The Girl on the Train

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NAU MAI, HAERE MAI It’s great to see everyone here at The Girl on the Train, back in our theatre in Addington, right next to the railway lines, to add that little bit more authenticity to our production!

funding partners, our donors and to you, our audience, for continuing to support us and booking ahead for the great shows in our season. Thank you for minding the gap!

We are all looking forward to putting the pandemic mostly behind us and getting our lives back on track, which includes great productions here at The Court.

At this time, I’d also like to thank our governing Board of Trustees, chaired

by Tony Feaver. The Board are our strength and support, kaitiaki and whānau. A special thank you to two retiring Trustees who have each served nine years: David McBrearty and Annie Bonifant. Both of these exceptional leaders joined our Board as representatives from The Friends of The Court. To you both we say thank you, kia ora, ngā mihi and arohanui.

In this programme you will read about this production and the excellent efforts that have been going on behind the scenes. Our Artistic Director’s welcome over the page is indeed a compelling read.

Over the past four months our team have been incredibly busy in rehearsal and production, as well as concluding our financial year and reporting that The Court continues in good health and good heart. We owe grateful thanks to our sponsorship and

Now it’s time for you to jump onboard and settle back for a thrilling ride.

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¯ MIHI NUI NGA After all the disruptions and challenges of the pandemic, we wanted to reopen our season with a strong statement; a production that is bold, sleek and determined to capture your attention.

This is The Girl on the Train.

It is rare to find a play that creates real suspense, and yet what could be more engaging? This show was chosen before I even joined The Court Theatre (towards the end of 2021), but I read the script with real pleasure. On the page, it draws you into the mystery.

On the stage it does so even more.

Where the script keeps you reading, the production will keep you on the edge of your seat. This stage adaptation of The Girl on the Train takes the mystery and tension that hooked readers on the novel and adds the frisson of liveness that only theatre can generate. Part of the beauty of a good stage adaptation is that fans of the novel and film can enjoy seeing a familiar text in a new form, and yet it also stands completely on its own merits.

A script is nothing, however, without the creatives and performers to bring it to life. Director Holly Chappell has assembled a cast with the nuance, energy and intelligence to embody these complex characters. The Design team have created an atmospheric theatrical world that amps up the tension and draws you completely into Rachel’s fragmented memories and search to uncover the truth. The entire Artistic team have embraced its quick pacing and filmic structure, and also the dynamism and immediacy of live theatre.

We all felt re-energised once The Girl on the Train cast and creative team were at The Shed and we can’t wait to share their work with you. This is undeniably a dark play, but it is also sheer entertainment. It is smart, surprisingly witty and deftly executed by a talented team. I hope you enjoy this opportunity to lose yourself in this psychological thriller as much as I do.

Dr Alison Walls Artistic Director / Pou Kaitohu Toi

“EXPLORE WHAT MAKES TOWNSEND FIELDS THE CHOICE FOR LIVING.”

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Please contact Chris to register your interest for Stage 4 or further future stages.

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Based on the bestselling novel by Adapted by

PAULA HAWKINS and DREAMWORKS film

RACHEL WAGSTAFF and DUNCAN ABEL

PRODUCTION PAGE

The Girl on the Train is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. www.concordtheatricals.com

CREATIVES

CAST

Director

Role Performed by Rachel Watson Anna Watson Megan Hipwell Tom Watson Scott Hipwell Kamal Abdic D.I. Gaskill Understudy Rachel, Anna, Megan Understudy Tom, Scott, Gaskill, Kamal

Set Designer

Renee Lyons Emma Katene Kira Josephson Cameron Douglas James Kupa Ahmed Youssef Roy Snow Amy Straker Tom Eason

Stage Manager Lighting Designer and Operator Costume Designer Sound Designer AV Designer Assistant Stage Manager Stunt and Fight Choreographer Intimacy Director

Holly Chappell Daniel Williams Jo Bunce Giles Tanner Daniella Salazar Matt Short Rachel Neser Scott Leighton Tom Eason Claire Dougan

ACKNOWLEDGEMENTS We thank the entire Court Theatre whānau for their exceptional work and dedication in producing this play. Also: Photography – Danielle Colvin Photography; Darren Mckane; Shanna Howden; Haydon Dickie; Christine Weston; Fiona Bennetts; Loren Emerson; Helen Fahy.

Proudly printed by Caxton.

