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Partly inspired by the reality show Dance Moms, Haere mai and welcome the to The Dance Nation traverses Court Theatre and to The Haka realms of reality in a manner Party Incident. We are thrilled to that is this original, fierce, bring stunning piece and of theatre bracingly honest. to Ōtautahi/Christchurch as the final league in its hugely successful
Clare Barron deftly moves us national tour. between finely tuned naturalism, wild surrealism, the liminal space of is inner The Haka Party Incident an thought and memory, a kind important piece of and theatre on of so heightened subjective reality; realitya many levels. The play resurrects aspivotal it is feltday andin remembered. New Zealand history,
whenby young from He Played adult Māori actorsactivists of all ages, Taua clashed with engineering the characters are at once their past students at the University of and future selves, each haunted by Auckland over the latter’s annual the other. Reading this play for the “mock haka”. The event propelled a first time, I felt swept along by its vital reckoning in New Zealand race dynamism relations.and a profound sense of recognition—the 13 year-old girl that will always be part of me. as a piece of It is also significant verbatim—or documentary— Through a competitive pre-teen theatre. Writer andexcavates director, Katie dance troupe, Barron (Ngāti Tama, theWolfe way in whichMutunga, ambition,Ngāti desire, Ngāti Toa Rangatira) has delved friendship and fear butt up against into the archives and interviewed each other and against everything 38 different people involved in the that tells girls to make themselves incident, including members of He smaller. Dance Nation viscerally Taua, the Polynesian Panthers, and captures the complexity of living
in a body that is controlled, suppressed, unpredictable, joyous and police, exhilarating. It is unapologetic, also engineering students and energetic and heartfelt. the court translator. Every word you will hear onputs stage As Barron it: are the words of those directly involved embodied by death. aCuteness talentediscast. ThisPagan genreferal-ness allows the and ferocity arepiece key. of New Zealand nuances of this history to be present, with all the Everyone is nice. complexity of human experience. The verbatim text combines with Everyone is vulnerable. historical and contemporary haka, And everyone is trying their including one composed byhardest. Wolfe’s son, Nīkau Balme (Ngāti Mutunga, I am grateful to my brave and Ngāti Tama, Rangatira). talented cast,Ngāti whoToa have leapt into
their roles with power, vulnerability, It is a privilege to bring an intelligence, and wicked humour. I original New Zealand work such as am grateful too, to the designers and The Haka Party Incident to our stage creative team who have understood and to you, our audience. Theatre can and captured the multiple and enlighten and connect bringing the overlapping of this sui the past, presentrealities and maybe even generis play andTheatre for the support future together. brings of the remarkable production team. people together. We, at The Court will always bring people together through live performance, as we honour our long history and look to the future with an exciting new building in the heart of the city. Enjoy the show.
Manawa tina, manawa tina Manawa toka, manawa toka Tēnei hoki to manawa ka tina Tēnei hoki to manawa ka toka Ko tā te manawa, he kuku, he owha, he matatū ki te aroha Ko to koutou manawa, ko to mātou manawa ka whakairihia Tēnei te manawa o te whānau o Tasman Ray e mihi atu nei ki a koutou ngā māngai tautoko, ngā ringa raupā, ka oti ngā upoko pakaru katoa o tēnei kaupapa o The Haka Party Incident. Kua roa tātou o Tasman Ray e whawhai ana kia tū anō tēnei whakaari. He ekenga panuku, he pīkaunga toimaha, heoi, nā a koutou mahi katoa, ko tutukinga o ngā wawata te huanga matua, nō reirā mātou ka mihi, ka mihi, ka mihi. E kore te puna e mimiti, ka koropupū, ka koropupū, ka koropupū, anō nei he manawa, he manawa ora, e ora ai tēnei kauapapa mō ake, ake haere ake nei. Nō reira, tēnā koutou, tēnā koutou, tēnā tātou katoa.
