Next to Normal

NEXT TO NORMAL

THINKERS

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NAU MAI HAERE MAI

Welcome to Next to Normal, our first mid-year musical since 2021 - a welcome sign that our own ‘normal’ is returning!

We had planned to bring you this exceptional rock musical in 2022, and although Covid derailed our plans, that has given us even more time to plan a stunning experience for this mid-winter. I don’t doubt that you will leave impressed by the range of talent on display on our stage. We’re particularly glad to welcome Hayden Tee, a talented musical performer himself, to direct this impressive rock musical.

Our thanks also to Spark for sponsoring this show, and for helping to share the vital message of hope and understanding it contains.

We are now mid-way through our Ryman Healthcare 2023 Season and are currently working on creating a new collection of stories to share with you in 2024.

In further exciting news, you may have seen the installation of precast concrete panels to form the shell of the new Court Theatre in the city, opening in late 2024. Work on the superstructure will progress in phases so, if you want to ‘watch this space,’ Tūranga is a great place from which to do it.

You can also support the campaign by being part of our TAKE YOUR SEAT campaign; more information about this is on the back cover.

In the meantime, please continue to enjoy the charms of our beloved Shed, a space which has served us and Ōtautahi Christchurch audiences so well, for so long!

Enjoy the show.

Barbara George Chief Executive / Tumu Whakarae

“ Make up your mind that you ’ re strong enough.

be healed ” - DOCTOR MADDEN

WHAT IS THE MEASURE OF A FULL LIFE?

At Ryman, we believe the measure of a full life is one that gets richer with age. A life where you can appreciate the little things.

Rediscover lost passions and plunge headfirst into new ones. Surround yourself with new people, old friends and close family. Live with opportunities and experiences at your doorstep.

That’s why we’re creating communities that challenge the expectations of ageing, while bringing joy and meaning to every moment.

rymanhealthcare.co.nz

KERI Ryman Resident

NGA MIHI NUI

Next to Normal has earned its place in the musical theatre canon, being recognised with multiple awards, including the 2010 Pulitzer Prize for Drama, and by devoted audiences as a musical of profound significance.

Having been postponed from 2022, Next to Normal feels, if anything, even more timely now and has lost none of its resonance or ability to speak to the human condition. This continued relevance testifies to the nuance and humanity Next to Normal brings to its depiction of neurodiversity, the complexity of Diana’s diagnosis and treatment, and the impact on her and those who love her. What does it mean to strive for normal, or even just next to normal?

Such a musical requires a stellar creative team and cast, and this production has brought together the very best. Director Hayden Tee (Ngāti Kahungunu, Ngāti Tūwharetoa), a veritable musical theatre star, brings both his Broadway chops and fresh artistic vision to this production, leaning into the contemporary relevance and timeless vibrancy of Next to Normal. The emotional arc is carried by the virtuosic

score. A rock musical, Next to Normal has an operatic scope and intensity, drawing on the considerable skill of Music Director Richard Marrett, with a superb band. The incomparable cast includes artists from around Aotearoa and Australia. Inventive design by Rachel Marlow and Brad Gledhill (Filament Eleven 11) with projections by Rachel Neser and chic costuming from Sopheak Seng reinforces this production’s contemporary edge and captures the fluidity between the world of external appearances and the characters’ equally vivid internal world, taking inspiration from architecture, fashion and neuroscience. Everything is supported by our brilliant production team.

I am thrilled to welcome you to this inventive, world-class production of a ground-breaking musical. I hope you leave with every sense tingling.

Dr Alison Walls Artistic Director / Pou Kaitohu Toi

NEXT TO NORMAL Music

by Tom Kitt Book and Lyrics by Brian Yorkey

NEXT TO NORMAL is presented through special arrangement with Music Theatre International

(Australasia)

Original Broadway Production Produced by David Stone, James L. Nederlander, Barbara Whittman, Patrick Catullo and Second Stage Theatre

CAST / KAHUI KIRIWHAKAARI

Character

by

Reynolds-Midgely

Dan Darryl Lovegrove Doctor Juan Jackson Gabe

Granger

Gregory

understudy for Gabe

Alternate Diana

Standby Dan and Doctor

Standby Natalie

Hiku

Moore

Purdie

Sutcliffe

Standby Henry Jack Shatford

BAND / ROPU PUORO

Piano Richard Marrett / Caelan Thomas

Violin and keyboard Rakuto Kurano

Acknowledgements and Additional Credits

We thank the entire Court Theatre whānau for their exceptional work and dedication in producing this play. Also:

Scarlett Letters and Charlie Rose Creative.

Proudly printed by Caxton

RUNNING TIME: Two hours and 20 mins, including a 20-minute interval.

Brandram-Adams Bass

Cello

Story Guitar

Webb

Percussion Douglas Brush

CREATIVES / RINGATOI Director Hayden Tee

Musical Director Richard Marrett

Choreographer Hillary Moulder

Assistant Director Ben Freeth

Assistant Musical Director Caelan Thomas

Costume Designer Sopheak Seng

Production Design Rachel Marlow / Brad Gledhill for Filament Eleven 11

AV Designer Rachel Neser

Sound Operator Joshua Starling

Lighting Operator Matt Short / Giles Tanner

Stage Manager Scott Leighton

Assistant Stage Manager and Sound Assistant Haydon Dickie

Set Construction Nigel Kerr, Richard Daem, Richard van den Berg, Ryan Cleaver, Andrew Scott, Matt McCutcheon and Seth Ellis

Lighting Riggers Haydon Dickie, Jacob Fagan, Jacob Patchett, Ruari Boyd, Geoff Nunn, Giles Tanner and Nick Glanville

WARNINGS: contains coarse language, very loud music, drug use, self-harm and therapeutic methods that could be confronting.

VIDEOTAPING AND

PHOTOGRAPHY: The videotaping and photography of this production is strictly forbidden.

Next to Normal was produced by The Court Theatre 17 June – 22 July 2023.

New York Premiere Produced by Second Stage Theatre, New York.

February 2008

Carole Rothman, Artistic Director Ellen Richard, Executive Director

'Next to Normal' was subsequently produced by Arena Stage in November 2008.

Developed at Village Theatre, Issaquah, WA (Robb Hunt, Executive Producer; Steve Tomkins, Artistic Director).

An earlier version was presented in the 2005 New York Musical Theatre Festival.

