SINCLAIR McCARTEN
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HAERE MAI Its such a pleasure to welcome you here this evening. This play is particularly special for me as my sister and I went to primary school with one of the playwrights – Anthony McCarten and other members of his family, back in New Plymouth. It’s a fun play, and as we’ve been hearing the music for the last few weeks during rehearsal, it will be great to see it on the stage. The talent assembled for this show is exceptional, with many names from previous productions familiar to us all. Our Artistic Director, Dan Pengelly, is always on the look out for new talent, and we welcome Sam Snedden and Will Hall, making their debut’s with us in this production. We hope we will see them again many times. During this production we will be losing a much loved member of The Court whānau, Rachel Tully, our Programmes Manager. For the last six or so years, Rachel and her team have developed, grown and led, our outstanding education and outreach programmes reaching more than 18,000 young people and adult learners. Her skill, dedication and knowledge has developed The Court Youth Company into a truly outstanding ensemble – many of whom are having an unparalleled start to their careers. So Canterbury’s loss is Marlborough’s gain and we wish her well for the next chapter of her story. Our grateful thanks to Rachel. We hope you enjoy this production – a fitting production for our 50th year. Ngā mihi nui BARBARA GEORGE Chief Executive | Tumu Whakarae
Welcome to your evening at the theatre, we are excited to entertain you with this hilarious and sexy show. Sales statistics tell us that the majority of theatre ticket purchases are made by women. So then it comes as no surprise that Ladies Night is New Zealand’s most produced and highest attended play! We last produced it 17 years ago in 2004, and reading it again last year, realised it is still just as fun and entertaining now. My thanks and appreciation go to Sandra Rasmussen for starting the journey with us as Director, bringing fun and energy to it. When international travel restrictions became too much, she graciously passed the baton to our Director Sam Snedden. Sam has been a pleasure to have around and is just as cheeky as the cast you are about to watch. The cast, creatives and all staff here at The Court Theatre have been working on this show since January 2020. I would like to acknowledge and thank them all for the work they put in over 15 months to bring this show to life for you right now. I don’t know about you, but as the world is still an unpredictable place, I feel about ready for a night of comedy and entertainment. Good old kiwi blokes attempting to be strippers. So let your hair down, grab a rosé (or a beer, no judging here) and enjoy! Ngā mihi nui DAN PENGELLY Artistic Director
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Kia ora koutou! I think it's fair to say that the last wee while has been difficult for all of us. Even though we've managed so far to escape the worst of the pandemic in Aotearoa, we still live with the spectre of it hanging over us. In a way it's not what you feel in times like this that define them; rather it's the things that are harder to feel. Like feeling well-rested, untroubled and most importantly, joyful. Remember joy? Remember that feeling of letting go and really, truly being along for the ride? That flying, floating, falling feeling of release? Well if it’s been a while then you are in luck because that is what Ladies Night delivers in spades. That’s because the characters in this play are in a difficult spot too. There isn’t one of them whose life is working out the way they thought it would. But, what they discover is that when you dare to take a risk, when you open yourself up to something you never thought would be for you, you allow the possibility of joy into your life. And that can change everything. This is my first time working at The Court and the support and enthusiasm for this project has been brilliant from all quarters. The cast and crew of this production brought joy into the rehearsal room every day as we worked to bring this classic New Zealand play to The Court’s stage. There’s nothing left to say now except enjoy the show! Ngā mihi SAM SNEDDEN Director
Stage 3 & 4
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BY STEPHEN SINCLAIR & ANTHONY McCARTEN CAST Barry. . . . . . . . . . . . . . Roy Snow Craig. . . . . . . . . . . . . . Nic Kyle Wes. . . . . . . . . . . . . . Shadon Meredith Norman. . . . . . . . . . . Isaac Pawson Gavin. . . . . . . . . . . . . Hayden Tee Glenda. . . . . . . . . . . . Kathleen Burns Grahame. . . . . . . . . . Will Hall Bernie. . . . . . . . . . . . . Phoebe Hurst
PRODUCTION Director. . . . . . . . . . . Sam Snedden Choreographer. . . . . Hillary Moulder Set Designer. . . . . . . Nigel Kerr Costume Designer. . Amy Macaskill Lighting Designer. . . Giles Tanner Sound Designer. . . . Matt Short Stage Manager. . . . . Jo Bunce Photographer. . . . . . Emma Brittenden
ACKNOWLEDGEMENTS We thank the entire Court whānau for their exceptional work and dedication in producing this play. Running time: 2 hours including a 20 minute interval. Please note: Contains adult themes and coarse language. Ladies Night was staged at The Court Theatre 1 May – 5 June 2021. Proudly printed by Caxton.
