Frankenstein Programme

By

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

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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,

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so perhaps consider becoming a Friend

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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

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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.

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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 . ”

3 0

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.

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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)

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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.

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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

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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).

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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

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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

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ROUROU – SMALL BASKET

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