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NI C K DEAR
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Nau M a i, H ae r e M a i Barbara George Welcome to Frankenstein! We are
really need? Visit www.courttheatre.org.nz
so pleased to see you back at The Court
and choose The Friends from the dropdown
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Support Us menu, or phone us at the Box
to ask ourselves where this year has gone,
Office for personal service (0800 333 100).
but what a great year it has been so far
In the pages of this programme book
- and there is still so much more to come.
you will meet the many people who have
There is even more on offer for friends,
made this show the stunning success
so perhaps consider becoming a Friend
it is. Themes emerge, and as CE of this
of The Court Theatre. Amongst other things,
fine organisation, it makes me very proud
you will have the opportunity
to read about the teamwork, the courage,
to attend lunches and events with like-
the welcomes and the friendships. These
minded people, access information from
are our values in action. A shout out
behind the scenes and, if you are really
to Artistic Director Dan Pengelly whose
fortunate (and perhaps a bit persistent),
thoughtful programming has opened
get yourself on one of the ushering
our doors to so many – both in the creative
teams. Being a Friend is a great way to
teams, and our audiences who are enjoying
stay connected and support The Court
coming to The Court.
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We hope you enjoy Frankenstein - remember
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Kia ora Dan Pengelly We have had a busy year with Cantabrians
in style, form and content. Few directors
coming to The Court Theatre in record
go to this effort but, as you will see, Holly
numbers, leading to sold-out seasons
and Tom go to great lengths to create art
of Jersey Boys, Winding UP, Things I Know
that stays with you long after you leave
to be True, Ladies Night, ONCE and Disney’s
the theatre.
Moana JR. Each was different in their own
Both Holly and Tom also tutor at
way, and now it is time for the second
ARA Institute of Canterbury on the
of our two dramas for the year. The first
NASDA programme, so it is a beautiful
was Things I Know to be True and, like that
collaboration to have 15 of their third-year
show, Frankenstein not only entertains but
actors working with us on this piece.
encourages us to re-examine what we think we know.
As always, a huge acknowledgment goes out to the creatives behind the
Frankenstein is a genuine classic. Only
scenes helping this show come to life,
a truly meaningful story can not only last
and to all The Court Theatre staff who
over 200 years, but still remain relevant
have worked for over 12 months on this
and ask questions that dig deep. What it
project. You have my thanks and praise
is to truly ‘be human’ – and what does that
for what you do for Ōtautahi.
even mean? As we strive for knowledge, are we prepared for the consequences?
This show provokes deep thinking and
The answers - like Frankenstein and
is also big and physical. I have loved being
Creature - are complex and changing.
a small part of its creation. On behalf of The Court Theatre, I hope you enjoy it.
I especially want to acknowledge our Director, Holly Chappell, and her
Ngā mihi nui,
collaborator (and husband!), Tom Eason.
Dan Pengelly
Over a year ago they pitched me five classic
Artistic Director
plays that they felt Cantabrians would benefit from seeing. Each quite different
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By
N I CK DE A R
Fro m t he novel by
MA R Y SHE LLEY
CAST
ACKNOWLEDGEMENTS
Victor Frankenstein / Creature................................................... Wesley Dowdell
We thank the entire Court
Victor Frankenstein / Creature............................................................ James Kupa
Theatre whānau for their
Elizabeth / Agatha...................................................................... Elisabeth Marschall
exceptional work and dedication
De Lacey / Monsieur Frankenstein........................................................ Roy Snow
in producing this play, with special
Felix / Ewan / Victor understudy.......................................................... Tom Eason
mentions to Ross Gumbley and
Clarice / Ensemble................................................................................... Abi McDonald
photographer Emma Brittenden.
Female Creature / Ensemble................................................................ Asuka Kubo Rab / Ensemble................................................................................................. Ben Jarrett Ensemble................................................................................................ Georgie Carnegie Ensemble..................................................................................................... Jayshri Ratnam Gretel / Ensemble......................................................................................... Katie Atkins Elizabeth & Agatha understudy / Ensemble......................................................................... Krystal Ramirez O’Gorman William / Ensemble........................................................................................ Kyle Aitken Ensemble................................................................................................................ Leo Munro Gustav / Ensemble............................................................................ Matthew Farnell Female Creature / Ensemble..................................................................... Nadia Hill
Proudly printed by Caxton. FRANKENSTEIN was first presented by the National Theatre, London on 5 February 2011. The Court Theatre’s license to present Nick Dear’s stage adaptation of Mary Shelley’s novel FRANKENSTEIN is granted by Rosica Colin Limited, London.
RUNNING TIME
Clarice / Ensemble................................................................................ Nicole Brebner
2 hours and 20 mins, including
Klaus / Ensemble....................................................................................... Nicole Wilson
a 20-minute interval.