RUNNING TIME: Two hours, including a 20-minute interval WARNINGS: Violence, adult themes and controversial elements. Further details and helplines are listed in this programme VIDEOTAPING: The videotaping or making of electronic or other audio and / or visual recordings of this production and distributing recordings or streams in any medium, including the internet, is strictly prohibited, a violation of the author(s)’s rights and actionable under United States copyright law.

For more information, please visit: https://concordtheatricals.com/resources/protecting-artists The Girl on the Train was produced by The Court Theatre 21 May - 25 June 2022

AUTHORS

Paula Hawkins worked as a journalist for fifteen years before turning her hand to fiction. Born and brought up in Zimbabwe, Paula moved to London in 1989 and has lived there ever since. The Girl on the Train is her first thriller.

Rachel Wagstaff wrote the book for the multi-award-winning musical Flowers for Mrs Harris (Best Musical, UK Theatre Awards 2016). This transferred to Chichester Festival Theatre, directed

by Daniel Evans, in September 2018 after a run at the Sheffield Crucible.

Her critically acclaimed adaptation of Birdsong opened in the West End, directed by Trevor Nunn, and enjoyed four UK tours with the Original Theatre Company and Birdsong Productions.

With Duncan Abel, she adapted Paula Hawkins’ The Girl on the Train, which had a record-breaking UK tour and West End run in 2019 and her new adaptation of Agatha Christie’s The Mirror Crack’d toured the UK, produced by the Wales Millennium Centre and Wiltshire Creative.

For radio, Rachel adapted Sebastian Faulks’ novel The Girl at the Lion d’Or for a five-part series for Woman’s Hour on Radio Four, transmitted in 2009.

Her Afternoon Play When I Lost You, also co-written with Duncan Abel, was transmitted on Radio Four in July 2013.

Moonshadow, the musical she co-wrote with Yusuf Islam (Cat Stevens), opened at the Royal Albert Hall in 2010, and then was produced at the Princess Theatre in Melbourne in June 2012. That Girl was produced by DryWrite at the Soho Theatre in June 2012. Rachel also wrote the book for the original musical Only the Brave, which opened at the Wales Millennium Centre in March 2016, with music composed by Matthew Brind.

Duncan Abel is a writer of plays, radio plays and short stories. He lectured in Creative Writing at the University of Hertfordshire from 2014 to 2015. Duncan was shortlisted for the 2010 Luke Bitmead Award for his novel The Way Home. He also wrote, with co-writer Rachel Wagstaff, a monologue for Sing London, based on the life of Isambard Kingdom Brunel, performed by Hugh Bonneville and recorded in 2014.

DIRECTOR'S NOTE

Making live theatre in 2022 is the utmost privilege. After so much time binging Netflix and dreaming of big theatres being open again, to be able to present a live work is a real honour. The Girl on the Train is about motherhood, love and finding the power within to break free of toxic relationships. It is also a thriller; we are trying to solve the mystery throughout the show. It is exhilarating, messy and heart wrenching. As a woman and a parent, I found this play a hard read, but a necessary story to tell.

I have been blessed with an incredible creative and production team who care so deeply about the work and about live theatre. Dan, Daniella, Matt, Giles, Rachel, Jo, Julian, Scott, Timmy, Erica, Nes and every other member of our team have worked on this show with such love and attention to detail. They have all worked to tell this story in a way that is exhilarating and delicate, to thrill our audience but also to hold them within content that can be hard to sit with; to bring something so filmic to an audience in a highly theatrical way.

The team have also held our sensational cast in the same way.

I was over the moon to have this cast to work with. Renee is the only person I ever pictured in this role. She brings a grounded energy, whilst also being able to play and find joy. She dived into the character of Rachel to honour her journey, her pain, her quirkiness, her turmoil and her strength. Cam, Kira, James, Ahmed, Emma and Roy have all brought their unbelievable talent and dedication to the rehearsal room, constantly working to serve the story. Amy and Tom have had the job of understudying for the entire cast, a huge undertaking for any actor, but they have brought their all to the job; every role is in safe hands with them.

We have had a lot of fun working on this show. Sometimes the content can feel heavy – we’ve always worked to respect that whilst also finding a lightness to the rehearsal room that keeps us all moving forward. I couldn’t be more grateful for every single person who has worked on this show.

Holly Chappell Director

PHOTO

HELP AND SUPPORT Some of the content in The Girl on the Train may be triggering.