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STEPHEN SINCLAIR Stephen is a novelist, screenwriter and playwright. He has over 20 stage plays to his credit including the hit comedy The Sex Fiend (co- written with Danny Mulheron) which enjoyed two sell-out seasons at The Court Theatre in the early 1990s. Also The Bach and The Bellbird, both of which were prescribed texts for drama in New Zealand secondary schools. He is co-writer of the Peter Jackson films Meet The Feebles, Braindead and Lord of the Rings: The Two Towers. In 2010 he wrote and directed the feature film Russian Snark, which garnered many international awards. He currently has a feature project in development with the NZ Film Commission. Stephen has written the novels Thief of Colours (Penguin Books, 1995) and Dread (Spineless Press, 2000). He is currently writing a novel set in late Roman Britain.
ANTHONY McCARTEN Anthony received early international success with his play Ladies Night. Translated into 12 languages it remains New Zealand’s most commercially successful play of all time, and in addition to eight national tours of Britain alone, it continues to play worldwide. In 2001 it won France’s premiere theatre award for comedy, the Moliere Prize. He has written 14 other plays, ten of which have premiered in New Zealand. He is currently working on a Broadway musical with music by Neil Diamond and has a new play scheduled to open in London. Anthony is also a film director and producer whose first feature film, Via Satellite, which he adapted from his own award-winning stage play, was invited to several film festivals including London, Cannes, Toronto, Melbourne, Hawaii
and Seattle. His screenplay for The Theory of Everything which he wrote and produced was nominated for an Academy Award. His film Darkest Hour was nominated for the 2018 BAFTA Award for Best British Film. Anthony wrote the screenplays for Bohemian Rhapsody and The Two Popes for which he was a nominee for an Oscar, BAFTA and Golden Globe for Best Adapted Screenplay. His first novel, Spinners, (Picador) has been translated into six languages, and was voted one of the top ten novels of 2000 by readers of Esquire magazine. He has also adapted his second novel, The English Harem (Picador), as a feature film for ITV, which drew seven million viewers in the UK when it aired in 2005. The novel went on to be a smallpublishers bestseller in the UK in 2006. Novelist Timothy Mo named this book his Novel Of The Year. He is married and has three children.
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ONSORS
DIRECTOR Sam Snedden graduated from Toi Whakaari in 2006 and has worked in theatre ever since. His career highlights as an actor include Life is a Dream; Private Lives; Backstory; The Pride; The Only Child; The Book of Everything; The Blind Date Project; Perplex (Silo Theatre); Rabbit (Circa Theatre); Yours Truly; Mojo (The Basement Theatre); Guardians (Bats Theatre) and Once on Chunuk Bair (Auckland Theatre Company). He ran Auckland’s Basement Theatre from 2011 - 2017 and has worked extensively as a theatre producer and director. His directing credits include Abigail’s Party; Fix; The Opening Night Before Christmas; 28mm; Burn Her; Essays in Love and the upcoming Night of the Living Dead.