William / Ensemble............................................................................ Tristan Valencia Constable / Ensemble.................................................................................. Xavier Paul
WARNINGS Smoke; violence; adult themes
PRODUCTION
and controversial elements.
Director........................................................................................................... Holly Chappell
Frankenstein by Nick Dear was staged by The Court Theatre 7 August - 4 September 2021.
Movement Director....................................................................................... Tom Eason Set Designer.................................................................................................... Harold Moot Costume Designer............................................................................ Steven Junil Park Sound Designer................................................................................................. Matt Short Lighting Designer.............................................. Sheena Baines - Alhawamdeh Stage Manager........................................................................................................ Jo Bunce Assistant Stage Manager................................................................................. Tim Bain Casual Set Construction........................ Richard Daem, Ruben Hamblett, .
Tom Phillpotts
Casual Costume Technicians............ Findlay Currie, Monique Bartosh, Annie Graham Props Intern...................................................................................................... Alison Clark Casual Props Technician................................................................ Rochelle Wright
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Au t h o r Nick Dear Nick’s plays include Dedication (Nuffield
for BBC Radio, from his first play, Matter
Southampton, 2016); The Dark Earth and
Permitted (1980), to his most recent,
the Light Sky (Almeida, 2012); Frankenstein
The News From Home (2016).
(NT, 2011); Lunch in Venice (NT Connections,
In September 2018, The Rose Theatre,
2005); Power (NT, 2003); The Villains’ Opera
Kingston, presented a major double-bill
(NT, 2000); Zenobia (RSC, 1995); In the Ruins
of Nick’s work: a revival of The Art
(Bristol Old Vic, 1990); Food of Love (Théâtre
of Success, alongside the world premiere
de Complicité, Almeida, 1988); The Art
of its companion play, The Taste of the Town.
of Success (RSC, 1986); Pure Science (RSC, 1986); and Temptation (RSC, 1984). He also collaborated with Peter Brook on the development of Qui est là? (Bouffes du Nord, 1996). His adaptations include The Promise (after Arbuzov, Tricycle, 2002); Summerfolk (after Gorky, NT, 1999); Le Bourgeois Gentilhomme (after Molière, NT, 1992); The Last Days of Don Juan (after Tirso de Molina, RSC, 1990); and A Family Affair (after Ostrovsky, Cheek by Jowl, 1988). His screenplays include Persuasion, The Turn of the Screw, Cinderella, The Gambler, Byron, Eroica and Agatha Christie’s Poirot. He has also written extensively
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Holly Chappell's
D ire ctor's Note In 1818 a 20-year-old Mary Shelley wrote
every time I walk into the theatre. Every
the novel, Frankenstein, and birthed the genre
costume, prop and set piece has been made
of Science Fiction. Often when we think of
with the detail and passion of Frankenstein
the story of Frankenstein, we focus on the
creating his creature. I had the privilege
horror and gore aspects of the creation of a
of working with my husband, Tom Eason,
monster, but it is so much more; it is a work
who as the Movement Director has created
of intense complexity. Frankenstein is a story
such beauty, heartache and wonder in the
of the search for true companionship, how
physical sequences that I’ll never get sick of
we treat otherness in our world, and the
watching them. Steven Junil Park's theatrical
infinite question, ‘where does life come from?’
costuming debut is astonishingly beautiful; his conceptual genius has been crucial
I have been incredibly blessed to be able to
to creating the epicness of this work.
create this work with an amazing team of
Stage Managers seldom get a mention,
people. To be able to realise this massive
but Jo Bunce is a true hero and fights every
vision together has been a gift. James and
day for the work to be the best it can be.
Wes have undertaken the acting job of a lifetime. To learn and perform two entire
Thank you to The Court Theatre for trusting
roles that swap each night is massive in itself,
me with this vision; our team who work every
but they have grasped this opportunity with
day in the building are tireless and constantly
grace and generosity and made this show the
generous with their time and expertise.
truly special experience that it is. They have
This is an epic story and we wanted
worked every single minute available to them
to match it with epic imagery, performance
to understand, develop and portray Victor
and energy. We wanted to create a journey
Frankenstein and Creature with passion and
that an audience can really feel, and can
skill. Every cast member has risen to this
leave questioning what really makes
challenge with joy and love, and the NASDA
a monster - the people that are labelled
ensemble have given their all - I am so proud
as one, or the systems that create them?
of their massive contribution to the work.
Thank you for taking on this journey with us.
Our creative team took the vision and ran with it; the scale of this work blows my mind
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Holly Chapp ell Director Holly has a Master of Theatre Arts
Theatre and The Fortune Theatre.
in Directing from Victoria University
As the Artistic Director of Little Andromeda,
and Te Kura Toi Whakaari O Aotearoa:
she has programmed their 2019, 2020
NZ Drama School.
and current seasons.