If you need to talk with someone regarding any of the topics raised by this show, the following organisations can offer help and advice:

Mental Health Foundation mentalhealth.org.nz/helplines

Alcoholics Anonymous (03) 379-0860 or 0800 AA WORKS www.aa.org.nz Fertility New Zealand fertility.org.nz 0800 333 306

PHOTOMiscarriage Support NZ

Are You OK – family violence related support areyouok.org.nz 0800 456 450

miscarriagesupport.org.nz Sands New Zealand – Pregnancy, Baby and Infant Loss Support www.sands.org.nz

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!

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I T ’ S O N LY M A K E - B E L I E V E With origins ranging from Shakespeare to the Hong Kong martial arts film scene, fight choreography is the art of creating violence on stage in a way that feels dangerous to the audience but keeps the actors safe.

fight choreography from Shakespeare’s works. Jackie Chan also provides inspiration to Tom, with his “ability to tell the story through combat and his interaction with the environment.”

Tom Eason, Stunt and Fight Choreographer for The Girl on the Train, describes his role in the production as “helping make moments of violence and danger on stage look like they’re truly happening, while making it so that noone could possibly get hurt.”

When it comes to fight choreography, Tom describes “safety as priority one and story as priority two.” To make this happen he reminds actors that “theatre is all make-believe. We are tricking the audience the whole way through.” At any point, during rehearsals or a show, actors can call to stop if anything feels unsafe.

First introduced to the world of fight choreography whilst studying at Toi Whakaari, Tom was inspired by the work of tutor Allan Henry. He then continued to develop his skills when working on shows with fight elements such as Equivocation (Circa Theatre), which included recreating some of the original

Violence onstage is choreographed in the same way a dance is – every movement is precise. Actors start by working through it very slowly, increasing pace as they become more familiar with the choreography. Once the sequences get to the stage, the addition of costume, lighting and sound

Tom Eason (on right) directs the physical movements of actors Cameron Douglas and Renee Lyons.

elevates the fight and helps draw the audience in to the make-believe world even more.

Thorough practice and drilling ensure the fight choreography becomes muscle memory for the actors and therefore follows the same rhythm every performance. “While the exact way you pick up a glass onstage or deliver a line may slightly change, a ‘hit’ must stay exactly the same every night” says Tom. Before every performance, actors attend a Fight Call where all the stunts in the show are practiced; this is especially important if understudies are taking the stage.

Including specialist roles on the creative team for a show, such as a Fight Choreographer or Intimacy Director (The Girl on the Train has both), allows the Director to delegate the specialist jobs that would otherwise fall on them and ensure the safety and comfort of the actors involved.

For Tom, the most rewarding part of this role is giving actors a toolkit they can use in the future, ensuring they have the skills to keep themselves safe.

The audience believes in the danger, but it’s all just well-choreographed make-believe.

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CRE ATIVES

H O L LY C H A P P E L L DIRECTOR Holly has a Master of Theatre Arts in Directing from Victoria University and Te Kura Toi Whakaari O Aotearoa: NZ Drama School. She is the coArtistic Director and Producer of Two Productions, which has produced the devised works Moemoea at Te Papa Marae; If You Only See One Show in your Life; The Disaster Brothers; the immersive theatre show, The Powerful Event, on a vacant space in Christchurch; The Wild Hunt for The Body Festival 2014; Open for Business in St. Kevins Arcade, Auckland and The Little Prince for the 2018 Anthony Harper Summer Theatre.

Holly has directed for The Court Theatre, Auckland Theatre Company, Red Leap Theatre and The Fortune Theatre. She was the Artistic Director at Little Andromeda, programming their seasons from 2019 to 2022. She is head of acting at The National Academy of Singing and Dramatic Arts at Ara Institute of Canterbury, has taught acting at Original Scripts Theatre School for ten years, had a successful high school teaching career and worked as a director and tutor for both Toi Whakaari and Whitireia Polytechnic.

DANIEL WILLIA MS

JO BUNCE

G ILE S TANNE R

Set Designer

Stage Manager

Lighting Designer and Operator

Daniel graduated with a degree in Performance Design from Massey University and Te Kura Toi Whakaari O Aotearoa: NZ Drama School in 2006. His theatre career has seen him design sets and costumes for work 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.

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 large-scale events like ‘Summer in the Square’ and film production design.