BARRY Roy’s previous Court Theatre credits include Anything Goes; Much Ado About Nothing; SNAP!; The Mikado; End of the Rainbow; Blood Brothers; Plum; One Man, Two Guvnors; Romeo and Juliet; Winston’s Birthday; Legally Blonde the Musical; The Curious Incident of the Dog in the Night-Time; Chicago; Easy Money and Ideation. His other theatre credits include Ladies Night; 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 & 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.
WES Shadon Meredith is a graduate of Toi Whakaari: New Zealand Drama School, Bachelor of Performing Arts Acting. This is Shadon’s first Court Theatre appearance. His other theatre credits include The Seagull: The New Online Version (Auckland Theatre Company); Upu (Silo Theatre/Auckland Arts Festival 2020); The Arrival; Paper Sky (Red Leap Theatre) and most recently performing his award-winning solo Waiting (Sos & Sha Creative) at the Auckland Fringe. Shadon’s television credits include Find Me A Māori Bride, Spartacus and playing Matiu Thompson on Shortland Street. Shadon Meredith is of Sāmoan descent. He is beautifully married to superstar actor Amelia Reid-Meredith and lives in Waiheke, Auckland with their cool 5-year-old son Arlo and enthusiastic Hungarian Vizsla Blue; dreaming up stories that empower BIPOC and reflect an Aotearoa experience.
CRAIG Nic studied at NASDA and has acted professionally for 15 years in New Zealand, Australia, Canada, Germany and London. Court Theatre credits; The Producers; Le Cage Aux Folles; Anything Goes; Cabaret; The Cape; Kiss of the Spider Woman; Baghdad Baby; The History Boys; I Love You, You’re Perfect, Now Change, Grease and Jesus Christ Superstar. London credits; Savage (Arts Theatre, Westend); The Grand Tour (Finborough Theatre); Closer to Heaven (Union Theatre); Party (Above the Stag); I Love You, You’re Perfect, Now Change (Battersea Barge); Spamalot (English Theatre Frankfurt); Coffin (Drayton Theatre); Miller’s Crossing; Star Wars; Dr. Strangelove; 28 Days Later and Assistant Director for Back to the Future (Secret Cinema). Other credits; The Elaine Paige Tour; Blood Brothers; Sweeney Todd; The Wizard of Oz (Peach Theatre Company); Assassins (Watch This! Melbourne); In the Next Room (Fortune Theatre); The Importance of Being Ernest; Jesus Christ Superstar and Miss Saigon - New Zealand Premiere (Showbiz Christchurch). He has appeared with the Christchurch Symphony Orchestra, Christmas in the Park and was nominated for Best Actor in a New Play, Savage (Broadway World UK).
NORMAN Isaac graduated from NASDA with a Bachelor of Performing Arts. His previous Court Theatre credits include Badjelly the Witch; The Little Mermaid; Legally Blonde the Musical; Chicago; Jesus Christ Superstar; The Wind in the Willows; A Streetcar Named Desire and most recently as Bob Gaudio in Jersey Boys. His other notable theatre credits include Tick in Priscilla, Queen of the Desert (Showbiz Christchurch and New Plymouth Operatic Society). He also travels around New Zealand and Australia throughout the year performing Motown classics with The Midtown Boys (DKCM) and tours nationally and abroad with Operatunity, most recently in Hits of the 60s & 70s. Isaac has also worked as an acting tutor for The Court Theatre and teaches drama around the country when he isn't performing. He enjoys writing and producing music in his spare time.