She is the co-artistic director and producer
Holly is Head of Acting at Ara Institute
of Two Productions, which has produced
of Canterbury’s National Academy
the devised works Moemoea; If You Only See
of Singing and Dramatic Arts (NASDA);
One Show in Your Life; The Disaster Brothers;
taught acting at Original Scripts Theatre
the immersive theatre show, The Powerful
School for ten years; had a successful high
Event; The Wild Hunt; Open for Business;
school teaching career; and worked
and The Little Prince.
as a director and tutor for Toi Whakaari and Whitireia Polytechnic.
Holly has directed for The Court Theatre, Auckland Theatre Company, Red Leap
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J a m e s Ku p a
We s l ey D ow d e l l
Victor Frankenstein & Creature
Victor Frankenstein & Creature
James is a graduate of the Toi Whakaari:
Wesley’s love of performance started
New Zealand Drama School (Bachelor
with Auckland-based Massive Company,
of Performing Arts).
to whom he credits his acting training and development.
He has previously appeared in Court Theatre productions of The Perfumed Garden. Other
His previous Court Theatre production
theatre credits include Betty’s Summer
was Constellations, in 2015. Other theatre
Vacation; Twelfth Night (Toi Whakaari); Strange
credits include Red Speedo (Auckland Theatre
Resting Places (Taki Rua); Penalties, Pints and
Company); The Biggest (Tikapa Productions);
Pirouettes (Centrepoint Theatre) and A Lion
The Curious Incident of the Dog in the Night-
in the Meadow (Tim Bray Productions).
Time (Auckland Theatre Company); Raising the Titanics (SmackBang) and The Sons of
Television credits include Brokenwood
Charlie Paora (Massive Company). Wesley’s
Mysteries; Ka Pai Living; Agent Anna and
television credits include Outrageous Fortune,
Nothing Trivial. His film credits include
Roman Empire II and The Brokenwood
I Got Robots; Morgan Foster’s: Mind Creep
Mysteries. His film credits include The World’s
Cinema and Small Fish, Big City.
Fastest Indian, Lovebirds and yet-to-bereleased Punch.
As a part of the creative collaboration, Chess Club, James has co-written, co-directed and
Wesley is also a musician who has played
starred in several films including I Got Robots,
for solo artists, in various bands and theatre
which placed second at finals of the 2013
productions, predominantly as a drummer
48-Hour Film Festival and was selected for
and singer. His current project is duo group
the 2013 Hawaii International Film Festival.
Wesjam.
For his role in I Got Robots, James won the award for Best Actor.
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To m E a s o n Movement Director Felix/Ewan/Victor Understudy Tom began his training at Original Scripts
In 2014 Tom was awarded the Circa Award
Theatre School and gained a Bachelor
Donated by TACT Most Promising Male
of Performing Arts (Acting) from Te Kura
Newcomer for his role in the Wellington
Toi Whakaari O Aotearoa: New Zealand
production of Equivocation.
Drama School.
Tom has taught and directed for Toi
Previous Court Theatre credits include
Whakaari, NASDA, The Court Youth
Astroman and The Pink Hammer. Other
Company and Original Scripts Theatre
credits include Sea; Dust Pilgrim (Red
School. He is co-artistic director of Two
Leap Theatre); The Wholehearted
Productions and has performed in their
(Massive Theatre Company); The Breath
works Moemoea; If You Only See One Show
of the Volcano and Skin of Fire (Auckland
in Your Life; The Disaster Brothers; Balmy;
International Arts Festival; Group F)
The Powerful Event; Open for Business; Moby Dick and The Little Prince.
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E l is ab eth Mar s chall
Roy S n ow De Lacey & Monsieur Frankenstein
Elizabeth & Agatha Elisabeth Marschall is a graduate
Roy’s previous Court Theatre credits
of Toi Whakaari: New Zealand Drama
include Anything Goes; Much Ado About
School (Bachelor of Performing Arts)
Nothing; SNAP!; The Mikado; End of the
and Valla Folk Highschool (Diploma
Rainbow; Blood Brothers; Plum; One Man,
in Physical Theatre).
Two Guvnors; Romeo and Juliet; Winston’s Birthday; Legally Blonde the Musical;
Frankenstein is Elisabeth’s Court Theatre
The Curious Incident of the Dog in the
debut. Her other theatre credits include
Night-Time; Chicago; Easy Money; Ideation
The Maids (Valla Folk High School);
and Ladies Night.