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

Jo graduated with a Bachelor of Arts from Canterbury University in 1994 and Toi Whakaari: NZ Drama School with a Diploma in Technical Production in 1996. Jo has been working in theatre for over 25 years as a Lighting Designer/ Operator and Stage Manager.

She has worked in London and Edinburgh and in film, she was an on-set Production Assistant for King Kong.

Jo is the Head Stage Manager at The Court Theatre and has been involved in over 50 Court productions including Cabaret; Othello; Travesties; Art; The Seagull; Amadeus; Pacific Post; The Motor Camp; End of the Rainbow; The Hound of the Baskervilles; Blood Brothers; One Man, Two Guvnors; Shepherd; Constellations; Niu Sila; The Ladykillers; Waiora; The Events; Steel Magnolias; Venus in Fur; Ideation; Stephen King’s Misery; Astroman; Elling; Les Liaisons Dangereuses; The Arsonists; Fresh Off the Boat; A Streetcar Named Desire; Ladies Night and Frankenstein.

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.

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 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 and A Streetcar Named Desire.

DA N I E L L A S A L A Z A R

M AT T SHORT

RACHEL NESER

Costume Designer

Sound Designer

AV Designer

Daniella returned to Ōtautahi Christchurch in 2021 after working in the fashion and textile industry in Melbourne where she managed garment production workrooms, followed by a sales role in wholesale trade materials.

Daniella joined The Court Theatre’s Costume Department in March 2021 as Costume Technician and became the Costume Manager later in the year. She is thrilled to have landed her dream job in costuming at The Court Theatre.

The Girl on the Train will be her Costume Design debut.

Daniella’s previous Court Theatre credits include Ladies Night; Once; Frankenstein; (Costume Technician) and Little Shop of Horrors (Costume Manager).

Growing up in North Canterbury, Matt developed a passion for music from an early age. He formed rock bands in high school and university, becoming an accomplished guitarist.

He worked professionally in London broadcast television and other media platforms before becoming a senior camera operator for British Sky Broadcasting, gaining considerable experience in all aspects of live television production in both studio and international field environments.

Matt returned to New Zealand to co-film, record sound and compose music for an adventure guide series for TVNZ. He has composed music and designed sound effects for many major brand 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.

Rachel is a graduate of Massey University’s College of Creative Arts (Bachelor of Visual Communication Design, with Honours).

Her other theatre credits include Aliens & Anorexia (Aotearoa Festival of the Arts); HOLE (Circa Theatre) and visual creative support for Nocturnal on The Rite Of Spring / Symphony No.7, Leningrad (NZSO).

Rachel Works for Artificial Imagination, a company which specialises in real-time motion graphics for live events. Their film credits include content creation for Dancing with the Stars; Les Mills Masterclasses and the Expo 2022 Dubai (Al Wasl Plaza Dome).

SCOTT LEIGHTON

TOM EASON

CLAIRE DOUGAN

Assistant Stage Manager

Stunt and Fight Choreographer

Intimacy Director

Scott is a graduate of Hagley Theatre Company and Te Kura Toi Whakaari O Aotearoa: 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); Things I Know to be True; Once; Whā and Little Shop of Horrors (Stage Manager).

As a freelance Stage Manager, Scott has also worked with Victoria University of Wellington - New Zealand School of Music on their 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).

Tom began his training here in Christchurch at Original Scripts Theatre School. Since then he has gained a Bachelor of Performing Arts (Acting) from Te Kura Toi Whakaari O Aotearoa: NZ Drama School.

He has taught and directed for Toi Whakaari, The Court Youth Company, NASDA and Original Scripts Theatre School.

He is co-artistic director of Two Productions and has performed in their works Moemoea; If You Only See One Show In Your Life; The Disaster Brothers; Balmy; The Powerful Event; Open for Business; Moby Dick and The Little Prince.

As an actor, Claire’s relationship with the Court Theatre spans from the mid2000s to her most recent appearance as Blanche in A Streetcar Named Desire in 2020.

Since 2020, she has paused her acting career and has taken up a full-time position as Casting Associate and Intimacy Coordinator for New Zealand’s longest running television drama, Shortland Street. A large part of her role is advocating for the needs and wellbeing of the actors, something that is relatively new in the show’s 30-year history.