GAVIN Hayden is a graduate of Australia's NIDA, National Institute of Dramatic Arts (Musical Theatre). Their previous Court Theatre credits include Kiss me Kate - Grumio and Kiwifruits 2 - Wayne. Other theatre credits include Cinderella - Fendalton (GMG); Les Misérables - Javert (Broadway, West End, Dubai, Australia, Aotearoa); Matilda - Miss Trunchbull (West End, International Tour); Les Misérables - Marius (West End); Take Me Out - Mason (Singapore); Being Earnest the Musical - Jack, original cast (USA); Little Woman - Professor Bhaer (Australian National Musical Theatre Co.); Camelot - King Arthur (USA); Dead Man Walking - Father Grenville (Sydney, State Theatre); Into the Woods - Cinderellas Prince/Wolf (USA); Cats - Gus/Bustopher Jones (South Korea); Jekyll and Hyde - Stride/alternate Jekyll/Hyde (South Korea, Taiwan) and Titanic - Thomas Andrew's (Theatre Royal, Sydney). Hayden is signed to Broadway Records and currently has three solo albums Hayden Tee, Generation why? and Face to Face available on all digital platforms. @haydentee
GLENDA Kathleen began her career as a Court Jester in 2003 and still performs in Scared Scriptless. She is a graduate of NASDA. Her previous Court Theatre credits include Educating Rita; The Curious Incident of the Dog in the Night Time; Steel Magnolias; and The Pink Hammer. Her other theatre credits include A Servant to Two Masters; Under Milkwood; Cinderella (Circa Theatre), and Avenue Q; Five Women Wearing the Same Dress and Flagons and Foxtrots (Fortune Theatre). Kathleen’s recent television work is Sextortion (TVNZondemeand.com). Her film credits include The Cleaner, Ghost Shark 2, and the soon to be released The Push. Kathleen Burns has her own live feminist chat show called Feminist Yarns with Kathleen Burns. You can listen to previous episodes wherever you get your podcasts or be in the audience for the live recording at Little Andromeda this July.
GRAHAME Will began acting at St. Andrews College in the nineties - the same era Ladies Night is set! He’s performed at The Herald Theatre; Auckland, Circa Theatre; Wellington & Belvoir Street Theatre, Sydney. Having spent over half his life away, Ladies Night sees him returning to the stage in Christchurch. Will’s television credits include Westside; Nothing Trivial; Shortland Street; The Luminaries and The Insider’s Guide to Happiness for which he won Best Actor at the New Zealand Screen Awards in 2005. His film credits include Mt. Zion; Kiwi Christmas and Netherwood, for which he won Best Supporting Actor at the 2011 New Zealand Film Awards. Will graduated this year from Lincoln University with a Bachelor of Commerce majoring in Property.
BERNIE Since graduating from Toi Whakaari: New Zealand Drama School in 2011, Phoebe has been involved in several projects across theatre, radio and music. She is most well-known for her performance as a core cast member in the New Zealand punk-rock musical That Bloody Woman and as Yitzhak in The Court Theatre's production of Hedwig and the Angry Inch. Other performances and theatre highlights include Magic of The Musicals (Auckland Philharmonia/New Zealand Opera), Berlin to Broadway (Christchurch Symphony Orchestra) and Mr. Burns (Silo Theatre). At the end of 2019, Phoebe debuted her solo show WORM, which received rave reviews from its audiences. She is also a member of the 48hr Film Festival team, Snack To The Future, who won the National Grand Finals in 2019 with their film A Familiar Feeling. Phoebe is an accomplished singer-songwriter, having released two solo EPs. She has performed at Homegrown Music Festival and was listed as a semi-finalist in the International Song-writing Competition in the Performance category. Phoebe is a proud member of Equity New Zealand.
How male stripping hit the mainstream
Before Magic Mike took over the box office, Stephen Sinclair and Anthony McCarten put Kiwi men on the map with their record-breaking play, Ladies Night. After its first performance in 1987 at Auckland’s Mercury Theatre, Ladies Night became a national sensation and is the most commercially successful play in Aotearoa theatre history, still making waves in 2021. It was just a decade earlier that men started getting their kits off for show, with the creation of the famous Chippendales Club in 1979. The buff stripping troupe were the first to make a business performing for all-women
SCARED SCRIPTLESS
Running on Friday nights at 10:15pm, An improvised comedy show that’ll have you on the edge of your seat, wondering what will happen next!
audiences, with a choreographer helping to create an unforgettable theatrical experience. Women don’t just attend strip clubs for a peek: they book tickets to experience a show, with a high level of entertainment expected from male strip clubs – and from Barry, Gavin, Norman, Craig and Wes! Following the popularity of Chippendales and their signature shirtless dancers with bow ties and shirt cuffs, women’s strip clubs started popping up around the world, serving up entertainment and steaminess in equal measure.