Concrete Sphinx and Brilliant Eyes (Duende School of Ensemble Physical Theatre);
Other theatre credits include Middle
I Never Thought I’d Have to Explain It
Age Spread; Poor Boy; Hair; Cabaret,
All (Wellington Fringe Festival); Merrily
The Rocky Horror Show; My Name is Gary
We Roll Along and Lockdown La Ronde
Cooper; Guys and Dolls (Auckland Theatre
(Toi Whakaari). Elisabeth’s film credits
Company); Some Girls; This is How it Goes;
include Hand; Excavation Point Thestias;
The Threepenny Opera; Assassins (Silo
and När Landskapen Susar Förbi.
Theatre); Evita (Showbiz Christchurch); The Phantom of the Opera; Hairspray
Elisabeth is a global nomad who moved
and Cats. Roy’s television credits include
to New Zealand from Sweden to pursue
Shortland Street; Outrageous Fortune;
a career in acting. She is a passionate
Legend of the Seeker; Orange Roughies;
theatre maker, writer and physical mover
Go Girls (Series 3 and 4); Spartacus –
who also wants to create her own work,
War of the Damned and Shannara.
looking at stories from different cultures and, more specifically, her own African/
His film credits include Raising Waylon;
European background.
Stolen; What Really Happened: Waitangi; Elevation; Serve and Protect; The Kick and Breakery.
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C ax t o n
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Abi gail McD onald
A s u k a Ku b o
B en Jarrett
C l a rice & Ense mble
Fema le Crea ture & Ensemble
Rab & Ensemble
Scottish-born Abigail grew up in Auckland. She feels privileged to be doing the work she loves, whilst being part of The Court Theatre.
Asuka (she/her), from Japan, is finding huge joy in being a part of Frankenstein and is very excited to be using physical theatre to express the full ‘aliveness’ of the story.
Ben loves the collaborative nature of Frankenstein. He wants to explore how performing arts can empower and bring unity.
Ge orgia Carnegie
J ay s h r i R a t n a m
K a t i e At k i n s
Ense mble
Ensemble
Gret el & Ensemble
Born and raised in Timaru, Georgia is loving being exposed to a professional environment while also continuing her studies at NASDA.
Jayshri (she/her) is a proud Fijian Indian New Zealander. She hopes to continue creating important work through Yugto Productions for Christchurch’s Asian theatre scene.
Krystal Ramire z O ' G o r m a n Eliz abeth &
Ky l e A i t k e n
L e o Munro
Willia m & Ensemble
Ensemble
Kyle’s theatre credits include On The Town (NASDA) and Avenue Q (Nelson Musical Theatre). He is part of the Court Theatre’s Youth Jester company. Kyle hopes to be part of bringing a thriving musical theatre industry to New Zealand.
Being part of Frankenstein has enabled Leo to have fun while learning and creating. His goal is to continue his studies in Musical Theatre and Dance in Sydney.
Ag at h a Unde rstudy & Ensemble Krystal is originally from Dunedin. Her previous credits include The Book of Everything, On The Town and I Love You, You’re Perfect, Now Change (NASDA). She is a cofounder of Yugto Productions.
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Katie, from Palmerston North, is excited to share this journey of love, loss and what it means to be human with Court Theatre audiences.
Students of Ara Institute of Canterbury National Academy of Singing and Dramatic Arts (NASDA)
M a t t h ew Fa r n e l l
Nadia Hill
Nic ole Brebner
G ustav e & Ense mble
Fema le Crea ture & Ensemble
Claric e & Ensemble
Matthew is originally from Auckland. He is planning on future study to help build the presence of Te Reo Māori and New Zealand Sign Language in New Zealand theatre.
Nadia moved to Christchurch in 2019. She aims to work professionally in musicals and physical theatre. She is also interested in composing.
Originally from Hawkes’ Bay, being part of Frankenstein with such a dynamic team has been inspiring. It has challenged her imagination and knowledge of physical theatre.
N i c o l e Wi l s o n
Tr i s t a n Va l e n c i a
X av i e r P a u l
Klaus & Ense mb le
Willia m & Ensemble
Constable & Ensemble
Nicole moved from Auckland to Christchurch in 2018. As part of an ensemble, Nicole has loved helping to translate physical theatre moments into vital elements of the story.
Tristan (he/him) proudly affiliates to both Pilipinas and Aotearoa. His most prominent aspiration is to write and direct his own play representing the Filipino LGBTQIA+ community.
Xavier is originally from Auckland and is of Ngā Puhi descent. Xavier plans to write and perform his own original content for this year’s Ignite fringe festival at Little Andromeda, and aspires to support Māori youth unfamiliar with the arts.