Support for the development of "Next to Normal" was provided by the Jonathan Larson Foundation.

THE CREATORS / NGA KAIHANGA

TOM KITT, MUSIC BRIAN YORKEY, BOOK AND LYRICS

Tom Kitt received the 2010 Pulitzer Prize for Drama as well as two Tony Awards for Best Score and Best Orchestrations for Next to Normal. Next to Normal also received the Outer Critics Circle Award for Outstanding New Score.

Tom is composer of If/Then (Tony Nom., Outer Critics Nom.); High Fidelity (Broadway); Bring it On, The Musical (co-composer with Lin-Manuel Miranda, Broadway); Superhero (2nd Stage); Disney's Freaky Friday (Stage Production and Original Disney Channel Movie Musical); Dave (Arena Stage); The Winter's Tale, All's Well That Ends Well and Cymbeline (The Public's NYSF); From Up Here and The Madrid (MTC); Orphans (Broadway); The Retributionists (Playwrights Horizons) and As You Like It (Toho Co., Japan).

As a music supervisor, arranger and orchestrator, credits include SpongeBob Squarepants, The Musical (Tony Nom., Outer Critics Nom., Drama Desk Nom.); Head Over Heels; Jagged Little Pill; Grease Live!; Rise (NBC) and American Idiot. His work with Green Day also includes additional arrangements for their Grammy Award-winning album 21st Century Breakdown and their album trilogy, ¡Uno! ¡Dos! ¡Tré!

Tom received an Emmy Award as co-writer (with LinManuel Miranda) for the 2013 Tony Award opening number, Bigger. Other television songwriting credits include a musical episode of Royal Pains, and songs for Penny Dreadful, Sesame Street and Julie's Greenroom.

As a musical director, conductor, arranger and orchestrator, credits include the Pitch Perfect films; 2Cellos featuring Lang Lang (Live and Let Die); The Kennedy Center Honors; 13; Debbie Does Dallas; Everyday Rapture; Hair; Laugh Whore; Pippin (Deaf West) and These Paper Bullets.

Upcoming projects include musical adaptations of the films Almost Famous; Magic Mike and The Visitor.

Brian Yorkey (Librettist / Lyricist) received the 2010 Pulitzer Prize for Drama, as well as the 2009 Tony Award for Best Score, for Next to Normal. Brian is the Executive Producer and Showrunner of 13 Reasons Why for Netflix, Paramount Television and Anonymous Content.

Brian was also nominated for the Tony Award for Best Musical and Best Book of a Musical for Next to Normal, and his work on the show earned him the Outer Critic Circle Award for Best Score. He partnered again with the Next to Normal team on If/Then (Tony Award Nominee for Best Score), starring Idina Menzel. Brian co-wrote the libretto for The Last Ship (Outer Critics Nom., with John Logan), with a score by Sting. His musical adaptation of Freaky Friday for Disney Theatricals enjoyed a National Tour before being adapted into a Disney Channel Original Movie.

Current theatrical projects in development include the original musical Jesus in My Bedroom, with composer Tim Symons, as well as a stage musical adaptation of Magic Mike.

Additional theatre credits include Making Tracks, which has played off-Broadway and regionally; the musical adaptation of Ang Lee's The Wedding Banquet; and the play, Book of Jobs, with Alex Glover.

Brian has directed off-Broadway and regionally and for seven years was Associate Artistic Director at Village Theatre in Washington state, one of the nation's leading producers of new musicals.

He's a graduate of Columbia University, where he was Artistic Director of the Varsity Show, an alum of the BMI/ Lehman Engel Musical Theatre Workshop and a proud member of the Dramatists Guild and the WGA.

DIRECTOR

'S NOTE / TA TE RINGATOHU KUPU

This is a unique approach to a Director’s Note. I believe to fully feel the power of this show’s narrative, its best to go in somewhat unaware of the storyline. For this reason, I offer a rather vague collection of notes. And I urge audiences to keep our plot twists under wraps. #NoSpoilers.

I have been a huge fan of Next to Normal since I first saw the original production on Broadway. Winner of three Tony awards and the Pulitzer Prize, it is now one of the most highly regarded musicals of the contemporary era.

I have a personal connection to the subject matter and was determined to fully explore the edges of this musical without demonising or glamorising its themes.

The show originated as a 10-minute musical called Feeling Electric, which centred around doctors prescribing ECT (eltroconvulsive therapy) to patients, a common treatment in the mental healthcare system of the USA. It later developed into a full-scale rock musical with a stirring, inspiring and emotional score.

Since the global pandemic we have a more tangible understanding of mental health. By setting this production in the present day with

technological advancements such as telehealth, we are able to place our story’s protagonist, Diana, in her home, surrounded by her triggers and trauma.

Our central couple Dan and Diana Goodman met studying architecture, so our extraordinary design creatives Rachel Marlow and Brad Gledhill have created a Bauhaus style architectural home as if it was designed by the character Dan himself. The practical lighting built into the set helps establish the domestic family. With our band built into the home, Maestro Marrett drives this powerful score from within the heart of our world. Rachel Neser's immersive AV elevates our perspective into Diana's reality. The production is costumed in the incredibly fresh, fashionable and affluent style of Sopheak Seng.

I could not think of a more ideal cast, each embodying and bringing their own inherent energy to their respective characters. Tell your friends, but please, #NoSpoilers.

Hayden

“ Everything is balanced here And on an even keel. Everything is perfect –Nothing ’ s real .”

- DIANA

HELP AND SUPPORT

Some of the content in Next to Normal may be confronting. If you need to talk with someone regarding any of the topics raised by this show, the following organisations can offer help and advice:

• Need to talk? Free call or text 1737 any time for support from a trained counsellor

• Lifeline 0800 543 354 or free text 4357 (HELP)

• Suicide Prevention Helpline 0508 828 865 (0508 TAUTOKO)

• Youthline 0800 376 633 or free text 234

• Samaritans 0800 726 666

• Mental Health Foundation - Information, advice, resources, campaigns, advocacy. mentalhealth.org.nz

• Balance NZ - Online support groups for people with experience of bipolar disorder, depression and other forms of mental distress. balance.org.nz

• Mental Health Advocacy and Peer Support (MHAPS) - Peer-led and peer-delivered mental health and addictions service. mhaps.org.nz

• Yellow Brick Road - Support for whānau who have a loved one experiencing mental health challenges. yellowbrickroad.org.nz

• Alcohol & Drug Helpline 0800 787 797. alcoholdrughelp.org.nz

BECOMING NEXT TO NORMAL

Next to Normal began life with electricity. In 1998, writers and college friends Brian Yorkey and Tom Kitt were required to create a 10-minute musical sketch for a theatre workshop project. Inspired by a news piece, they created Feeling Electric, which focussed on a woman receiving Electroconvulsive Therapy (ECT) for depression.