In September 2021 Claire was funded to undertake a 12-week online training programme with Alicia Rhodis of IDC (Intimacy Directors & Coordinators, USA) and now continues her learning and mentorship with both New Zealand and US professionals, in the hope of full accreditation in the near future.

She is delighted to return to The Court and – for the first time – to be part of the esteemed production team!

PHOTO

CENTRE

SPREAD

PHOTO

CAST

R E N E E LYO N S

EMM A K ATE NE

KIRA JOSEPHSON

Rachel Watson

Anna Watson

Megan Hipwell

Renee has worked in theatre, film and television for over a decade. She graduated from Auckland’s Unitec with a Bachelor of Performing and Screen Arts in 2008. She’s acted for Silo Theatre, Auckland Theatre Company, Red Leap, Last Tapes, Good Times Company and Circa Theatre, where she performed Rants in the Dark and Pip Hall's play Ache, both directed by LyndeeJane Rutherford.

Renee created her solo show, the critically acclaimed Nick An Accidental Hero, which she toured around New Zealand and then to Melbourne and Edinburgh. Renee has twice won accolades for Outstanding Performance at the Chapman Tripp Theatre Awards, for Nick An Accidental Hero and also Ache.

Renee lives in Auckland with her partner Wes, twins Darcy and Ralph and her dog Ronnie.

Emma studied Theatre and English at Victoria University of Wellington.

Her theatre credits include Destination Mars (HACKMAN); Sing to Me (Taki Rua Productions); White Men (Red Scare Theatre Company); Whānau; BATCH; and Tiny Deaths (TAHI New Zealand Festival Of Solo Performance Limited).

Emma also enjoys performing occasional music gigs with Mo Etc. on vocals and keys.

The Girl on the Train is Emma’s debut at The Court Theatre. She is excited to learn from and work alongside such a talented and experienced cast.

Kira is from the USA, where she attended the Orange County School of the Arts and received her BFA in Theatre Arts from Stephens College. She has performed with Tony-nominee Susan Egan and choreographed a show for Tony-winner Alice Ripley.

Most recently at The Court she choreographed Little Shop of Horrors and performed as the Audrey standby.

Other performing credits include Legally Blonde and Chicago (Court Theatre); Les Misérables and Wicked (Showbiz Christchurch); and Weird Romance (USA West Coast premiere, European premiere in France and Scotland). Choreographing credits include Drowsy Chaperone, Wedding Singer, Urinetown (National Academy of Singing and Dramatic Arts - NASDA); and Little Women and Spelling Bee (Stephens College).

Kira is a proud member of Actors Equity and is represented by Kathryn Rawlings. She is currently appearing as Jane on Power Rangers Dino Fury [Season 28/29], and as Bec in the upcoming Kid Sister on TVNZ.

CAMERON DOUGL AS

JA ME S KU PA

AHMED YOUSSEF

Tom Watson

Scott Hipwell

Kamal Abdic

Cameron is a graduate of NASDA. His professional theatre debut was at The Court Theatre in My Fair Lady and since then he has performed in numerous productions. Most recently Cameron appeared in Jesus Christ Superstar; A Streetcar Named Desire; Jersey Boys and Once.

His other theatre highlights include Red; Avenue Q (Fortune Theatre); Poor Boy; Oliver; The 25th Annual Putnam County Spelling Bee (Auckland Theatre Company); Assassins (Silo Theatre Company) and being an original cast member of That Bloody Woman.

Cameron’s professional experience also spans television and music. He is the lead singer and acoustic guitarist of New Zealand’s premiere skiffle rock and roll band, The Goldonies.

His television credits include Outrageous Fortune; Legend of the Seeker and One Night Only.

James is a graduate of Te Kura Toi Whakaari O Aotearoa: NZ Drama School (Bachelor of Performing Arts: Acting) and The Eastern Institute of Technology (Diploma in Performing Arts: Acting).

His previous Court Theatre credits include The Perfumed Garden and, most recently Frankenstein, in which he alternated roles between Dr. Victor Frankenstein and the Creature from show to show.

In late 2021, James became a member of The Court Jesters.

James’ other theatre credits include Betty’s Summer Vacation; Twelfth Night (Toi Whakaari); A Streetcar Named Desire (Circa Theatre); Strange Resting Places (Taki Rua); Penalties, Pints and Pirouettes (Centrepoint Theatre); A Lion in the Meadow (Tim Bray Productions); Toys; Dungeons & Comedians and The Nerd Degree (Little Andromeda).