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Harold Mo ot
S t ev e n J u n i l P a r k
Set Designer
Costume Designer
Harold has worked in the professional theatre
Christchurch-based Steven is a graduate
industry for over 33 years. After studying Visual
of the Elam School of Fine Arts at the University
Communication at the Christchurch Polytechnic,
of Auckland. This is his first show with The
where he majored in 3-Dimensional Studies, he
Court Theatre and first time working in theatre.
joined The Court Theatre as a member of the set
His previous costume work includes Aldous
construction team and has gone on to freelance
Harding’s music videos for 'The Barrel'
as a designer, set builder and scenic artist.
and 'Zoo Eyes'. He costumed a short film
Harold has designed extensively for a variety
written by the 2020 Poetry Slam Champion
of shows at The Court Theatre, including
Nathan Joe (for Going West Festival 2021).
Shortcut to Happiness - the inaugural production
He also costumed 'Dances with Aldous'
in ‘The Shed’ in 2011.
by Josie Archer and Kosta Bogoievski for Tempo Dance Festival 2019. Steven
In addition to his work for The Court Theatre,
first worked with Holly and Tom in 2019
Harold has designed significant large-scale
while art-directing and costuming the CoCA
musicals throughout New Zealand. He also
Fundraising gala.
designed the set for the New Zealand premiere of Disney’s Beauty and the Beast for Showbiz
Steven runs his own clothing label
Entertainment and Miss Saigon for the
called ‘6x4’, hand-making one-off pieces
NZ Music Consortium.
using mainly vintage, repurposed, or recycled materials.
Harold has worked in film, television and advertising, including working at Weta Workshop, and was this year awarded the Out of the Limelight Theatre Award.
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M at t S ho rt
She ena B aines - A l h aw a m d e h
Sound Designer
Lighting Designer Growing up in North Canterbury, Matt developed a passion for music
Sheena is a lighting designer with over
from an early age. He formed rock
30 years’ experience and is also currently
bands in high school and university,
Events Manager at Spectrum Lighting
becoming an accomplished guitarist.
and Sound.
He worked professionally in London
Her previous Court Theatre credits include
broadcast television and other media
Mother Courage; Great Expectations; Proof;
platforms before becoming a senior
Angels in America and Kiss Me Kate. Her
camera operator for British Sky
other theatre credits include The Wedding
Broadcasting, gaining considerable
Singer (NASDA); Suor Angelica (Toi Toi
experience in all aspects of live television
Opera); Peoria Ballet (ONU) and Copenhagen
production in both studio and international
(ATC), as well as touring extensively with
field environments.
Mark Hadlow.
Matt returned to New Zealand to co-film,
Sheena is an accomplished Event Manager
record sound and compose music for
and spent 13 years at the Christchurch
an adventure guide series for TVNZ.
City Council where she produced Classical
He has composed music and designed
Sparks, Summer Theatre and Botanic
sound effects for many major brand
D’Lights.
advertising and marketing films. Matt joined The Court Theatre as the House Technician/Sound Designer at the beginning of 2018. His previous Court Theatre credits include Easy Money; Stephen King’s Misery; Mum’s Choir; Hansel and Gretel; Thumbelina; Les Liaisons Dangereuses; The Pink Hammer; A Streetcar Named Desire and Things I Know to be True.
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Jo Bunc e
Tim B ain
Stage Manager
Assistant Stage Manager
Jo graduated with a Bachelor of Arts
Tim started his association with The Court
from Canterbury University in 1994
Theatre in 2004 as an ambassador (part
and Toi Whakaari: New Zealand Drama
of the Education programme). Following
School with a Diploma in Technical
that he worked in a variety of roles
Production in 1996. Jo has been working
in Front of House, Stage Management
in theatre for over 25 years as a lighting
and Production.
designer/operator and Stage Manager.
His previous Court Theatre credits include
She has worked in London and Edinburgh
Ladies Night; Songs for Nobodies; Legally
and in film. She was an on-set production
Blonde: The Musical; August: Osage County;
assistant for King Kong.
MAMIL and Stag Weekend.
Jo is the Head Stage Manager at The Court
Other theatre credits include Cinderella
Theatre and has been involved in over
(GMG Productions); The Mousetrap
50 Court productions including Cabaret;
(Lunchbox) Les Misérables, Miss Saigon
Othello; Travesties; Art; The Seagull; Amadeus;
(Showbiz); HAIR; Beauty and the Beast
Pacific Post; The Motor Camp; End of the
and Cats (NASDA).
Rainbow; The Hound of the Baskervilles; Blood Brothers; One Man, Two Guvnors; Shepherd;
Tim was the producer of The World
Constellations; Niu Sila; The Ladykillers;
Buskers Festival for several years, which
Waiora; The Events; Steel Magnolias; Venus
was a career highlight. Festival producing
in Fur; Ideation; Misery; Astroman; Elling;
credits include Nina Conti, Ginger Minj,
Les Liaisons Dangereuses; The Arsonists;
Tape Face, Buskers Burlesque, Butt
Fresh Off the Boat; A Streetcar Named Desire
Kapinski, Urzila Carlson and over
and Ladies Night.