Despite being a perhaps unconventional musical subject, Kitt and Yorkey believed a full-scale musical on the topic was possible and would find an audience. However, it wasn’t until 2005 that the writers found the time and space to return to the concept, workshopping it further. As they did, they realised that this musical needed to evolve into something a little different than the original concept of Feeling Electric - “something that was much more grounded and much more about this family"* (Tom Kitt).

Debuting off-Broadway in 2008, Next to Normal sold well but garnered mixed reviews, leading Yorkey and Kitt to decide that more work to refine the show was necessary. That work saw the writers focus more on the intimate impact of mental illness on members of the family.

The emphasis on personal connection resonated, and audiences and critics responded enthusiastically. Next to Normal as we know it now was finally born, and it has been entertaining, educating and opening hearts and minds ever since.

*Quoted in Better Than Before: The Making of NEXT TO NORMAL (writerstheatre.org)

MUSICAL NUMBERS

ACT

ACT

“ The sensation that you ’ re screaming But you never make a sound Or the feeling that you ’ re falling But you never hit the ground ...”

- DIANA

HAYDEN TEE

DIRECTOR

Hayden (Ngāti Kahungunu, Ngāti Tūwharetoa) is a graduate of Australia's NIDA, National Institute of Dramatic Arts (Musical Theatre).

Hayden's most recent work includes directing the sell-out Australian professional premiere of Jekyll and Hyde (Hayes Theatre Company) and playing Lance in the Australian production of & Juliet.

His previous Court credits include Kiss me Kate, playing Grumio, and Kiwifruits 2, playing 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 Women - Professor Bhaer (Australian National Musical Theatre Co.); Camelot

- King Arthur (USA); Dead Man WalkingFather Grenville (Sydney, State Theatre); Into the Woods - Cinderella’s Prince / Wolf (USA); Cats – Gus / Bustopher Jones (South Korea); Jekyll and Hyde - Stride / alternate Jekyll / Hyde (South Korea, Taiwan) and Titanic - Thomas Andrew (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

“… And all my fears just sit inside me,screaming to be heard… I know they won ’ t, though – not a single word .”

- DAN

RICHARD MARRETT

MUSICAL DIRECTOR

Richard is well-known for his work throughout the country as a musical director, vocal coach, pianist, arranger and conductor. Previously, he worked as manager of the degree programmes offered by the National Academy of Singing and Dramatic Art (NASDA) and Ara Music Arts.

His musical direction credits for The Court Theatre include My Fair Lady; South Pacific; The Rocky Horror Show; The Sound of Music; Jerry’s Girls; Oliver!; Guys and Dolls; The Producers; La Cage Aux Folles; I Love You, You’re Perfect, Now Change; Anything Goes; Cabaret; Side By Side By Sondheim; Grease; End of the Rainbow; Blood Brothers; Mary Poppins; Legally Blonde the Musical; Songs For Nobodies; Chicago; Jesus Christ Superstar; Jersey Boys; Little Shop of Horrors and RENT. His other musical direction credits include Mame; The King and I; Sweet Charity; Joseph and the Amazing Technicolor Dreamcoat; West End to Broadway I, II and III; Les Misérables; 42nd Street; Fiddler on the Roof; Annie; Into The Woods; Jesus Christ Superstar; Urinetown; Beauty and the Beast; The Witches of Eastwick; Cats; Curtains; Buddy; Avenue Q; Hair; Spring Awakening; The Phantom of the Opera; Miss Saigon; Mamma Mia!; Hairspray; Ragtime; Evita; Wicked; We Will Rock You; Priscilla, Queen of the Desert and Matilda.

He has conducted and arranged for Showbiz Christchurch; Wellington Musical Theatre; ARTCO; Dunedin Operatic; Invercargill Musical Theatre; Ashburton Variety Theatre; Wellington Vector Orchestra and the Choral Federation, and arranged for the Christchurch City and Orpheus choirs.

Several of his orchestrations have been recorded with the NZSO and he is often found working as producer and arranger on a number of recording projects. Richard’s work with the Christchurch Symphony Orchestra has included seasons of Starry Nights and Classical Sparks in Hagley Park and the popular concert productions Oh, Danny Boy; Broadway Broads; Rodgers and Hammerstein; Bernstein and Sondheim; The Magical Music of Disney and The Music of Andrew Lloyd Webber. He was also responsible for the musical supervision, programming, tracks and arrangements for several New Zealand consortium touring productions.

In 2019, Richard was appointed as Artistic Director of the popular choir, The Vocal Collective.

DRESSING THE PART

Sopheak looked to other shows that have excelled in using used clothes and fashion to help tell their story. Within that vision, individual characters still have to portray their own uniqueness, and Sopheak likes to collaborate with the actors in terms of how they see their characters. For example, “certain characters, like Gabe, we wanted to draw from elements of street fashion…a look that was different to the rest of the family, who are more traditional,” Sopheak says.

Sopheak Seng knows a lot about fashion. He is a fashion editor, writer, stylist and image creator who has worked with New Zealand and international designers and brands, including Mandatory, Deryn Schmidt and L'Oréal, to name a few.

Sopheak’s costume designing career began with school productions in college, progressing through costuming for World of Wearable Arts, to his first theatre show, Neang Neak's Legacy, written by fellow Cambodian NZ artist and playwright Sarita Keo Kossamak So.

Sopheak has costumed several shows since then, and when he was approached to be part of Next to Normal he was intrigued to see what Hayden and other creatives he esteemed would bring to help tell this story in a new light.

Sopheak starts the process of design with the script and the director’s vision for the show which, for this production, was of a hyper-realistic world. Mood boarding then helped him to visualise the costuming direction for himself, and other creatives.