Katie Wolfe Writer and Director of The Haka Party Incident
Ki ngā kaimahi, ngā kaitautoko katoa kua hāpaitia i tēnei mahi, tēnei te mihi e rere ana ki a koutou. As a writer of a verbatim play, the words are not mine. Therefore, I owe a huge debt of gratitude to the people involved in The Haka Party Incident who allowed me to interview them and tell their stories. Ki te rōpū o He Taua, tēnei te mihi atu. Nā o koutou mahi whakahirahira, o koutou kaha, o koutou māia kua ora ai te iwi Māori. Mai te ihinga ake o te wairua, te ohonga ake o te ngākau, ka ea ngā kupu i ōhākiitia 'Ka whawhai tonu mātou'. Koia kua Rangatira ai a He Taua. He Taua formed in the early 1970s, and their work and influence continues to this very day. Uplifting our communities and protecting our reo and tikanga is immeasurable mahi that must be celebrated always. To the students from the 1979 Auckland University Faculty of Engineering, it was always going to be hard to relive this astonishing incident from your youthful, freewheeling 70s days. When your story doesn't fall on the 'right side of history', it takes courage to come forward and speak your truth. I was aware that I was asking everyone to reach back forty years to an event that had been swept aside, and for many, that involved grappling with questions and emotions around the incident for the first time.
Your generosity and honesty are an inspiration to me, and I know you will inspire those who will hear your words and, even better, gather in a whare tapere to experience your story. The opportunity to write this work began with an Auckland Theatre Company commission. To be able to embrace and bring to the stage a story that has intrigued me since I first came across it many years ago, and present it in verbatim form, has been a journey I have treasured. I am a Māori mother who has been able to offer her tamariki, in Tāmaki Makaurau/Auckland, a brilliant full immersion te reo Māori education. I make clear links between the battle fought that day and the incredible opportunities that have enriched my children's lives. Nō reira, e rere ana ngā mihi ki a koutou.
Ka ora ai te ao Māori I te tinana, hinengaro, wairua Ka ora e He Taua Ko te iwi Māori e ngunguru nei I au, au, aue ha Aue hi
KAPA — ENSEMBLE Nī Dekkers-Reihana, Lauren Gibson, Finley Hughes, Aidan O’Malley, Te Ani Solomon, Patrick Tafa, Kauri Williams
NGĀ RINGATOI — CREATIVE Writer and Director — Katie Wolfe Kaiako Kapa Haka/Kaitito Haka — Nīkau Balme Sound Designer and Musical Director — Kingsley Spargo Taonga Puoro — Whetu Silver Set Designer — John Verryt Lighting Designer — Jo Kilgour Costume Designer — Alison Reid Rehearsal Director — Nī Dekkers-Reihana
NGĀ KAIWHAKAHAERE HANGA — PRODUCTION Executive Producers — Tim Balme and Katie Wolfe (Tasman Ray) Producer — Fenn Gordon (Tandem) Associate Producer — Nī Dekkers-Reihana Production Manager — Khalid Parkar (Pilot Productions) Stage Manager — Catherine Grealish Lighting and AV Operator — Sean Lynch Sound Operator — Sam Clavis Documentary Producer — Katie Wolfe Documentary Crew – Dave Murray, Yves Simard, Lise Cook, Colleen Brennan, Jo Raj, Aroha Rawson, Kahukore Bell, Sean O’Connor. Verbatim Editor — Kingsley Spargo Music Rights — Fiona Perry (MERS Ltd) Audio Description — Audio Description Aotearoa Photographer — Andi Crown Videographer — Lise Cook Te Reo Translator — Amiria Stirling Graphic Designer — Helen Cisowski
The Court Theatre Lighting and Audio Visual Operator — Geoff Nunn The Court Theatre Live Sound Operator — Giles Tanner The Court Theatre Stage Manager — Jo Bunce The Court Theatre Assistant Stage Manage and Sound Assistant — Haydon Dickie
NGĀ KAIWHAKAHAERE HANGA — TASMAN RAY WOULD LIKE TO THANK THE FOLLOWING FOR THEIR SUPPORT: PRODUCTION PAANZ Tour Makers, Kia Mau Sir Howard Morrison Centre, Taranaki Arts Executive Producers —Festival, Tim Balme and Katie Wolfe (Tasman Ray) Festival Trust and TSB Showplace, Te Tairāwhiti Arts Festival, Tauranga Arts Producer — Fenn Gordon (for Tandem) Festival, The Court Theatre.