100 individual street shows.
2 5
Understanding the
It’s the way many actors launch their theatre
Fast-forward to 2021, when Frankenstein
careers: the role of understudy. It’s one that
Director Holly Chappell had a vision
often requires a high effort but pays little
to ensure most of the show’s characters
immediate reward. Some actors can spend
had an understudy, thanks in large part
an entire season waiting in the wings, never
to the participation of 15 third-year students
to perform the role they have so studiously
from Ara Institute of Canterbury’s National
crafted to an actual audience, whilst for
Academy of Singing and Dramatic Arts
others, it’s the big break their career needed.
(NASDA). Holly was able to add alternates /
Regardless of the outcome for the actor, the
understudies for featured characters William,
understudy is a vital role in the performing
Female Creature, Clarice, Elizabeth and
arts industry around the world; if an actor
Agatha to her Frankenstein vision. Factoring
can’t perform and no-one can take their
in understudies also created an opportunity
place, can the show really go on?
for as many as possible of these young actors to perform key roles in a professional
Despite this, it may surprise you to hear
production.
that, until recently, The Court Theatre rarely required the use of understudies for many
In addition, she also made the bold decision
shows. That is because when a show runs
to cast the show’s two lead actors – James
for a matter of weeks (as opposed to years),
Kupa and Wesley Dowdell - as alternating
an understudy is often seen as more
Frankenstein and Creature. Each night
of a luxury than a necessity. Instead, the
they swap roles, essentially becoming
requirement simply becomes ‘good planning’
understudies for each other. This then poses
by the show’s crew. On rare occasions where
the question - what happens if either James
an understudy was cast, it was likely they
or Wes is unable to perform? The answer:
would be included as part of their show’s
Frankenstein Movement Director (and
ensemble; this enabled them to perform on stage each night.
Continued on page 29 ...
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they will normally have to prepare for every
Understanding the
performance as part of that cast, whilst also mentally preparing themselves to take
... Continued from page 26
on another character, often a lead, in case they are required. Another term commonly
Chappell’s husband) Tom Eason has
used in theatre is ‘Standby,’ which requires
added ‘Victor Frankenstein Understudy’
the actor to only prepare for the one role
to his repertoire.
for which they are on standby. Some understudies are also a ‘Swing,’ which is
When asked about this approach, Holly noted
when an actor is required to prepare for
that “with the challenges of this complex
multiple characters, thus giving them the
format also came plenty of rewards. Wesley
ability to ‘swing’ between many roles if they
and James offer their own unique take
are needed.
on each role they portray, so, by alternating the characters between them, we are blessed
With a different performance each night,
with two completely different, but equally
you may very well find yourself reading
thrilling performances, as well as the added
this article for a second time while you wait
benefit of understudies.”
for the show to begin again, with different actors and a slightly different perspective.
The role of an understudy requires a lot
If that is you, welcome back, friend.
from an actor. If they are an ensemble actor
LISTEN NOW ON
2 9
Growing up Asian in Ōtautahi Christchurch, Steven felt a certain lack of representation from a young age. This inspired him to start creating his own pieces by hand. “I’m very good with my hands and making things was a way to manifest my own
Steven Junil Park
identity and story in an empowering way.” says Steven.
For many, art and fashion are quite
Over time, his creations evolved. What
different things. One is typically found
started as clothing expanded to furniture,
being admired from afar in a gallery
and now, in 2021, Steven is adding costume
or on a stage, whilst the other - for most
design to his resume as he joins the
– helps convey who we are (or wish to be)
Frankenstein creative team as their official
to the world. For artist Steven Junil Park,
Costume Designer.
however, they are one and the same.
“This is a really exciting opportunity.
At just 29, Steven has already launched
In my own work I make clothing, shoes,
his own successful fashion brand '6x4',
furniture, etc; but it all takes time because
under which he creates one-off pieces
I make everything myself. To collaborate
of clothing, footwear and accessories.
with The Court Theatre means I get to think BIG and build a universe with a team by
Still waiting to be impressed?
my side. And for that I am really grateful” he adds.
What if we told you that he creates every
Continued on page 31 ...
single piece himself?
“I’m ve ry go o d w ith my h a n d s a n d m a k i n g t h i n g s w a s a w ay t o m a n i fe s t my ow n i d e nt i t y a n d s t o r y i n a n e m p ow e r i n g w ay . ”
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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
magnitude must also be acknowledged.