“Fashion is the armour to survive everyday life” says Bill Cunningham, and this quote inspired Sopheak’s designs for Next to Normal. Knowing that clothes can express feelings and capture important moments,

With his background in fashion, this production of Next to Normal is “definitely going to be almost a high fashion take on it” says Sopheak. “I think the fact that the show is contemporary plays to my strengths as I like to create looks that push a bit more what you would see on the street. Costuming something contemporary is also quite hard as you want to maintain the zeitgeist of the times while still creating something new and fresh that people can relate to.”

As well as helping to transport the audience into the world of make-believe, costuming can draw attention to a character in a particular scene and help tell the story without having to say what it is Sopheak says. For example, with Next to Normal, “we had to work out how to create ways to show progression of time and changes occurring for the characters using simple costume techniques.”

These costumes may look like high fashion, but there are additional practical considerations. “Costuming is more about logistics and understanding the body” Sopheak says, because the actors must be able to move, sing and act freely, change costume in mere seconds and, of course, enjoy wearing the clothes.

The cast of Next to Normal have the joy of costuming that not only helps them inhabit and portray their character, but of wearing beautiful, contemporary, creatively designed clothing with a distinctively unique fashion spin.

THE CHARACTERS

Diana is Gabe and Natalie’s mother and Dan’s wife. On the surface she appears to be a smart, successful woman with a good lifestyle and loving family. Diana also has bipolar disorder, and this affects all those around her.

Gabe is Diana's and Dan’s son. Almost eighteen, he is smart, savvy, a little rebellious, and his mother adores him. The two are very close.

Dan is Diana's husband and Natalie and Gabe’s father. He is a loving husband and father and is desperate to help Diana get well and return to being the woman he married years ago.

Natalie is Diana and Dan’s daughter, and Gabe’s sister. She is sixteen and trying to be perfect, but is struggling. She especially feels that she cannot get her mother’s attention, which is focussed on Gabe.

Henry is Natalie’s friend and would-be boyfriend. He is a musician, a romantic, a slacker and a ‘philosopher king.’ He truly ‘sees’ Natalie, something she doesn’t feel that her family do.

Doctor: Ageless, smart and focussed, the doctor is there to offer all that modern medicine has available to help Diana get well.

CAST / KAHUI KIRIWHAKAARI

Juliet Reynolds -Midgley

‘DIANA’

Juliet moved from England to New Zealand in 2000. Prior to moving, she performed in the UK, Italy, and the Caribbean.

As a singer of jazz, classical, pop and music theatre repertoire she has enjoyed a varied career and has been a featured artist with the CSO on numerous occasions. While still in the UK she appeared as a soloist with the BBC Concert Orchestra for Radio 2.

Her previous Court Theatre credits include Side by Side by Sondheim; Calendar Girls; Pacific Post; August Osage County; Blood Brothers; The Mikado; One Man Two Guvnors; Once and Flagons and Foxtrots.

Juliet’s other performance credits include Sweeney Todd; Beauty and the Beast and Mamma Mia (Showbiz Christchurch).

As well as performing, Juliet is passionate about teaching at the National Academy of Singing and Dramatic Art (Ara) and seeing new work and new artists flourish.

Darryl Lovegrove

‘DAN’

A member of the original Australian seasons of Les Misé rables (u/s Marius) and Chess (u/s The American), Darryl is perhaps best known for his portrayals of Jesus in the Australian and New Zealand tours of Jesus Christ Superstar, and of John Lennon in the New Zealand tour of Looking through a Glass Onion.

He featured with Sarah Brightman in the Australasian tour of The Music of Andrew Lloyd Webber and starred opposite Glenn Shorrock and Sharon O’Neill in the Australasian Lennon / McCartney concert tour Let it Be.

Other theatre credits include The World Goes Round (Sydney Opera House); An Unfinished Song (Ensemble Theatre) and David Williamson’s Sanctuary (Fortune Theatre). He originated the lead roles in Crusade (Melbourne) and Rush! (Dunedin and Christchurch).

In 1998, Darryl co-created the global operatic phenomenon The Three Waiters which became the mostbooked corporate entertainment act in the world.

Juan Jackson

Juan trained at Florida State University. Theatre credits include his award-winning performance in Titanic – The Musical (Melbourne Town Hall); Oklahoma! (new studio cast recording); Passion (Hope Mill Theatre, Manchester); Capt. Corcoran in Sasha Regan’s HMS Pinafore (UK Tour); Five Guys Named Moe (nominated for Best Lead Performance in a Musical (OffWest End)) and Rhodaspes in the new rock musical Artaban (Actors’ Church, Covent Garden).

Other credits include Tom Collins in RENT (Drama Centre Th., Singapore); John in Miss Saigon (Australian Tour / Cameron Mackintosh); King of Siam in The King and I (The Production Co., Australia); Macheath / Harry Morton in The Convict’s Opera (Sydney Theatre Company); Frank N’ Furter in The Rocky Horror Show (TML Enterprises Tour); Old Deuteronomy in Cats (RUG) and Dr Madden / Fine in Next To Normal (Drama Centre Th., Singapore).

Juan’s single “Candy” is available on all platforms.

Joel Granger

Joel is a 2015 graduate of the Western Australian Academy of Performing Arts (Bachelor of Music Theatre).

Based in Sydney, Joel is a proud Kiwi and is thrilled to be making his Court Theatre debut.

Joel’s theatre credits include Elder McKinley in The Book of Mormon; Hairspray; Pippin (GFO); A Letter for Molly (Ensemble Theatre); Arpad in She Loves Me; Baldwin in Cry-Baby, and Big Fish (Hayes Theatre Co.); Harry Beaton in Brigadoon (TPC); Tobias in Sweeney Todd (NZ Opera); Warren in Ordinary Days (Pursued by Bear); The Gathering (Vic Theatre Company); Bride in Titanic (StageArt) and Bernstein in Dogfight (Doorstep Arts).

Joel’s television credits include True Story with Hamish and Andy (Channel Nine) and Please Like Me (ABC / Pivot).

Joel has been nominated for a Helpmann Award (The Book of Mormon), Sydney Theatre Award (She Loves Me), and Green Room Award (Ordinary Days).

@joelgranger_

Laurel Gregory

Laurel is a graduate of the National Academy of Singing and Dramatic Art (NASDA - Bachelor of Performing Arts). This is her third production with The Court Theatre, her first being The Wind in the Willows in 2019 and, most recently, Appropriate.

