youth (<25 yrs) Single $25 Previous to this she attended the Helen She was character SelwyninHouse Fees paid go directly back into The Court Theatre and provide tensthe oftitle thousands ofin dollars fundraising.

O’Grady Drama Academy.

School’s production of The Little Red Hen Once is Lilly-Marie’s first professional appearance. and has performed in: Wizard of Oz; Hansel and Gretel; and Alice in Wonderland produced

by The Ballet Academy.

Make your celebration or function extra special with from the Once is Briar’s first show forentertainment The Court Theatre. comedians behind Aotearoa’s longest running late-night comedy show.

CALL US FOR A

Email jesters@courttheatre.org.nz

Challenge yourself and grow your skills through The Court Theatre’s Education Programme.

With drama classes for all ages, dare to dream at courteducation.org.nz

2 1 3 7

CREATING THEATRE

Render image courtesy of Athfield Architects Limited and Haworth Tompkins.

The new Court Theatre, located on the corner of Gloucester and Colombo Streets and opening in 2024, will be the best theatre space in the country.

Our new home will be an architectural and living expression of human creativity, reflecting and embracing the many faces of our community in beautiful Aotearoa New Zealand.

It is ground-breaking and, as a team (kotahitanga), we are working passionately to deliver the project for the city showing our courage (māiatanga), using all our combined skills to achieve the very best results.

The building will offer an open invitation to those who want to intimately share the diverse programme of The Court Theatre's work and make The Court their own. We will return city audiences to theatre spaces purpose-built to bring the viewer closer to our art at play.

The new central city theatre will ensure that generations of theatre lovers will continue to gather at The Court to share stories, laughter and life.

APPLAUSE is your opportunity to be part of The Court Theatre and support the performing arts community. To find out more go to courttheatre.org.nz/applause

THE COURT THEATRE

OUR VALUES M Ā I ATA N G A C O U R AG E O U S | M A N A A K I TA N G A W E L C O M I N G | W H Ā N A U N G ATA N G A B E L O N G I N G | KOTA H I TA N G A O N E T E A M EXECUTIVE Chief Executive / Tumu Whakarae Barbara George Artistic Director Daniel Pengelly Grants, IT and Governance Manager Susan Rendall Chief Financial Officer Paul Dawson SENIOR LEADERS

Donor Engagement Manager Sahra Grinham Communication and Marketing Assistant Ruchika Gulati Administration Manager Amanda Hare Administration Fiona Haines Education Co-ordinator / Head Tutor Riley Harter

Production Manager Flore Charbonnier

Customer Experience Administrator Erin Hills

APPLAUSE Campaign Manager Carolyne Grant

Set Construction Nigel Kerr

Kaihautū Ahurea Vanessa Gray

Stage Manager Scott Leighton

Artistic Adviser / Lead Director Ross Gumbley

Customer Experience Box Office Rebecca Radcliffe

Food and Beverage Manager Petra Laskova

Costume Manager Daniella Salazar

Communicatons and Marketing Manager Julie McCloy

Jesters Manager (Artistic) Trubie-Dylan Smith

Sponsorship Manager Layla Moutrib Customer Experience Manager Rachel Vavasour Education and Outreach Manager Dr Alison Walls COMPANY Deputy Production Manager Erica Browne Head Stage Manager Jo Bunce Project Manager Tom Clisby Costume Technician Findlay Currie Set Construction Seth Edwards-Ellis Accountant Claudia Fe Jambalos Construction and Premises Manager Bryce Goddard

Properties Manager Julian Southgate Head Technician Giles Tanner House Technician Matt Short Set Construction Richard van den Berg Client Manager Andrea Winder Theatre Chaplain David Winfield COURT JESTERS Dan Allan Brendon Bennetts Emma Brittenden Kathleen Burns Jeff Clark Emma Cusdin Trubie-Dylan Smith Kirsty Gillespie Criss Grueber Millie Hanford Maddie Harris Riley Harter Robbie Hunt Aaron Jelley

Scott Koorey Hillary Moulder Henri Nelis Daniel Pengelly Ciarán Searle Jarred Skelton Andrew Todd Gabby Wakefield Vanessa Wells Jester Musicians Deen Coulson Katie Cowan Frankie Daly Kris Finnerty Criss Grueber Hamish Oliver Jack Page Jester Apprentices Selwyn Gamble Eleri Griffiths Lauren Heaysman Benjamin Kent James Kupa Rosie Maguire Hannah McDougall Maddy McZant Mikaela Ruegg Hamish Thomas TRUST BOARD Chair Tony Feaver Secretary Susan Rendall Board Annie Bonifant Paul Bryden Erin Jamieson David McBrearty Anne Newman Georgina Toomey Steven van der Pol Steve Wakefield FOUNDATION BOARD Chair Catherine Boyer Secretary Laura Palomino de Forbes Treasurer Christopher Weir Board Hall Cannon Tina Duncan Cilla Glasson David McBrearty