19th
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
“I wanted to use costume as an emotional
achieved – the characters of Frankenstein
landscape; to show the audience how
do not simply wear costumes; they are
the body can interact with clothing,
clothed in art.
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
Join now
and receive all the benefits that being a Friend offers. Email friends@courttheatre.org.nz Web courttheatre.org.nz 3 2
20 NOV 2021 – 15 JAN 2022
Book & Lyrics by
Howard Ashman
Music by
Alan Menken
By arrangement with
Music Theatre International (Australasia)
In this dazzling revival, the beloved story of hapless florist Seymour and his bloodthirsty singing plant is brought to life in full technicolour, including musical hits Somewhere That’s Green, Feed Me and Suddenly Seymour. One of the most successful musicals of all time, Little Shop of Horrors is visually and vocally stunning, delightfully hilarious and outrageously fun. "Gloriously succulent and deliciously sinister ... An absolute riot!"
PRINCIPAL SPONSOR
Book now at
COURTTHEATRE.ORG.NZ 3 3
CORE FUNDER
The Times
SHOW SPONSOR
3 4
Invested in outstanding performances Proud sponsor of The Court Theatre Our local Milford team has been servicing our Cantabrian clients for a number of years, managing their investments, offering financial expertise and delivering a high level of client satisfaction. We are also keen supporters of local performing arts, like this one. Enjoy the show! You can fi nd our Christchurch office at: Level 3, 329 Durham Street North, Christchurch 8013
(03) 962 4480 milfordasset.com
Adviser disclosure statements are available on request free of charge. Before investing you may wish to seek fi nancial advice. Milford’s Financial Advice Disclosure Statements are available at milfordasset.com/getting-advice
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Frankenstein
ACT I
After learning who he is, Creature abducts
Creature is ‘born’, jolting to life as energy
William. When William’s hat is found in the
powers through him. He struggles to make
lake, Victor realises that Creature has come
sense of how his own body works, and what
for him. He climbs Mount Blanc, and they
is around him. The first face he sees is that of
meet for the first time since his ‘birth’.
his creator – Frankenstein. Frankenstein flees.
Creature has evolved into an intelligent being, capable of speech, movement and more.
Creature begins to discover his senses,
Creature demands that Victor make him
and encounter humans and their everyday
a mate, promising that they will never
life. Everything is new and makes no sense
trouble humankind. Appalled, but intrigued,
to him. The people he meets are fearful when
Victor agrees.
they see his face and react violently to him, forcing him to run away. Alone in the woods,
ACT 2
he cries in pain.
Victor leaves Geneva to undertake his new task in a place where he won’t be disturbed
A cottage in the woods; a blind man -
and can find what he needs – body parts.
De Lacey - is tended by his son and daughterin-law. From afar, Creature is drawn to the
Whilst creating the female, Victor dreams
music De Lacey plays. He is made welcome
of William and they ‘discuss’ his creations.
and, with De Lacey’s encouragement, utters
Awoken by Creature, Victor proudly unveils
his first intelligible words.
his mate but, deeply disturbed by his dream, he destroys her. At the approach of Monsieur
Throughout winter and spring, De Lacey
Frankenstein, Creature flees, vowing to return.
teaches Creature to read and write. He experiences the wonders of the seasons;
In Geneva, Victor and Elizabeth finally marry
slowly learns about concepts such as good
and Victor reveals to his new wife that he has
and bad, and sin; and questions the world
created a man. After Victor leaves to continue
he is discovering. He knows that somehow,
securing the house, Creature emerges.
he doesn’t belong. To pay back the kindness
Although Elizabeth shows him kindness
he receives, he secretly undertakes chores
and understanding, Creature takes revenge
for the family.
on Victor through Elizabeth.
De Lacey forces Creature to meet his son
The Arctic – Creature sets a meal on elegant
and daughter-in-law, something Creature
silverware as he recalls what has brought
has long feared. Things go badly and, after
him here and waits for Frankenstein.
he is driven out, he takes revenge before
Bedraggled, starving and freezing, Victor
leaving to seek Frankenstein.
arrives. He is exhausted, but Creature is not done with this journey, or with
Beside Lake Geneva we meet Elizabeth who
Frankenstein. He walks on and Victor,
is playing hide-and-seek with Victor’s brother.
barely alive, follows him. 3 7
20 – 22 SEPTEMBER
Created by
8 – 18 SEPTEMBER
Alice Canton & Julie Zhu White_mess
Produced by
Produced by
The Māori Sidesteps Collective Ltd
COMING UP AT THE COURT THEATRE CENTREPOINT THEATRE AND POTTED PRODUCTIONS PRESENT
CO–PRODUCED WITH
SHOW SPONSOR
Playing to sold-out houses all over the world, Potted Potter takes on the ultimate challenge of condensing all seven Harry Potter books (and a real-life game of Quidditch) into 70 hilarious minutes. Created by two-time Olivier Award nominated actors Daniel Clarkson and Jefferson Turner, Potted Potter is perfect for ages six to Dumbledore (who is very old indeed).