Her other theatre credits include As You Like It (Third Bear); Les Miserables; Wicked and Hairspray (Showbiz Christchurch) and Oliver Twist (Lyttelton Arts Factory).

For the last two years, Laurel has been performing for Universal Studios Beijing, as a Hogwarts Student in the Frog Choir and the Triwizard Spirit Rally (Wizarding World of Harry Potter), and as a punk rock porcupine in Sing on Tour (based on the 2016 film "Sing").

Laurel is a proud member of Equity NZ.

@laureldrinkscoffee

@laureldrawspeople

George Hiku

‘HENRY’ AND UNDERSTUDY GABE

George (Ngāpuhi, Ngāi Tū Te Auru) is a graduate of the London-based arts academy Associated Studios (Foundation Certificate of Musical Theatre).

This is George's first Court Theatre production and he is very excited to be playing the role of Henry, and cover for Gabe. His other theatre credits include We Will Rock You (Tauranga Musical Theatre); Madagascar The Musical (GMG Productions) and Shrek The Musical (Showcase Entertainment Group / Broadway Entertain Group).

George is based in Tauranga and has been singing since a young age. He has performed in many major events, including Tauranga's local Christmas in the Park, and the one-week, nationwide school sports competition known as AIMS Games for various years.

@hiku.george

CENTRESPREAD

CENTRESPREAD

Cherie (Ngāti Porou) is a graduate of The Actors’ Program and The University of Auckland. She is a performer, vocal coach and director based in Auckland. This is her first show at The Court Theatre.

Cherie’s theatre credits include playing Elphaba in Wicked (SkyCity); Valerie (NZ and International Tour); The Trojan War (North Island Tour); Birdland (Q Theatre); Twelfth Night and Into The Woods (Fortune Theatre); The Tempest (Pop Up Globe) and The Last Five Years (Herald Theatre).

Cherie is the Head of Voice at The Actors’ Program, a lecturer at UNITEC and has a private studio of vocal and acting students. She has won awards as a performer and director in New Zealand and internationally and is passionate about mentoring up-and-coming performers. Cherie is on the board of Equity NZ and is certified in Vocal Health First Aid.

main act is always The

Cherie Moore

ALTERNATE DIANA

“ So we ’ ll try again , and eventually we ’ ll get it right. ”

- DOCTOR MADDEN

Nick Purdie

Nick (he / him) is a graduate of WPAC (Diploma in Singing / BAppA Performing Arts, Musical Theatre).

His previous Court Theatre credits include Blood Brothers; Mary Poppins; Legally Blonde the Musical and Jersey Boys.

Most recently Nick was the Associate Director for both New Zealand and Australian tours of the Selladoor Worldwide production of Madagascar The Musical, and featured as the doctor in Matilda The Musical. appeared in the New Zealand tour of Jersey Boys.

Other notable credits include Onstage Swing in The Sound Of Music (West End Palladium International Tour); Bert in Mary Poppins (Invercargill Musical Theatre); Twilight Robbery (York Stage, UK); Sister Act (Showbiz Christchurch and Invercargill Musical Theatre); Altar Boyz (Fortune Theatre); Corny Collins in the New Zealand Premiere of Hairspray (Wellington Musical Theatre); Underscore_ and Gardens Magic (WITCH Music Theatre).

Off stage, Nick is an Associate Producer for global theatre producers, GMG Productions.

Nick is a proud member of Equity NZ.

@nicpurdie

Lucy Sutcliffe

Lucy is a graduate from the National Academy of Singing and Dramatic Art (NASDA).

This is Lucy’s debut with The Court Theatre. Her other performance credits include Madagascar the Musical (Australia and New Zealand Tour) and Cinderella (GMG Productions); Bigger, Better, Brighter! and Time For Tech (Echelon Productions); 42nd Street as Peggy Sawyer; Holiday Inn as Linda Mason; Urinetown and Curtains (NASDA).

Lucy is a proud member of Equity New Zealand.

@_lucysutcliffe

Jack is an Ōtautahi-born music theatre performer and creative. He is a graduate of the Western Australian Academy of Performing Arts (WAAPA).

His performance credits have included Madagascar The Musical Australia and New Zealand Tour and Cinderella (GMG Productions); Rudolpho in Matilda The Musical (Showbiz Christchurch); Shrek The Musical New Zealand and Middle Eastern Tours (Showcase Entertainment Group); and He Says, She Says and Severely Queer: It’s A Pirate Life (Blackboard Theatre Collective).

Jack was a soloist on The Isolation Mixtape Vol. 2 with the Christchurch Symphony Orchestra and Blackboard Theatre Collective, which can be found on Spotify.

Jack is a proud member of Equity New Zealand. This is his debut production at The Court Theatre.

@jackshatford

STANDBY NATALIE

Jack Shatford STANDBY HENRY

STANDBY DAN AND DOCTOR

CREATIVES / RINGATOI

Hillary Moulder CHOREOGRAPHER

Hillary Moulder is a regular Ōtautahi performer, whether it be on The Court Theatre stage, choreographing, filming, part of a production team or at the Selwyn Truckers’ convention dressed as a Granny (best not ask).

She has a Diploma in Performing Arts, is an Associate in Modern and Tap with the International Dance Teachers’ Association, a proud member of Equity and loves a good soft toy.

Hillary’s Court Theatre acting credits include Chicago; Jesus Christ Superstar; Jersey Boys; Time Machine; Les Liaisons Dangereuses; Escape from Haunted House; A Christmas Carol and A Streetcar Named Desire. She also choreographed Ladies Night, Once and Flagons and Foxtrots.

Hillary’s other works include Matilda (Choreographer / Mrs Wormwood, Showbiz Christchurch); Beauty and the Beast The Pantomime (Sydney the Wicked Witch, GMG Productions); and A Fine Romance (JTM Productions AUS).

Hillary made her directorial debut with Sense and Sensibility, staged early in 2023 at The Court Theatre.

Ben has immersed himself in theatre since graduating from the National Academy of Singing and Dramatic Art (NASDA) with a Bachelor of Performing Arts.

His previous Court Theatre credits as an actor include Romeo and Juliet; Mary Poppins; Cops and Robbers; Legally Blonde the Musical; The Ugly Duckling; Chicago; Titus Andronicus; Jesus Christ Superstar; Les Liaisons Dangereuses; The Wind in the Willows; Jersey Boys; Little Shop of Horrors; Flagons and Foxtrots and RENT.