Associate Producer — Nī Dekkers-Reihana
Special thanksManager to: ShaneTe Bosher, Alex Ellis, Parker Vicki Cooksley, Phillip Ascott, Production Pou — Khalid (Pilot Productions) University of Auckland Faculty of Engineering, University of Auckland Archives, StageXytech Manager — Catherine Grealish Auckland Arts Festival, Lighting, BounceNZ, Abbey Clearwater, Jess Lighting AV Search Operator Sean Katie LynchRogers, Titi Tafa, Leslie, Ana Scotney, Lucas and Haugh, and — Destroy, Tau Subritzky, Tony Downing, Oscar Peress, Peter Rogers, Cath Dunphy, Shona Lighting Specialist — Spencer Earwaker McCullagh, Ata Papa, Ngaronoa Renata, Brian Potiki, Roma Potiki, Mere Arihi Sound Operator — Sam Clavis Pipi-Takoko, Hepi Mita, Elias Ashby, Kate Ward-Smythe, Iliane McEwen – Corbans Estate Arts Centre, Alison Walls, Amanda Hare,— Giles Tanner, Tim Bain, Virna Smith, Documentary Producer Katie Wolfe Georgia Bingham. Documentary Crewand – Dave Murray, Yves Simard, Lise Cook,
Colleen Brennan, Jo Raj,was Aroha Rawson, KahukorebyBell, The Haka Party Incident originally commissioned Auckland Theatre Company Sean with Auckland Arts Festival and premiered on O’Connor. 30th March 2021 at the ASB Waterfront Theatre.
Verbatim Editor — Kingsley Spargo and Harley Campbell Music Rights — Fiona Perry (MERS Ltd) Audio Description — Audio Description (Antonio Te Maioha) Photographer — Andi Crown WARNING: please note thatVideographer this production demonstrates — Lise Cookhistorical examples of how haka and Te Reo Māori were incorrectly used and performed in the past. Te Reo Translator — Amiria Stirling The production is approximately minutes, with no interval. Graphic Designer —105 Helen Cisowski Please remember to switch off all mobile phones and noise-emitting devices.
The Haka Party Incident was originally commissioned by Auckland Theatre Company with Auckland Arts Festival and premiered on 30th March 2021 at the ASB Waterfront Theatre.
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Ngā Māngai Voices of Documentary
Hilda Hilda Harawira, He Taua and Student University of Auckland Miriama
Miriama Rauhihi-Ness, He Taua
Zena
Zena Tamanui, He Taua
Ronnie
Veronica Leef, He Taua
Mary
Mary Povey, He Taua
Georgina
Georgina Walker-Grace, He Taua
Wiki
Wiki Tawhara, He Taua
Ben
Ben Dalton, He Taua
Hone
Hone Harawira, He Taua
James
James Pasene , He Taua
Brian
Brian Lepou, He Taua
Len
Len Nukunuku, He Taua
Andrew
Andrew Leef, He Taua
Joseph
Joseph Leef, He Taua
Tigilau
Tingilau Ness, Polynesian Panthers
Ian
Ian Bishop, Engineering Student UOA
Simon
Simon Faire, Engineering Student UOA
Brent
Brent Meeken, Engineering Student UOA
Simon
Simon Woodward, Engineering Student UOA
Andrew
Andrew Stewart, Engineering Student UOA
Te Rangi
Te Rangi Hīroa, kaitito/composer ‘Ākarana’ (1924)
Eruera
Eruera Stirling, expert witness for the defence ‘Police vs Dalton and Others’
Kīngi
Sir Kīngi Īhaka, court translator for Eruera Stirling
Des
Des Mathen, Engineering Student UOA (1955)
Barry
Barry Davidson, Engineering Student UOA (1967)
Janet Janet Roth, President of University of Auckland Student Association Mitzi Mitzi Nairn, Auckland Committee on Racism and Discrimination Anne
Anne Salmond, Lecturer in Social Anthropology and Māori Studies UOA
Kathy
Kathy McRae, Quad Forum Attendee, Student UOA
Karen
Karen Bishop, Quad Forum Attendee, Student UOA
David
David Merritt, Craccum Editor
Alan
Alan Blackburn, Auckland Race Relations Office
Vapi Vapnierka Kupenga, lawyer for defence ‘Police vs Dalton and Others’ Sian
Sian Elias, lawyer for defence ‘Police vs Dalton and Others’
David David Morris, lawyer for prosecution ‘Police vs Dalton and Others’ Richard
Richard Harman, journalist for Eye Witness News
Police A
Anonymous, on-duty police officer Auckland Central May 1st 1979
Police B