James’ television credits include Brokenwood Mysteries; Ka Pai Living; Agent Anna and Nothing Trivial. His film credits include Bread Winner; I Got Robots and Small Fish, Big City.

Ahmed is a graduate of Unitec (Bachelor of Performing Arts) and has studied extensively in the Actors Studio Chekov technique.

This is Ahmed’s Court Theatre debut and he’s excited to be part of the Court family.

Ahmed’s television credits include Amazon’s Lord of the Rings; Power Rangers and When We Go To War. Ahmed works as both an actor and architectural designer in Auckland, and throughout New Zealand.

He’s also previously played in a punk band and spends his spare time surfing, practicing martial arts and illustrating.

PHOTO

ROY SNOW

AMY STRAKER

Roy’s previous Court Theatre credits include Legally Blonde the Musical; Winston’s Birthday; Romeo and Juliet; One Man, Two Guvnors; Plum; Blood Brothers; End of the Rainbow; The Mikado; SNAP!; Much Ado About Nothing; Ladies Night; Frankenstein and Little Shop of Horrors.

After graduating from NASDA in 2005, Amy began her career with an internship at The Court Theatre. Since then, she has appeared in numerous productions at The Court Theatre including The Great Gatsby; Homeland; Glorious; Cabaret; The Women; Amadeus; Cat vs Dog; Ache; In The Next Room, or The Vibrator Play; Mum’s Choir; Les Liaisons Dangereuses; A Streetcar Named Desire and, most recently, Once.

D.I. Gaskill

His other theatre credits include Middle Age Spread; Poor Boy; Hair; Cabaret; The Rocky Horror Show; My Name is Gary Cooper; Guys and Dolls (Auckland Theatre Company); Some Girls; This is How it Goes; The Threepenny Opera; Assassins (Silo Theatre); Evita (Showbiz Christchurch); The Phantom of the Opera; Hairspray and Cats.

Roy’s television credits include Shortland Street; Outrageous Fortune; Legend of the Seeker; Orange Roughies; Go Girls (Series 3 and 4); Spartacus - War of the Damned and Shannara. His film credits include Raising Waylon; Stolen; What Really Happened: Waitangi; Elevation; Serve and Protect; The Kick and Breakery.

Understudy Rachel, Anna, Megan

Amy has also worked in Wellington with Downstage Theatre (Urinetown: The Musical) and Ensemble Impact, as well as collaborating with Site Specific and Kidzstuff. Her other theatre credits include Jane Eyre and Boeing Boeing (Fortune Theatre); Waiting Room (Shaky Isles - London); and Guys and Dolls; That Bloody Woman and Billy Elliot: the Musical (Auckland Theatre Company).

Amy is a co-creator of Cubbin Theatre Company. She plays original music under the name Amy Grace and is part of the duo, The Swan Sisters.

TOM EASON

Understudy Tom, Scott, Gaskill, Kamal Tom began his training here in Christchurch at Original Scripts Theatre School. Since then he has gained a Bachelor of Performing Arts (Acting) from Te Kura Toi Whakaari O Aotearoa: NZ Drama School.

His previous Court Theatre credits include Astroman; The Pink Hammer; A Streetcar Named Desire and Frankenstein. His other theatre credits include Sea; Dust Pilgrim (Red Leap Theatre); The Wholehearted (Massive Theatre Company); The Breath of the Volcano and Skin of Fire, performed in the Auckland International Arts Festival (Group F). In 2014 Tom was awarded the Circa Award Donated by TACT Most Promising Male Newcomer for his role in the Wellington production of Equivocation.

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R Y M A N H E A LT H C A R E P R E S E N T S

THE COURT THEATRE

21 May

The Girl on the Train*

31 May

2 Jul 17 Jul

13 Aug

Potted Potter*

The Early Early Late Show

Flagons and Foxtrots*

3 Sept

22 Sept 10 Oct

Yes Yes Yes

Katzenmusik

The Māori Sidesteps* The Early Early Late Show

19 Nov 2 Dec

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CREATING THEATRE IN THE HEART OF OUR CITY THE NEW COURT THEATRE IS ON THE WAY TO THE HEART OF CHRISTCHURCH IN 2024.