His other theatre credits include Once on Chunuk Bair (Imagine Charitable Trust); RAP-unzel and Botfarm 2014 (New Zealand Playhouse); Mamma Mia! and Les Misérables (Showbiz Christchurch) and Madagascar The Musical (GMG Productions).

Ben and a number of his talented colleagues founded the Ōtautahibased theatre company, Blackboard Theatre Collective. He is a proud member of Equity New Zealand.

Sopheak Seng COSTUME DESIGNER

Sopheak started his career in the workroom of designer Robyn Mathieson, where he styled, merchandised and took responsibility for the Wellington designer's campaign shoots, before starting his formal fashion training at Massey University.

As a stylist Sopheak has worked across multiple platforms, from music videos and editorials to red carpet events. He has worked with local and international talent including vocalist Bella Kalolo, actor Jared Rawiri and international actress Evangeline Lilly, who famously wore a dress he designed on the red carpet. Sopheak has also consulted on a number of key projects as the lead fashion director for commercials, advertising campaigns and local designers.

His styling work in theatre has been seen in such shows as Neang Neak's Legacy; The Beautiful Ones; Ngā Rorirori and The Vultures, for which he won the Chapman Tripp Costume Designer of the Year in 2016.

Ben Freeth ASSISTANT DIRECTOR

Rachel Marlow

PRODUCTION AND LIGHTING DESIGN

Brad Gledhill

PRODUCTION AND LIGHTING DESIGN

Rachel Marlow and Bradley Gledhill are production designers and cofounders of design company Filament Eleven 11. They work collaboratively to create dynamic production designs (lighting / set / video) for live events and public experiences, putting design and technology at the centre of storytelling in unique and inventive ways.

Filament Eleven 11 is drawn to boundary-pushing work led by inspiring creatives. Their recent and upcoming theatrical designs include production design for Scenes From a Yellow Peril, Basmati Bitch and Things That Matter (Auckland Theatre Company); The Strangest of Angels (New Zealand Opera); Every Brilliant Thing (Silo Theatre) and The Savage Coloniser Show (FCC). They undertook lighting and video design for The Resistance (Australian Theatre for Young People); The Made (Auckland Theatre Company); Dakota of the White Flats (Red Leap Theatre); and lighting designs for Owls Do Cry (Red Leap Theatre) and The Writer (Silo Theatre).

Filament Eleven 11’s recent designs for large scale live and filmed events include production designs for Teeks - Just for Tonight (Spark ArenaLive Nation); Silver Scrolls Awards (2018-present); Pacific Music Awards (2017-present); Fat Freddy’s Drop (Aotearoa shows 2020-present); Rock2000 (2020-present) and lighting design for TOPP CLASS - Tribute to the Topp Twins (filmed live at Civic Theatre, aired Prime TV, streamed Neon).

Filament Eleven 11 create installation art, including Who Lived in a Vinegar Bottle (Auckland Live Concert Chamber, Auckland Fringe 2020 – WINNER Best Production Design – WINNER Best Visual Arts).

Other design accolades include Auckland Theatre Awards (Excellence in Design 2019; Excellence Award for 2018 Body of Work; People’s Choice Best Lighting 2017 and 2016) and Wellington Theatre Awards (Lighting Designer of the Year 2018 and 2016).

LEARN THE ART OF ENTERTAINMENT

Want to bring the drama? Got the gift of the gag? We offer classes for adults and children, with special kids’ Holiday Intensives for Juniors and Seniors.

Rachel Neser

AV DESIGN

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

Her theatre credits include The Girl on the Train (The Court Theatre); 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 the company Artificial Imagination 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).

CREATIVES / RINGATOI

Matt Short

Matt began his career working in marketing for a major London record label. He has since worked as a senior camera operator 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.

Matt’s previous Court Theatre credits include Things I Know to be True; Easy Money; In the Next Room, or The Vibrator Play; The Littlest Ninja; Stephen King’s Misery; Mum’s Choir; Hansel and Gretel; Thumbelina; Elling; Les Liaisons Dangereuses; The Arsonists; The Pink Hammer; A Streetcar Named Desire; The Girl on the Train; Flagons and Foxtrots; Sense and Sensibility and Appropriate.

Giles is a graduate of Hagley Theatre Company (Diploma in Performing Arts), where he concentrated on technical production. He also 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 Ū Kai PŌ - 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; Sense and Sensibility; Rēwena and Be Like Billy?

Joshua is a Christchurch-based Sound Engineer currently working for BounceNZ. He has been designing and operating sound around New Zealand for the past four years.

His most recent theatre credits include Chicago (NASDA, 2022); I Love You, You’re Perfect, Now Change (NASDA, 2021); The 25th Annual Putnam County Spelling Bee (NASDA, 2021); Twelfth Night (Top Dog Theatre, 2021) and On The Town (NASDA, 2020).

LIGHTING OPERATOR

Giles Tanner LIGHTING OPERATOR

Joshua Starling SOUND OPERATOR

“ Embrace what ’ s inside Replace what has died Then make up your Mind you ’ ll survive. ”

Scott is a graduate of Hagley Theatre Company and Toi Whakaari: New Zealand Drama School (Bachelor of Performing Arts Management).

His previous Court Theatre credits as Assistant Stage Manager include Hedwig and the Angry Inch; The Wind in the Willows and Jersey Boys; and as Stage Manager The Pink Hammer; Crash Bash: What’s the Rush?; Things I Know to be True; Once; Whā; Little Shop of Horrors; Potted Potter, Māui Me Te Rā; RENT and the double billing of Rēwena and Be Like Billy?

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; A Feast of Opera Scenes (Stage and Production Manager) and Suor Angelica & Gianni Schicchi (Production Manager); New Zealand Opera’s touring production of 8 Songs for a Mad King (Stage Manager) and Blackboard Theatre Collective’s production of UGLY: The Untold Story of the Stepsisters (Stage Manager).

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 SciFi Film Festival; Science Fiction 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 productions of Boys and The Unauthorised Biography Of…. He was Assistant Stage Manager for RENT and Appropriate and Stage Manager for Cinderella. Haydon has also worked with New Zealand Opera.

WHAT LOTUS

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What will unfurl at Kiwi Bach, turned luxury Airbnb, WHAT LOTUS?