Anonymous, on-duty police officer Auckland Central May 1st 1979
Kapa Ensemble
TE ANI SOLOMON
AIDAN O’MALLEY
NĪ DEKKERS-REIHANA
KAURI WILLIAMS
PATRICK TAFA
LAUREN GIBSON
FINLEY HUGHES
TE ANI HINETEKURA NGA WAI E RUA BIDOISSOLOMON Ngāti Ranginui, Ngāi te Rangi, Ngāti Raukawa ki te Tonga Te Ani graduated from Toi Whakaari in 2022. She has a background in performance, having annually participated in Hui Aranga, an event held in different cities across Te Ika a Maui every Easter weekend where Māori from all over the motu come together and perform kapa haka. Te Ani was in the lead cast of Gate Crash, a short film by Paloma Schneideman, which was selected as one of New Zealand’s Best in NZIFF 2022. The Haka Party Incident is Te Ani’s first professional stage production and well within her kaupapa as she aspires to bring voice to the stories of her culture and people. AIDAN O’MALLEY Aidan O’Malley studied theatre at Otago University and graduated from The Actors' Program (2019) with a mad passion to play and create. For him to be here on stage for The Haka Party Incident and being a part of telling this story brings him huge joy. May we all learn a lot. NĪ DEKKERS-REIHANA Ngāituteauru, Ngā Puhi me Ngāti Pākeha nō Hōrana Nī is a storyteller of many facets. Born in Whaingaroa, they grew up around the Waikato region before heading down to Te Whanganui-a-Tara with their family. There, they started working professionally as an actor, winning best show in the Fringe in their final year of high school with Affinity. They went on to win many Wellington Theatre Awards for their performances in Anahera, The Mooncake & the Kūmara, Pakaru, 4 Billion Likes! and more. They've appeared in The Brokenwood Mysteries, Wellington Paranormal and anthology film, Waru. KAURI WILLIAMS He Kahungunu, He Tūwharetoa. He hononga anō ki te moana nui a Kiwa, he Hamoa, he Fīti, he Pākehā anō hoki. Kauri’s most recent screenwork is with The Brokenwood Mysteries (2020-present) where he plays the affably paranoid Todd Taylor. He also featured on the Māori drama series Ahikāroa (2019-2021) as the kiripuaki Whatukura. His
last theatre show was with Te Rehia Theatre and Auckland Theatre Company’s Astroman (2019) playing Sonny. He is also a Kaihaka for the Roopū Manutaki and currently works as tutor at the Unitec Drama School for the Māori Performing Arts paper. (2020-present) PATRICK TAFA Patrick Tafa is Samoan/Scottish. Representing Mulifanua, Samoa and his hometown Waipu. Patrick joined Massive Theatre Company at 16 years old after doing one of their workshops. He has been with the company ever since. He has featured in the company's devised works The Wholehearted and Half of the Sky. LAUREN GIBSON Lauren Gibson is a graduate of Victoria University (Bachelor of Arts in Theatre and Media Studies, 2011) and The Actors’ Program (2012). Her theatre credits include: Anne Boleyn, The Heretic, Sons (Auckland Theatre Company), Blackbird, August: Osage County, The ACB with Honora Lee (Circa Theatre), , and When The Rain Stops Falling and Exit The King (The Court Theatre). Lauren won the 2011 Most Promising Female Newcomer of the Year at Wellingtons’ Chapman Tripp Theatre Awards for her role in August: Osage County. FINLEY HUGHES Finley is an emerging actor, musical theatre performer, maker and creative. He is a graduate of The National Academy of Singing and Dramatic Arts (NASDA). Since graduating Finley has worked with The Court Theatre, starring in such shows as Flagons and Foxtrots and Crash Bash. He has also recently finished starring in the NZ tour of Madagascar the Musical as well as devising and performing his solo show Demon Cat Space Boy. Other recent credits include a national tour with New Zealand Playhouse, Circa Theatre's pantomime Pinocchio, and working alongside Jo Randerson in The New Zealand Fringe Festival show U R HERE.