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PHONE: 03 366 8516

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32 LODESTAR AVE, WIGRAM

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WWW.CAXTON.CO.NZ

13 AUG to 17 SEPT 2022

ALISON QUIGAN ROSS GUMBLEY

WRITTEN BY AND

DIRECTED BY

KATHLEEN BURNS

SEASON SPONSOR

CORE FUN DER

S H OW S P ONS OR

COURT THEATRE.ORG.NZ

THROUGH THE GREEN DOOR – THE NEW COURT IN THE CITY When you visit Napier, you are struck by the consistency of the charming period buildings.

The rebuild of the Hawke’s Bay, after the 1931 earthquake, leaned into the artistic style of the time: Art Deco. In 2011, after the ground had settled, those of us charged with redesigning Ōtautahi asked ourselves… ‘what is the prevailing artistic style of our time?’

Artistically we find ourselves bobbing around in a post-modern blancmange.

Post-modernism has the great knack of questioning and deconstructing the art of the past. As a movement, post-modernism is really good at taking things apart, but it’s a slippery little customer when it comes to putting things together.

The architecture of our time does, however, have a prevailing characteristic; it has a commitment to make sure we are building responsibly for the future of our planet and the new Court Theatre is no exception to this.

At the very start of the journey to design the new theatre, over two years ago, The Court company made a pact with our architects Athfields and Haworth Tompkins and our project managers OCTA. We agreed that despite the budgetary pressure, we would remain committed to making the new building as sustainable as it could possibly be. And now, with the design complete, we have remained true to that pledge. The new building will include…

A timber-based structural system. Although concrete will be used in the construction of the new theatre, a significant part of the structure

will include, both as a finish and, more importantly, as a structural element, wood.

Maximum efficiency energy use. The thermal envelope of the new theatre will be rated far higher than the New Zealand standards, ensuring lower energy use for the life of the building.

Natural ventilation. Spaces will be naturally ventilated or have mechanically assisted natural ventilation. The most striking feature on the outside of the new building will be the two chimneys that rise from the roof line.

These allow, and encourage, a natural flow of air though the new theatre. This system will enable hot air to be purged from working spaces during the summer, resulting in lower energy usage and healthier conditions for those working in and visiting the building.

Water-use efficiency. The building is designed to reduce water consumption.

Water efficient fixtures will be used throughout the building to align with New Zealand Greenstar water requirements.

Working with nature and physics. Groundsourced heat pumps will be used in the building where required, heating the spaces where people are and working with the laws of physics – heat will rise of its own accord.

Encouraging biodiversity. The building will reintroduce biodiversity into the surrounding areas by the use of climbing plants on the exterior of the building.

This will also provide solar shade to reduce heating and cooling demands.

The building is fully accessible. Wheelchair positions will be available in the auditoriums on all levels and the building will provide facilities that maximise access. The building has been fully peer reviewed to make sure no stone was unturned when it came to the accessibility of the new theatre.

Wherever possible local, sustainable and natural materials are being used and, in a delightful shift from our Addington home, natural light will be in abundance. That light has been maximised through thoughtful, careful design and windows

will have blinds that can minimise solar gain in the summer months.

By keeping sustainability and accessibility in mind we are ensuring that the new Court Theatre is a theatre for the twenty-first century that will responsibly serve the audiences of Ōtautahi for decades to come.

I don’t know about you, but I can’t wait.

Ross Gumbley Artistic Adviser

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DRAMA AND Improv Classes COURT EDUCATION AD

With classes for all ages, learn, train and entertain at courteducation.org.nz

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TICKET DISCOUNTS | ELIGIBILITY TO BECOME AN USHER BEHIND-THE-SCENES INFORMATION | SPECIAL EVENTS Email: friends@courttheatre.org.nz Web: courttheatre.org.nz

COURT COMPANY O U R VA L U E S M Ā I ATA N G A C O U R A G 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 AU N G ATA N G A B E L O N G I N G | KO TA H I TA N G A O N E T E A M

LEADERSHIP KAITIAKI TEAM

Customer Experience Manager Rachel Vavasour

Deputy Production Manager Chief Executive | Tumu Whakarae Erica Browne Barbara George Education and Outreach Artistic Director Production Manager Dr Alison Walls Riley Harter Chief Financial Officer Food and Beverage Manager Paul Dawson Petra Laskova Communications and Graphic Designer Marketing Manager Sarah Griffin Julie McCloy Head Stage Manager Corporate and Donor Jo Bunce Engagement Manager Head Technician Sahra Grinham Giles Tanner Manager: Compliance and Interim Construction and Reporting Premises Manager Susan Rendall Matt McCutcheon Production Manager Production Manager Tim Bain Flore Charbonnier (parental leave)