Twists, turns and dark desires will keep you guessing, laughing and tuning in for more… Happening over three nights, come for one episode or binge the whole series as five Court Jesters improvise multiple characters and stories into one 70-minute story each night.

Scott Leighton STAGE MANAGER

Haydon Dickie ASSISTANT STAGE MANAGER

BAND / ROPU PUORO

Caelan Thomas ASSISTANT MUSICAL DIRECTOR

Caelan is a Christchurch-based accompanist, musical director, and arranger, and became an Associate of Trinity College, London (ATCL) in 2015.

His previous Court Theatre credits include RENT; Little Shop Of Horrors and Jersey Boys. His other theatre credits include The Wedding Singer (National Academy of Singing and Dramatic Art); Chicago; Legally Blonde Jr (CentreStage Rolleston); Bad Girls (Riccarton Players) and The Witches of Eastwick (Kirwee Players).

Caelan is currently working with The Vocal Collective as their accompanist; as one of two musical directors working with the Selwyn Community Choir; and regularly as an accompanist for students at the National Academy of Singing and Dramatic Art.

Rakuto has established himself as a versatile violin / viola / piano player and composer and is a graduate of the University of Canterbury (Master of Music).

His theatre credits include leading the orchestra in Chicago and Fiddler on the Roof.

Orchestral experiences include joining the Christchurch Symphony Orchestra at the age of 18, performing with New Zealand Opera; Royal New Zealand Ballet; Dunedin Symphony Orchestra; Hawke's Bay Orchestra; Secret Sinfonia, and many more. As a recording artist, Rakuto has recorded many of his own compositions and has also played for other artists such as Aled Jones and Russell Watson with the BMG Label (UK).

Rakuto is Co-Founder and Artistic Director of the Magic Carpet Music Trust, a charitable trust which promotes music throughout rural communities in New Zealand's South Island, whilst providing young performers and composers with performance experience and career development opportunities.

Iain Brandram-Adams CELLO

Iain is a graduate of the University of Canterbury, receiving a Master of Music with distinction in 2005.

His theatre credits include Spring Awakening and Sweet Charity (NASDA); Phantom of the Opera; West End To Broadway; Evita, Sister Act; Les Misérables; Miss Saigon and many others (Showbiz Christchurch) as cellist; and How To Succeed In Business Without Really Trying and Chess (MUSOC) as pianist.

Iain’s television credits include Campbell Live, Good Morning and Madame Morison as cellist, arranger and composer.

Iain is active throughout the greater Christchurch area as a cello, piano, composition and music theory teacher.

His other interests include cryptic crosswords, meditation, social deduction games and Rust programming.

Rakuto Kurano VIOLIN AND KEYBOARD

Michael Story

DOUBLE BASS

Michael is a professional double bassist and electric bassist with extensive experience performing throughout Australia and New Zealand. He has made multiple appearances at the Melbourne, Wangaratta, Nelson, Tauranga, Christchurch and Queenstown Jazz Festivals; Adelaide Fringe Festival; WOMAD; Port Fairy and Woodford Folk Festival and Christmas in the Park.

Michael is a member of the Christchurch Symphony Orchestra bass section and on the faculty of Ara Music Arts. He has received the Jerry Wise Young Performers Scholarship, Dame Malvina Major Emerging Artist Grant and The Foundation for Young Australians Buzz Grant.

He is an active member of the Ōtautahi music scene performing regularly with Oval Office; Mundi; Sacha Vee; Tiger Moth; The Court Theatre; Showbiz; Ali Harper; the CSO and more.

Michael is the director of Global Music Teachers, an international music teacher marketing platform supporting thousands of teachers and musicians in the UK, NYC, Melbourne, Sydney and New Zealand.

Heather Webb GUITAR

Heather is a guitarist, composer, recording artist, band leader and session musician. She performs with the Christchurch Symphony Orchestra; Merk; Mousey and Terrible Sons, and at various jazz and arts festivals. She has collaborated with artists including Julia Deans; Bic Runga and Delaney Davidson, as well as leading local musicians Tom Rainey; Darren Pickering and Reuben Derrick. Radio New Zealand named Heather as a top woman in jazz.

Heather has composed for feature length documentary and jazz ensembles, to high acclaim, including Radio New Zealand’s ‘Best of NZ Jazz,’ and been reviewed as, “a standout,” (Graham Reid) and “an engaging blend of scientific and musical nerdery” (Erin Harrington).

Heather holds a BMus (Hons) and tutors guitar at the University of Canterbury.

Douglas Brush PERCUSSION

For more than 30 years, Douglas has built an international career as a percussionist based out of Chicago and, more recently, Christchurch. He is an active performer and teacher of many styles of music.

He’s recorded on well over 60 albums and produced some of them; composed music for dance; has been involved in numerous theatre productions; written for Downbeat magazine, and has been an Artist-in-Residence at the Chicago Art Institute. He has performed and taught on five continents.

Since moving to Christchurch in early 2010, he’s performed with the Christchurch Symphony including as a soloist; the world jazz band Yurt Party; progressive rockers Rhomboid; and in theatre productions at The Court Theatre (The Mikado); Free Theatre (Woyzeck) and Showbiz Christchurch (Miss Saigon).

He teaches or has taught at a variety of schools in Christchurch including the University of Canterbury; Ara Music Arts; Christ’s College; Burnside High; Christchurch Boys High and the Christchurch School of Music.

BETTER UNDERSTANDING BIPOLAR DISORDER

Next to Normal has been praised and awarded not only for its evocative music, but for expanding the scope of musical theatre to focus on mental health and illness. Its nuanced depiction and destigmatisation of neurodiversity have also won acclaim.

In Next to Normal, mother and wife Diana experiences bipolar. As she and her family endeavour to find that elusive ‘cure’ to her bipolar disorder, the struggle to be ‘normal’ profoundly affects all members of the family.

DOCTOR FINE: “Goodman, Diana. Bipolar depressive with delusional episodes. Sixteen-year history of medication. Adjustment after one week.”

Bipolar disorder affects approximately 2% of the population. Known as manic depression until 1980, it is characterised by changing mood states veering from extremely high (mania) to extremely low (depression); this can be continual and cyclical. When in a period of mania people may undertake risk-taking behaviour; talk very fast; become agitated and find it difficult to sleep. In a period of depression they may lack energy; suffer feelings of worthlessness and low self-esteem; have difficulty concentrating, remembering or making decisions; and experience suicidal thoughts. Delusions and hallucinations can also occur. There are different types of bipolar disorder, differentiated by the pattern of or tendencies to mania and depression.