FRIENDS OF THE COURT THEATRE Patron Dame Adrienne Stewart DNZM, QSM Chair Annie Bonifant Deputy Chair Allanah James Secretary Charles Duke Treasurer Lynn Vandertie Membership Secretary Jay Pollock Committee Andrea Bankier Pat Braithwaite Wendy Carryer Tony Feaver Cheryl Colley John McSweeney David Winfield ASSOCIATES Bryan Aitken Stuart Alderton Paul Barrett Judie Douglass Tony Geddes Derek Hargreaves MNZM Joe Hayes Geoffrey Heath Elric Hooper MBE Vale Maurice Kidd, November 2021 Avril Lockhead Yvonne Martin Lynda Milligan Eilish Moran Stewart Ross FELLOW OF THE COURT John Harrison ONZM

WHY SUBSCRIBE?

Our subscribers are the backbone of our audience – they give us the confidence and support to plan our seasons, knowing that they will be seen and appreciated. As a subscriber you are guaranteed the best seats in the house at your favourite shows.

Don’t miss out – Take Your Seat.

Book at least three shows this season to receive a range of benefits, which include: PRIORITY BOOKING You’ll get first dibs on your favourite seats, ensuring you’re booked in for our sell-out shows. You’ll also get the option to renew these seats next season!

NO QUEUES Avoid the lines – all of your bookings can be made at once and we can either mail out your tickets or hold them here for collection at the theatre.

GREAT VALUE Subscribing means you can save up to 30% on the cost of your tickets, with access to opening and premium nights at subscriber prices.

TICKET SECURITY If you lose your tickets, we can replace them, making sure you keep your reserved seats.

BRING A FRIEND Invite whānau to join you; ticket discounts are available to family and friends.

FREE TICKET EXCHANGE Plan in advance, but enjoy the flexibility to change your dates once bookings are open to the general public.

TYPES OF SUBSCRIPTION SUPER SUBSCRIBER Subscribe to our full season (seven mainstage shows) and enjoy even more exclusive rewards! You’ll receive all the benefits of a subscriber plus a printed programme for all Court-produced shows* and a drink voucher to use at each of our mainstage productions.

You will also receive a double pass to both Scared Scriptless and The Early Early Late Show, performed by Canterbury’s best and most hilarious improvisers. As a special 2022 bonus you will also get our 50th Anniversary book.

BUILD YOUR OWN Design your own subscription package with as few as three plays to suit your theatre thirst this year. *Excluding The Māori Sidesteps and Potted Potter.

SUBSCRIPTIONS OPEN NOW

A NE W T HE AT R E S E A S ON I S HER E , AND IT‘S NOT TO BE MISSED. Take your seat, get comfortable and prepare to discover more stories that engage, excite and even challenge how we see the world.

C OUR T THE ATRE .ORG.NZ PRINCIPAL SPONSOR

SEASON SPONSOR

CORE SPONSOR

SPONSORS & FUNDERS

HOURUA WHAKAIHUWAKA PR INCIPA L SP ONS OR

Elizabeth Ball Charitable Trust

LOGO & BRANDMARKS

COR E F UNDER

Farina Thompson Charitable Trust

02

Logos & Brandmarks PRIMARY LOGO The primary logo of Withers & Co is used in most cases. Only when the logo does not fit with the collateral is when the sub marks are used in place of the logo.

Pamela Webb Charitable Trust BRAND GUIDELINES V.1

WITHERS & CO

ROUROU

MEARES WILLIAMS LAWYERS

NEW ZEALAND INSTITUTE OF MANAGEMENT

AND

LEADERSHIP

Gabrielle Tasman John Rhind Ltd

Nā tō rourou, nā taku rourou, ka ora ai te iwi.

With your food basket and my food basket, the multitudes will thrive.

To inquire about how a sponsorship relationship with The Court Theatre could add value to your business, please contact our Sponsorship Manager Layla Moutrib at Layla.moutrib@courttheatre.org.nz

T A H Ā – C A L L A B A S H G O U R4 7D

PŌHĀ – KELP BAG

KETE – FLAX BASKET

4 7O U R O U – S M A L L B A S K E T R

Whatever your occasion, there’s a Giesen wine

TIMELESS.

SMOOTH.

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LIVELY.

PL AYFUL.

to match.

W E N H K S E OO R L F