COMPANY

Accountant Claudia Fe Jambalos Administration Assistant Fiona Haines Administration Manager Amanda Hare Artistic Adviser / Lead Director Ross Gumbley Associate Artistic Director | Kaihautū Ahurea Vanessa Gray

Project Manager Tom Clisby Properties Manager Julian Southgate Set Construction Nigel Kerr Set Construction Richard van den Berg Set Construction Seth Edwards-Ellis Sponsorship Manager Layla Moutrib

Capital Campaign Manager Carolyne Grant

Stage Manager Scott Leighton

Client Manager Andrea Winder

Tessitura (CRM) Manager Anisha Thomas

Communications and Marketing Assistant Ruchika Gulati

Theatre Chaplain David Winfield

Communications and Marketing Co-ordinator Lauren Douglas Costume Manager Daniella Salazar Costume Technician Findlay Currie Court Jesters Manager Trubie-Dylan Smith Customer Experience Administrator Erin Hills Customer Experience Box Office Rebecca Radcliffe

COURT JESTERS

FOUNDATION BOARD

Dan Allan Brendon Bennetts Emma Brittenden Kathleen Burns Jeff Clark Emma Cusdin Hannah Dougall Kirsty Gillespie Eleri Griffiths Criss Grueber Millie Hanford Maddie Harris Riley Harter Robbie Hunt Aaron Jelley Benjamin Kent Scott Koorey James Kupa Damon Lockwood Hillary Moulder Henri Nelis Dan Pengelly Ciarán Searle Jarred Skelton Andrew Todd

Chair Laura Palomino de Forbes

Jester Musicians Katie Cowan Deen Coulson Frankie Daly Kris Finnerty Criss Grueber Hamish Oliver Jack Page Dan Robertson Jester Apprentices Rachel Brebner Selwyn Gamble Caitlin Penhey Tilly Walbom

TRUST BOARD Chair Tony Feaver Treasurer Christopher Weir Board Annie Bonifant Paul Bryden Erin Jamieson David McBrearty Anne Newman Georgina Toomey Steven van der Pol Steve Wakefield Secretary Susan Rendall

Treasurer Christopher Weir Board Hall Cannon Tina Duncan Cilla Glasson David McBrearty

FRIENDS Patron Dame Adrienne Stewart DNZM, QSM Chair Annie Bonifant Deputy Chair Allanah James Secretary Charles Duke Treasurer Lynn Vandertie Committee Andrea Bankier Pat Braithwaite Cheryl Colley Tony Feaver Jenny May Jay Pollock Raewyn Raynel David Winfield

ASSOCIATES Bryan Aitken Stuart Alderton Paul Barrett Judie Douglass Tony Geddes Derek Hargreaves MNZM Joe Hayes Geoffrey Heath Elric Hooper MBE Avril Lockhead Yvonne Martin Lynda Milligan Eilish Moran Stewart Ross

FELLOWS OF THE COURT John Harrison ONZM John McSweeney Felicity Price ONZM

THANK YOU TO OUR FUNDERS COR E F UNDER

Farina Thompson Charitable Trust

Pamela Webb Charitable Trust

OUR SPONSORS

ROUROU

SE A S ON SP ONS OR

Academy Funeral Services

Court Florist

Fulton Ross Team Architects

NZIML

Adgraphix

Curtis Vision Optometrists

Garden City Chemdry

Phantom Billstickers

Calder Stewart

Denis Cunningham Ltd.

Green Acres

Security Specialists

Cavell Leitch

Digital Imports

Hamptons ITM

Chamlang

DSV

Hanham and Philp Contractors

CIPM Limited

EPL

John Rhind Funeral Directors Ltd.

Coca Cola

Foot Science International

Meares Williams

Southfreeze The Fitting Room Total Power Solutions Totalpos Town Tonic

Nā tō rourou, nā taku rourou, ka ora ai te iwi. With your food basket and my food basket, the multitudes will thrive.

Contact our team about sponsorship opportunities at fundraising@courttheatre.org.nz

TAHĀ – CALLABASH GOURD

PŌHĀ – KELP BAG

KETE – FLAX BASKET

ROUROU – SMALL BASKET