The British ‘Dreamboys’ created a live theatre experience in 1987 that’s still running today, where money was made from ticket sales, rather than tips, securing the popularity of the male revue. But it wasn’t until a 1990s comedy skit that male strippers really hit the mainstream. A Saturday Night Live skit with Patrick Swayze and Chris Farley as Chippendale auditionees went viral, the success of which launched the Chippendale’s European tour, where a troupe of muscular men performed to thousands of women across 10 countries. On the back of this thirst for steamy male entertainment, New Zealand’s only male strip club was formed in 1999 – Auckland’s Men of Steel – which is still
going strong. Today, the club welcomes all genders to attend, showcasing Aotearoa’s only guaranteed rainbow-friendly male strippers. Cinema was shaken up in the 21st Century, as Channing Tatum fictionalised his stripper past in the 2012 film Magic Mike. It proved so popular that a sequel was released in 2015, with stage adaptation Magic Mike Live continuing to thrill audiences with its mix of live dance, acrobatic stunts and steamy sex appeal. The show even managed to survive the pandemic and is currently running in Australia! Unlike female strippers, a key part of the popularity for male strippers is humour – like the lads in Ladies Night, bringing you hotness and hilarity all wrapped in one!
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SET DESIGNER Nigel’s introduction to set construction was creating the world for Peter Jackson’s Heavenly Creatures and later The Frighteners. He went on to manage an art department and set building team contracted to international, national and local film crews and production companies. In 2002 Nigel took up a full-time position at The Court Theatre workshop, supervising and constructing sets. From here, he began designing sets. His first design in Court One at The Court’s former home in the Art’s Centre was Milo’s Wake followed by Spreading Out. Since then, he has designed sets for Happy Coupling; Doubt; Joyful and Triumphant; The Raft; Letter To Blanchy: Stir Crazy; Honour; Saving Grace; The Motor Camp; A Very Merry Scriptless: In the Grotto; Rumpelstiltskin; Stag Weekend; Niu Sila; Matthew, Mark, Luke and Joanne; Cops and Robbers, The Streaker; Cinderella in Space; Steel Magnolias; Ideation; Hansel and Gretel; Astroman and Time Machine.
LIGHTING DESIGNER Giles is a graduate of Hagley Theatre Company (Diploma in Performing Arts) where he concentrated on technical production. He is experienced in lighting, sound and audio-visual design. He started working with The Court Theatre in 1995 as a casual technician working on various productions including Medea and Cat on a Hot Tin Roof. He operated his first co-production Speed-the-Plow in 1996 and designed lights for the co-production Molly Sweeney in 1997. He became House Technician in 1998 and designed lighting for his first mainstage production Kiwifruits in 1999. Giles is currently Head Technician at The Court Theatre and has worked on more than 50 Court productions including The Father; The Pink Hammer; Fresh Off the Boat; The Wind in the Willows and A Streetcar Named Desire. He also graduated from the University of Canterbury with a Bachelor of Arts in Political Science and Philosophy.
COSTUME DESIGNER Amy is a graduate of the Wanganui School of Design (Bachelor of Fashion) and Toi Whakaari: NZ Drama School (Diploma in Costume Construction). She is a High School teacher and has taught Textiles and Fashion in Aotearoa, London and the USA. In her spare time she designs and makes costumes for Film and Theatre. Amy has been backstage for seven productions of World of Wearable Arts and her film credits include What we do in the Shadows and Shopping. Ladies Night is Amy’s third costume design credit at The Court Theatre. She is always happy to be back in her tūrangawaewae.