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Ringatoi Creative
KATIE WOLFE
JOHN VERRYT
JO KILGOUR
ALISON REID
KINGSLEY SPARGO
NĪKAU BALME
WHETU SILVER
CATHERINE GREALISH
GEOFF NUNN
GILES TANNER
JO BUNCE
HAYDON DICKIE
KATIE WOLFE Ngāti Mutunga, Ngāti Tama, Ngāti Toa Rangatira Writer and Director Katie Wolfe is well known to audiences as director, writer and actor who works across theatre, film and television in both drama and documentary. Katie was the winner of the inaugural WIFT Mana Wāhine Award. Her most recent documentaries are He Māngai Wāhine and for the Artefact series – Te Hokinga Mai and Road to War. Katie was one of the directors of the acclaimed film Waru. Her films Redemption, This Is Her, and Kawa (and adaptation of Witi Ihimaera’s Nights in the Gardens of Spain) garnered many awards internationally. Katie directed The Mooncake and the Kumara for the 2015 Auckland Arts Festival and notable other NZ works are Rendered for ATC, Anahera for Circa, Luncheon for Basement and The Women for Silo. Katie portrays the popular character Nanny Fanny for Māori TV’s hit comedy The Ring Inz and played Hinepouri in the landmark action series Vegas. For The Haka Party Incident Katie received three Adam NZ Play Awards including Best Māori Playwright and the Dean Parker Award. JOHN VERRYT Set Designer John Verryt began designing for performance in 1979, training at Theatre Corporate and Mercury Theatre. John works regularly, as a freelancer, for many of New Zealand’s foremost performing arts companies, including ATC, Silo Theatre, Indian Ink, Red Leap Theatre, The Large Group, Nightsong, New Zealand Opera, Douglas Wright Dance Company, Michael Parmenter, Malia Johnston and Atamira, Okareka and Black Grace Dance Companies. Recent Auckland Theatre Company shows designed by John include Once on Chunuk Bair, Jesus Christ Superstar, Rupert, The Navigators, Rendered and Astroman. JO KILGOUR Lighting Designer Jo Kilgour is an Auckland based Lighting Designer and Technical/Production Director with extensive experience both nationally & internationally. Her lighting design credits include Dirty Work (Indian Ink Theatre Company); Waiwhakaata: Reflections in the Water (Eddie Elliott); The Life of Galileo, The Haka Party Incident, Six Degrees of Separation, Filthy Business, Under the Mountain, Nell Gwynn, Amadeus, The Curious Incident of the Dog in the Night-Time (Auckland Theatre Company); Don Giovanni (Wellington Opera); Semele (New Zealand Opera); La Traviata, Cav+Pag (Festival Opera); What They Said, Uku:
Behind the Canvas, Sigan, The Fibonacci, Seasons Retouched, Matter, Whispers From Pandora’s Box, Brouhaha, Geography of an Archipelago, In Transit (The New Zealand Dance Company); Once the Musical (Peach Theatre Company). ALISON REID Costume Designer Alison Reid is a designer, collector and curator of vintage and antique objects, textiles, and accoutrement. This is her third costume design for Auckland Theatre Company. She created The Cross Street Market and is the proprietor of Search and Destroy on Ponsonby Road specialising in vintage denim, rock n’ roll, French, Japanese and New Zealand work-wear, vintage homewares and pottery. Her inspiration is drawn from annual buying trips to Tokyo and San Francisco. Alison has exhibited her extensive Crown Lynn Colour Glaze Collection in Gus Fisher Gallery Auckland and City Gallery Wellington. KINGSLEY SPARGO Sound Designer Kingsley Spargo is renowned for leaving