25 SEPTEMBER – 16 OCTOBER 3 8
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OUR VALUES M ĀIA TANG A COU RA G E O U S EXECUTIVE Chief Executive / Tumu Whakarae Barbara George Artistic Director Daniel Pengelly General Manager Susan Rendall Chief Financial Officer Paul Dawson SENIOR LEADERS Production Manager Flore Charbonnier Tessitura Manager Mally Goldberg Capital Campaign Manager Carolyne Grant Kaihautū Ahurea Vanessa Gray Artistic Adviser / Lead Director Ross Gumbley Interim Education & Outreach Manager Riley Harter Food & Beverage Manager Petra Laskova Communicatons & Marketing Manager Julie McCloy
MANAAK ITANGA WELCOMING Campaign Assistant Ruchika Gulati Administration Fiona Haines Customer Experience Administrator Erin Hills Communications Assistant Tyler Jones Set Construction Nigel Kerr Graphic Designer Lynette Lamprecht-Smith Stage Manager Scott Leighton Costume Manager Deborah Moor Customer Experience Box Office Rebecca Radcliffe Costume Technician Daniella Salazar House Technician Matt Short Jesters Manager (Artistic) Jared Skelton Properties Manager Julian Southgate Head Technician Giles Tanner
Sponsorship Manager Layla Moutrib
Set Construction Richard van den Berg
Customer Experience Manager Rachel Vavasour
Client Manager Andrea Winder
COMPANY Deputy Production Manager Erica Browne Head Stage Manager Jo Bunce Project Manager Tom Clisby Set Construction Seth Edwards-Ellis Accountant Claudia Fe Jambalos Construction & Premises Manager Bryce Goddard
Publicist Stacey Wouters 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
WHĀNAU NGATANGA B ELONGING 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 Andy Manning 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 Jane Huria (Advisor) Erin Jamieson David McBrearty Anne Newman Georgina Toomey Steven van der Pol Steve Wakefield FOUNDATION BOARD Chair Catherine Boyer Secretary Laura Palomino de Forbes
4 0
KOTAHITANGA ONE TEAM 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 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 Maurice Kidd Avril Lockhead Yvonne Martin Lynda Milligan Eilish Moran Stewart Ross FELLOW OF THE COURT John Harrison ONZM
IT'S ALL HAPPENING
is an awar with an international reputa design
PROOFS FOR SELECTION FOR MEDIA RELEASE - NOT FOR CIRCULATION
is an award-winning with an international reputation for int design
PROOFS FOR SELECTION FOR MEDIA RELEASE - NOT FOR CIRCULATION
NEWS
Haworth Tompkins selected by One Housing f
Picture yourself on opening night, a glass of fine wine in your hand, waiting in anticipation and NEWS excitement for the bing bongs to announce the doors are open, for the first time, to the inaugural Haworth Tompkins selected by One Housing for Kingsbridge Esta Court Theatre production in our new home in the City - close to Christmas 2023. Our new home will be an architectural and living expression of human creativity, reflecting and serving the many faces of the Canterbury community, in beautiful Aotearoa. We can’t wait to show you around - the beauty of natural timbers, the warmth of textured walls,the comfy understated upholstery, and wow, these floors are lovely! There will be so much to choose from - so many different types of productions, events, coffee and dinner, a place where friends and whānau can gather together. We invite you to choose how you would like us to use your donation to The Court. WORK: Liverpool One
Gifts to: • The Court Theatre helps us keep ticket prices accessible for our community, so that as many people as possible can enjoy our productions. • The Court Education Programme enables us to positively impact the lives of children and adults through classes, performances and workshops. • The New Court in the City will ensure that generations of theatre lovers will continue to gather at The Court to share stories, laughter and life.
Prefer to donate online? Simply visit courttheatre.org.nz/donate or contact us at donations@courttheatre.org.nz WORK: Liverpool One
We can’t wait to welcome you to our new home! 4 1
HOURUA WHAKAIHUWAKA PRINCIPAL SPONSOR
CORE FUNDER
MEARES WILLIAMS LAWYERS
TAHĀ – CALLABASH GOURD 4
2
PŌHĀ – KELP BAG
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
Elizabeth Ball Charitable Trust Farina Thompson Charitable Trust
Pamela Webb Charitable Trust
NEW ZEALAND INSTITUTE OF MANAGEMENT
AND
LEADERSHIP
Gabrielle Tasman John Rhind Ltd
KETE – FLAX BASKET
4 3
ROUROU – SMALL BASKET
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