CHOREOGRAPHER Hillary is a graduate of the Selwyn College Performing Arts Programme (Diploma of Performing Arts). She holds her associate diploma in Modern and Tap with the Imperial Society of Teachers of Dance which she has taught for over 10 years. She currently teaches at NASDA. Hillary is better known for being on the stage having recently performed in the sold-out season of Jersey Boys at The Court Theatre. Her other Court Theatre credits include Chicago; Jesus Christ Superstar; Time Machine; Les Liaisons Dangereuses; Escape from Haunted House; A Christmas Carol and A Streetcar Named Desire. Hillary's other works include A Fine Romance (JTM Productions AUS); Bechdel Test; Severely Queer - a Little Cabaret; He Says, She Says (Blackboard Theatre Collective); Nine (A.M.T); Shortland Street; Oliver; Me and My Gal; Alice in Wonderland; The Wasps and Hamlet. She has performed with Disneyland Paris and The RNZB and is an apprentice with The Court Jesters. Most recently Hillary has produced and directed her one-woman show, Chats with Pat. This is Hillary's debut as choreographer for The Court Theatre and she couldn't be more excited that it's this play.
SOUND DESIGNER Matt began his career in London at the age of 23, working as a marketing rep for a major London record label. He has since worked professionally in broadcast television and other media platforms. Matt returned to New Zealand to co-film, record sound and compose music for an adventure guide series for TVNZ. Over the last ten years he has composed music and designed sound effects for many major brand advertising and marketing films in New Zealand. Matt joined The Court Theatre as the House Technician/Sound Designer at the beginning of 2018. His recent Court Theatre credits include Elling; Les Liaisons Dangereuses; The Arsonists; The Pink Hammer and A Streetcar Named Desire. 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.
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 and A Streetcar Named Desire. Jo graduated from the University of Canterbury with a Bachelor of Arts in 1994.
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1 9 J U N E – 2 4 J U LY
Book by E N DA WALSH GL E N H A N SA R D & MARKÉTA I RGLOVÁ Based on the motion picture Written & Directed by JOHN CARNEY
Music & Lyrics by
Directed by
ME L A N I E LUCKMAN
BY ARRANGEMENT WITH
MUSIC THEATRE INTERNATIONAL (AUSTRALASIA)
COURTTHEATRE.ORG.NZ PRINC I P AL SP ONSO R
SEAS O N S PO N S O R
CORE FUNDER
SHOW SPONSOR
The Friends of The Court Theatre are a group of 2,000–strong theatre lovers who are one of The Court’s greatest assets. Becoming a Friend of The Court gives you exclusive ticket discounts, the opportunity to attend special events – including dinner with the stars of your favourite productions – and the chance to become a volunteer usher. All it takes to join is a small annual membership, the proceeds of which go back into the theatre. Get the most out of your theatre experience and save money by joining us! Learn more at courttheatre.org.nz/supporters
SYNOPSIS Barry and the boys are down on their luck after getting kicked out of a nightclub. When they hear male strippers are performing at their local pub they peer in the door and see they have a full house and are making lots of money. Craig, being a born hustler, wrangles the group, convincing them though reluctantly, to make their own strip show. Trials and tribulations become the order of the day as each of them goes through insecurities, relationship difficulties, and their general lack of dance moves. The group secures an audition at Bernie’s bar, who’s more than unconvinced of their talent. But Glenda, being a professional dancer, saw potential and it is thanks to her prowess and guidance that the group is able to overcome their obstacles and secure a night to perform at Bernie’s bar. Then the fateful night arrives, and we have the boys performing their final strip show to the delight of the audience.