audiences mesmerised with music that pulls at the heart. Spargo has delighted audiences alongside luminaries Don McGlashan, Tim Finn, Violent Femmes, and SJD. His interest in creative collaboration is the topic of his PhD research, inspired by co-creative projects with Witi Ihimaera, poet Courtney Sina Meredith, dance company Black Grace (Guerilla Collection),and of course The Haka Party Incident, which provided him a unique opportunity to be immersed in story via the execution of verbatim. The affective power of sound and music always amazes me. It is such a privilege to help make story something visceral. NĪKAU BALME Ngāti Mutunga, Ngāti Tama, Ngāti Toa Rangatira Kaiārahi Kapa Haka / Kaitito Haka Nīkau is a Year 13 student at Ngā Puna O Waiōrea, Western Springs College. He has grown up in a full immersion Te Ao Māori education through Puna Reo and Te Kura Kaupapa O Ngā Maungarongo. He is a passionate participant in all aspects of kapa haka and is currently a performer in his school kapa of Ngā Puna o Waiōrea having just won Polyfest for a third timerunning. The Haka Party Incident was his first foray into both theatre, composition and tutoring. He has followed that up as a co-creator of his school’s 2023 production of Autaia Haka Theatre. He is also Katie’s son.
WHETU SILVER Ngāti Pakahi ki Whangaroa, Ngāti Kahu, Ngāpuhi Taonga Pūoro Whetu-Iti Doreen Silver is a multi-disciplinary artist, practitioner and mother that comes from a strong matriarchal lineage. She has worked extensively in the arts and event industry as a practitioner, facilitator, and creative collaborator for the past 15 years. Central to her life and mahi is listening and being guided by Ngā Atua wāhine and her tūpuna, which activated her to co-create alongside the wāhine in her whanau Te Whare Tapu o Ngā Hine, a kaupapa and space that reclaims, restores, and returns the balance of te mana o te wāhine through wānanga, ritual performance and wairua practice. Whetu has contributed to the following kaupapa as key creative; HINE, Te Mana o Hinehau, My Seven Uncles, Mahuika!, All Good, and Māori Television Te Iwa o Matariki digital series. Whetu believes that the very act of revealing the kaupapa of The Haka Party Incident clears and creates a space for Māori to retell and rewrite the narratives and truths of our people and place as the kaitiaki of this whenua tapu, Aotearoa. Mauri ora, Mauri oho, Mauri tau! CATHERINE GREALISH Stage Manager Catherine is a stage manager, lighting technician and production all-rounder. After starting her theatre career in Belfast Northern Ireland, she moved to Tāmaki Makaurau in 2018 and has worked with Auckland Theatre Company, Pop-Up Globe, and NZ Opera. A newbie playwright, her first show Two Metres Apart premiered in November 2022 at the Basement Theatre. GEOFF NUNN Court Theatre Lighting and Audio Visual Operator Originally from Manchester, Geoff has been in New Zealand since 1994. He is a qualified baker and at first worked in the hospitality industry as a chef and then restaurant manager from Queenstown through to Mount Maunganui. He then decided on a complete change in career and went to Circo-Arts for a year and then studied for two years with The Hagley Theatre Company. Geoff joined The Court Theatre on a casual basis in 2000 and has since worked as an actor, drama tutor, designer, technician and stage manager, becoming a full- time technician in 2005 and taking over the head technician position in 2008.