DIANA: “I was diagnosed bipolar, um, wow, sixteen years ago? But it turned out bipolar didn’t totally cover it.”

People usually develop bipolar disorder in early adulthood (late teens or early 20s), as Diana does. There is no definite explanation as to why

people develop bipolar, but genetics, triggering experiences and environment all seem to play a part. While there is no known cure, recovery can be possible and, like many incurable disorders, illnesses and diseases, bipolar disorder can usually be managed and wellness maintained. That management typically involves medication to rebalance chemical imbalances and talking therapies. The latter include cognitive behavioural therapy (CBT), through which new ways of thinking are nurtured in order to create new associations and, ultimately, new behaviours. Another is interpersonal therapy which focuses on the individual and their relationships with other people. Common wellbeing therapies (such as mindfulness, exercise or yoga, amongst others) can also assist in achieving and maintaining overall emotional, mental and physical health.

DOCTOR MADDEN: “It’s safer than crossing the street and the short-term success rate is over eighty percent.”

One of the therapies mentioned in the show may be controversial, and people (like Dan, Diana’s husband) may be surprised to know that it is still a used treatment. Electroconvulsive therapy (ECT) is available in Aotearoa New Zealand, under limited circumstances (e.g. when standard treatments used over a long time have not worked) and with many provisos. A course of ECT is mainly used only for treatment of severe depression, catatonia and - rarely - mania. ECT typically wears off after four-six weeks and medication is prescribed for ongoing wellness.

Diana also experiences the most commonly reported side-effect - temporary memory lossalthough this by no means affects everyone and memories about events more than two years old usually do not change.

DOCTOR MADDEN. “Diana. You have a chronic illness, like diabetes or hypertension.”

While some of the exact terminology surrounding Diana’s diagnosis has changed since the time of writing, Next to Normal has retained its relevance because questions around mental health and wellbeing are universal to the human experience. Since the world experienced a pandemic which changed everything about how we live, and lived together, we all better understand how easily our mental health can change. Challenges to mental wellbeing are experiences “that we can all lean into” says Director, Hayden Tee. “Everyone now has a point of reference to this. Mental health and its challenges are just as normal as any other lived experiences.”

For more information about Bipolar Disorder visit: Bipolar disorder | Mental Health Foundation

Ministry of Health

The Mayo Clinic

EVERY VIEW. FROM EVERY ANGLE.

THE APPLETON LADIES’ POTATO RACE

Written by Melanie Tait

Directed by Anthea Williams

SHOW SPONSOR

Coming up at The Court is an Australian comedy with a huge heart: The Appleton Ladies’ Potato Race. Inspired by playwright Melanie Tait’s own experiences, this delightful play follows GP Penny Anderson who returns to her small hometown in time for the ‘world famous’ potato race (this really is a thing)! Outraged to discover that the first prize for men is $2,000, while the first prize for women is only $200, Penny stirs up the whole town in her fight for change.

The Appleton Ladies' Potato Race has already won audiences and critics over in Australia and has been such a hit that it is being released as a film by Paramount this year. Limelight accurately described The Appleton Ladies' Potato Race as an “effervescently entertaining, laugh-out-loud funny new play with

serious things to say and a gentle way of saying them" and ArtsHub characterised it as “pure theatrical rambunctiousness.”

The story takes place in Australia, but New Zealanders will recognise and respond to the characters of this small rural community in this punchy yet loving comedy. We are so thrilled to have Anthea Williams directing with a brilliant and funny cast including Lynda Milligan, Kathleen Burns, Katrina Bayliss, Jane Waddell and Donna Brookbanks.

Making its Aotearoa professional theatre premiere, you will not want to miss this new Court production!

BOOK YOUR TICKETS NOW AT COURTTHEATRE.ORG.NZ

Written by Clare Barron

SHOW SPONSOR

Directed by Alison Walls

FRIENDS – THE FAMILY YOU CHOOSE

It's certainly true that ‘you can’t pick your family - but you can pick your friends’. The opportunity to pick new friends, and become one, is quite literally what being a Friend of The Court Theatre is all about. Best of all, you are becoming a Friend to the theatre which continues to bring brilliant creative art to Ōtautahi Christchurch, and beyond.

Joining The Friends of The Court Theatre offers you many opportunities to contribute to our city’s creative heart. Your membership helps The Court to keep making and delivering challenging, compelling entertainment to all ages and interests. In 2023, The Friends of The Court Theatre are even more involved in that onstage experience, once again sponsoring a show - Te Kuia me te Pūngāwerewere.

For those who want to be more active with their connection, there are plenty of Friends-only events, many of which also raise funds for Court operations and equipment. Friends can also volunteer to perform

essential tasks for the theatre, such as serving audience members at the Coffee Bar, or joining the ushering team, a service which literally saves The Court hundreds of thousands of dollars each year.

A full year of membership is available at any time of the year for a modest fee and comes with many benefits, including ticket discounts, invitations to Friends-only events and access to behind-the-scenes information and experiences. But it is knowing what you can give as a Friend that makes membership so valuable – Friends are part of The Court’s fabric, because their commitment ensures that exciting and enthralling theatre, created by dozens of talented people, remains available to our local community.

To find out how The Friends of The Court Theatre can enable you to play a part in the theatre you love, visit courttheatre.org.nz/support/friends

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OUR SPONSORS

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SEASON SPONSOR

Pamela Webb Charitable Trust

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It's time to TAKE YOUR SEAT

TAKE YOUR SEAT, join the act and show your support for The Court Theatre. Your new Court Theatre, being created in the heart of Ōtautahi Christchurch, is becoming a reality.

Take your place in our history by showing and celebrating your support and love of theatre with a bespoke Court Theatre seat.

A donation of $1,500 (per seat, tax-deductible) secures your personalised plaque for ten years. This can be your family name, in memorial of someone special or a pseudonym – whatever appeals to you.

YOUR NAME HERE

To reserve your seats online, scan the QR code or visit applause.courttheatre.org.nz/#resources

Render images courtesy of Athfield Architects Limited (NZ) and Haworth Tompkins (London, UK).