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THE COURT THEATRE OUR VALUES M ĀI A TA N G A COURAGEOUS EXECUTIVE Chief Executive Barbara George Artistic Director Daniel Pengelly General Manager Susan Rendall Chief Financial Officer Paul Dawson SENIOR LEADERS Production Manager Flore Charbonnier Marketing Manager Mally Goldberg Kaihautū Ahurea Vanessa Gray Artistic Adviser / Lead Director Ross Gumbley Food and Beverage Manager Petra Laskova Sponsorship Manager Layla Moutrib Programmes Manager Rachel Tully Customer Experience Manager Rachel Vavasour COMPANY Stage Manager / Assistant Production Manager Erica Browne Head Stage Manager Jo Bunce
MANAAKI TANGA WE LCOMING Administration Fiona Haines Education Coordinator / Head Tutor Riley Harter Customer Experience Administrator Erin Hills Set Construction Nigel Kerr Director in Residence Rose Kirkup Marketing Assistant Lynette Lamprecht-Smith Costume Manager Deborah Moor Customer Experience Box Office Rebecca Radcliffe Costume Technician Daniella Salazar House Technician Matt Short Graphic Designer Ryan Smith Jesters Manager (Artistic) Trubie-Dylan Smith Properties Manager Julian Southgate Head Technician Giles Tanner Set Construction Richard van den Berg Client Manager Andrea Winder
Project Manager Tom Clisby
Theatre Chaplain David Winfield
Set Construction Seth Edwards-Ellis
COURT JESTERS
Accountant Claudia Fe Jambalos Construction & Premises Manager Bryce Goddard Campaign Assistant Ruchika Gulati
Dan Bain Brendon Bennetts Emma Brittenden Kathleen Burns Jeff Clark Emma Cusdin Trubie-Dylan Smith Kirsty Gillespie
WHĀN AUN GAT AN GA B ELONGI NG Criss Greuber Millie Hanford Robbie Hunt Scott Koorey Henri Nelis Daniel Pengelly Ciarán Searle Jarred Skelton Andrew Todd Gabby Wakefield Vanessa Wells Jester Musicians Deen Coulson Frankie Daly Kris Finnerty Criss Grueber Andy Manning Hamish Oliver Jack Page Jester Apprentices Maddie Harris Riley Harter Aaron Jelley Hillary Moulder TRUST BOARD Chair Steven van der Pol Secretary Susan Rendall Board Annie Bonifant Tony Feaver Erin Jamieson David McBrearty Anne Newman Georgina Toomey Steve Wakefield FOUNDATION BOARD Chair Catherine Boyer Secretary Laura Palomino de Forbes Treasurer Christopher Weir
KOT AH IT AN GA ONE TEAM 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 Honorary 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
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PROOFS FOR SELECTION FOR MEDIA RELEASE - NOT FOR CIRCULATION
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is an award-winning with an international reputation for int design NEWS
Haworth Tompkins selected by One Housing f
NEWS
Picture yourself on opening night, a glass of fine wine in your hand, waiting in anticipation Tompkins by One and excitement for the bing bongs to announce the doors are open, Haworth for the firstselected time, to Housing the for Kingsbridge Esta inaugural 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. Gifts to:
WORK: Liverpool One
• 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
We can’t wait to welcome you to our new home! WORK: Liverpool One
SPONSORS + FUNDERS HOURUA WHAKAIHUWAKA PRINCIPAL SPONSOR
SE A SON SPONSOR
CORE FUNDER
MEARES WILLIAMS LAWYERS
TAHĀ – CALLABASH GOURD
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
ROUROU – SMALL BASKET
Whether you’re new to enjoying wine or a seasoned connoisseur. Whether you
TIMELESS.
wine sweet, dry, light or full
SMOOTH.
GENEROUS.
LIVELY.
PL AYFUL.
prefer white or red or like your bodied - there’s always been a Giesen wine for you. Now with a refreshed look, the Giesen crest remains a tried and true mark of quality. Wherever you see it, you’re sharing in 40 years of passion and craft. So, the next time you choose wine, look for the mark of quality.
W E N H K S E OO R L F