In 2010 Geoff took up a scholarship to work and train as an early childhood educator. After the earthquake he set up his own small catering company which ran for 12 years in Christchurch. He has done lighting designs for NASDA, St Andrews College, Halswell School and The Light Site. Geoff is back on the full-time company at The Court Theatre since the start of 2023. Geoff has also directed shows for Original Scripts Theatre School, The Hurunui Theatre Group and Christchurch Boys High School. GILES TANNER Court Theatre Live Sound Operator 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. Currently Head Technician at The Court Theatre, Giles has worked on more than 50 Court productions including Amadeus; When the Rain Stops Falling; Constellations; Educating Rita; 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; Hedwig and the Angry Inch; The Father; Fresh Off the Boat; The Wind in the Willows; A Streetcar Named Desire; The Girl on the Train and Sense and Sensibility; Rēwena and Be Like Billy? JO BUNCE Court Theatre Stage Manager Jo graduated from Toi Whakaari: New Zealand Drama School with a diploma in technical production in 1996 and has been working in theatre for over 25 years. She freelanced for many years in Wellington as a lighting designer / operator and stage manager as well as working overseas 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 going back to 1996 including Cabaret; Othello; Art; The Seagull; Amadeus; Pacific Post; The Motor Camp; End of the Rainbow; Blood Brothers; One Man, Two Guvnors; Niu Sila; The Ladykillers; Waiora; Steel Magnolias; Venus in Fur; Easy Money; Stephen King's Misery; Elling; Les Liaisons Dangereuses; Fresh Off the Boat; A Streetcar Named Desire; Ladies Night; Frankenstein; The Girl on the Train; Flagons and Foxtrots and Sense and Sensibility. Jo graduated from the University of Canterbury with a Bachelor of Arts in 1994.
HAYDON DICKIE Court Theatre Assistant Stage Manager and Sound Assistant Haydon has worked on and off camera for both stage and screen. He starred in the short film Mr Savant (Winning Film, Somedays Stories Film Challenge 2019), and starred in and worked behind the scenes on the short film Truth.exe (Official Selection: Boston Sci-Fi Film Festival; Sci Fi Film Festival (Sydney); Monthly Finalist Changing Face International Film Festival; and Winner - Best Student Film, Miami International SciFi Film Festival). He is also a producer and actor in the yet-to-be-released feature film based on Truth.exe, entitled The Bostrom Scenario. Haydon was a member of The Court Youth Company 2019 / 2020 and stage managed the Company’s 2021’s productions of Boys; The Unauthorized Biography Of…; was Assistant Stage Manager of RENT and Stage Manager for Cinderella. Haydon has also worked with New Zealand Opera.
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HAKA AND SONG Tau Ka Tau Traditional Waikato Haka Ākarana Auckland University College Haka by Te Rangi Hiroa (1924) Akarana The Ardmore Engineering School Haka, Private Collection, Des Mathen (1955) A Ka Rana Engineering Haka, Private Collection, Iain Neill (1979) In the Past Maranga Mai (Activist Theatre Group, 1979) Private Collection, Brian Potiki Hey Māori People Maranga Mai (Activist Theatre Group, 1979) Private Collection, Brian Potiki Imagine John Lennon (1971) Arrangement by Kingsley Spargo We are We are The Engineers The Ardmore Engineers Song The Battle Hymn of the Republic Lyrics by Julia Ward Howe (1862) Arrangement by Kingsley Spargo Ka Mate Composed by Ngāti Toa Rangatira Chief, Te Rauparaha Me Hoki Whakamuri Kia Anga Whakamua The University of Auckland Faculty of Engineering Haka by Tapeta Wehi (2019) He Taua Original haka written for The Haka Party Incident by Nīkau Balme (2021)
ĀKARANA Auckland University College Haka 1924 Te Rangi Hiroa
Ākarana Hei
Auckland – Here
Tena i pakia
Now for the beat
Tena i takahia
Now for the stamp
Ringaringa tōrona kei waho
Hands stretched out
mau tonu
And kept there
Tau ka tau
Hei
We are here, we are here - Hei
Tau ka tau
Hei
They are here, They are here – Hei
Tau ka tau ki Ākarana
They have come to see Auckland
Whangaia mai ra!
What can they say?
nge, nge, nge, ara tu
Nothing, nothing, nothing at all
Whangaia mai ra!
What can they do?
nge, nge, nge,
Nothing, nothing, nothing
ara tu, ara ta, ara tau
Absolutely nothing at all
Ākarana ka riri!
Auckland is arrayed for battle!
Homai ra o kupu, o toa
Come with your wise men
Kia wetewetea, kia tukitukia
Come with your best
Ākarana
Hi
That they may be confounded
Ākarana
Hei
That they may bewildered
Ākarana
Hi, Hei, Ha
Auckland Hi Auckland Hei Auckland Hi, Hei, Ha
HE TAUA Original haka written for The Haka Party Incident by Nīkau Balme 2021
He Taua Ki te mura o te ahi He Taua Ki te tohi o Tūmatauenga He Taua Ki te tākiritanga o te ata ki runga Tāmaki e tū nei E te tī, e te tā Hi ha E te tā, e te tī Haramai ra, haramai ra, haramai ra Tēnei ko Tāmaki Herehere Tāmaki Ararau Kua whakawhenua te tangata Kua whakamana te Reo me ōna tikanga Hei te pō, hei te ao Te whakamāori e He kaikiri, he Taniwha e Hōmai ra o kupu o toa kia wetewetea Wetewetea, wetewetea Whakamanatia te tangata e Ka Mate Ka ora Ka Mate Ka ora Ka mate, ka mate Ka ora ai te ao Māori I te tinana, hinengaro, wairua Ka ora e Tau ka Tau Hi Tau ka Tau Hi Tau ka Tau Hi Tau ka Tau Hi Tau ka tau He Taua! Ko te iwi Māori e ngunguru nei I au, au, aue ha Aue hi
He Taua Is to the heat of battle He Taua Is blessed by the powers of man and warfare He Taua Is to the dawn breaking upon Auckland, arrayed for battle To the many the masses To all walks of life Come, come upon Auckland as one, Auckland of plenty Auckland who has grounded people’s belief in their land Who has empowered Te Reo Māori and its customs Day and night eternally Māori powers onwards To the monster known as racism Give it here so it can be shredded Ripped apart into nothing at all To empower the people onwards again There is death And there is life But despite the death Māori culture will survive Mentally, physically, and spiritually It survives onwards We are here We are present Here we stand Stand as one Stand as one, Arrayed for battle A war party He Taua The Māori culture shakes the ground And there it is There!
What is Verbatim Theatre? by Vanessa Preston
“We are besieged with a constant barrage of information and different media platforms all barking for our attention and… the integrity of that information is unclear. Verbatim theatre offers an antidote to all that and it's at its best when it offers a voice to the voiceless.” Robin Belfield, Telling the Truth: How to Make Verbatim Theatre
The Haka Party Incident is ‘verbatim theatre’ - the script compiled from live interviews and recreated by the actors exactly as they were spoken by the original interviewees. This production goes one step further and uses a ‘received verbatim’ technique - you will see earphones in the ears of the actors as they listen to the real voices from recordings and archived footage, re-creating the dialogue on stage complete with every ‘um’, ‘ah’, and pause as it really happened. Other well-known examples of verbatim theatre include the plays My Name Is Rachel Corrie, based on the diaries and emails of activist Rachel Corrie who was killed by an Israeli soldier, and
The Laramie Project, about the reaction to the 1998 murder of University of Wyoming student Matthew Shepard. Broadway musical Come From Away, set a week after 9/11 tells the true story of what transpired when 38 planes were ordered to land unexpectedly in a tiny town in Canada, using real interviews from the town’s residents. A pioneering New Zealand example is the 1993 play Verbatim about violent offending, by Miranda Harcourt and William Brandt. This objective journalistic approach offers us, the audiences of The Haka Party Incident, a source of uncontaminated truth; the different perspectives of those who were there in 1979.
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