Once

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Music & Lyrics by

GLEN HANSA R D & M A R KÉ TA I R GL O VÁ Based on the Motion Picture Written and Directed by J O HN CA R N E Y

By Arrangement with Music Theatre International (Australasia)

CAST

PRODUCTION

Girl .................................................... Amy Straker

Director ......................................... Melanie Luckman

Guy ................................................... Cameron Douglas

Musical Supervisor .............. Luke Di Somma

Billy ................................................... Tom Knowles

Musical Director ..................... Andy Manning

Reza ................................................. Ania Upstill

Set Designer .............................. Daniel Williams

Baruska ......................................... Juliet Reynolds-Midgley

Choreographer ....................... Hillary Moulder

Bank Manager .......................... William Duignan

Sound Designer ...................... Bounce NZ, Glen Ruske

Svec .................................................. Christopher Alan Moore

Lighting & AV Designer ..... Giles Tanner

Andrej ............................................. Cameron McHugh

Costume Designer ............... Deborah Moor

Da ...................................................... Matt Chamberlain

Stage Manager ........................ Scott Leighton

Eamon ............................................ Andy Manning

Sound Operator ..................... Michael Buckley

Ex-Girlfriend / Emcee ......... Helen Fahy

Lighting Operator ................. Matt Short

Ivonka ............................................. Lilly-Marie Chapman

Chaperone .................................. Helena Harvey

Ivonka

...........................................

Briar Jarman

ASM/Sound Assistant ........ Summer Jolly Czech Accent Coach ............ Petra Laskova

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

Also: Music Works; Wendy Douglass and Grandma Jen; Melissa Jarman; Veronika Krkavec; Tyler Robbins; Christchurch School of Music; Cameron Burnett; Mitchell Thomas; The Shatford Family; Gerard Andsen; Sophia Bidwell; Grant Reynolds; Davey Simpson of Simpson Mandolins.

Proudly printed by Caxton.

RUNNING TIME 2 hours and 10 minutes including a 20 minute interval.

WARNINGS Contains coarse language and references to suicide.

There is standing, dancing and sitting on tables in this play.

Once was staged at The Court Theatre from 19 June 2021 - 24 July 2021.

Orchestrations by Martin Lowe Originally Produced on Broadway by Barbara Broccoli John N. Hart Jr. Patrick Milling Smith Frederick Zollo Brian Carmody Michael G. Wilson Orin Wolf The Shubert Organization Robert Cole Executive Producer In association with New York Theatre Workshop Once was originally produced Off-Broadway at the New York Theatre Workshop in December 2011, Jim Nicola, Artistic Director, William Russo, Managing Director Once was originally developed at the American Repertory Theater, Cambridge, Massachusetts, in April 2011 Diane Paulus, Artistic Director, Diane Borger, Producer

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NAU M A I , H A E R E M A I BARBARA GEORGE Once upon a time there was a girl and there

and thank outgoing Chair Steven van der Pol

was a boy, and they meet on a street

for his leadership over the past eight years.

in Dublin, and clearly, you want to know

Both Tony and Steven give significant time

how the story ends which is why you are sitting

to guiding our direction and supporting

in the auditorium of The Court Theatre, reading

our team, and we also thank their families

this programme book! I hope when you get

for their support of these two governors.

to the end of the story you simply want to tell

Thank you and welcome to our show sponsor

all your friends to come and experience live,

Christchurch Casino for coming on board.

exceptional theatre in Christchurch Ōtautahi.

Their sponsorship helps us keep our ticket

For five weeks or so we’ve been listening

prices accessible for our community.

to the wonderful music coming through

And as always we thank Principal Sponsor

the walls of The Shed, and finally, we get

Giesen Wines, and our core funder Creative

to see it on the stage. What a great set

New Zealand.

– look at that floor! This is one of the things

Enjoy the show!

The Court Theatre does really well – creating

Ngā mihi nui,

the ambience to transport you to the place

Barbara George

where you can be part of the action. Thank

Chief Executive / Tumu Whakarae

you to all at The Court Theatre for this.

We welcome the new Chair of The Court Theatre Trust Board, Tony Feaver,

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C H C H

C A S I N O

A D

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KIA ORA C H R I STC H U RC H ŌTAU TA H I DAN PENGELLY Many people contribute their ideas to what

Thank you for joining us this evening

shows we consider and finally produce for

and risking a cold winter night.

our communities. I cannot recall who suggested

I fell in love with this show years ago when

Once exactly, and I believe that is because

I saw it in the West End. I was lined up to see

everyone who heard we were considering it,

if I could get a ticket only to find it was sold out

said something along the lines of “Oh gosh,

when I got to the front of the queue. The family

please do this show!”.

behind me heard this (and my thick Kiwi accent), and offered me their spare ticket and invited

As always, I offer my thanks and acknowledgment

me to sit with them. The show itself matched

to all The Court Theatre staff who have worked

that generosity of spirit and I had a joyful night

on this show over the last 14 months to bring

of charming music and of humans being kind

this to life. My thanks also to Melanie Luckman

to each other.

and her creative team for leading this show, with incredible amounts of preparation, rigour

Not only is this a story of being human,

and kindness. We are blessed with the results

but it is also a show that requires enormous

of your mahi.

skill by the artists involved. Or should I say enormous SKILLS. It is not just acting, or singing,

That is enough from me. I hope you have

or dancing ... but also musicianship while doing

a wonderful evening with us, and that moments

the other three. The performers you are about

of this play speak to your heart.

to watch are all quadruple threats. If there

Ngā mihi nui,

is one thing I know about Christchurch, it is that

Dan Pengelly

after many years of Buskers Festivals ... we love

Artistic Director

watching performers show off their skills.

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MELANIE LUCKMAN DIRECTOR’S NOTE Act, sing, dance, play an instrument or five.

Once is the best kind of love story. It’s the real

This is what is required of the performers you

kind. It’s messy and confusing, full of missteps,

will see tonight. Make no mistake, everything

bad timing and insecurity - as well as humour,

you hear is live from the stage and, as you can

vulnerability and passion.

see, there is nowhere to hide. The skills required

However, it is more than just a love story with

not only to do all four things but to do them

beautiful music. It speaks to our time in a way

at the same time are exceptional.

the writers never could have imagined in 2006.

The music is the driver for the show and ties

We are in an era of disconnect, loneliness, fear

all the elements together: the music drives

and uncertainty about the future (even in our

the story which drives the movement which

privileged corner of the world). I believe Once

comes from the music and the design needs

can fulfill one of art’s most powerful functions:

to fit both the story and the music. Instead

it reminds us of the beauty of the now. How,

of rehearsing music, then movement, then

among the complicated mess that is life, it is the

acting, we did all three at the same time.

smallest things in the present moment that can

It was mad, and hard and glorious.

give us solace: a drink with friends; the kindness of strangers; a beautiful song.

I could not be more grateful to this cast for their incredible work and their generosity of spirit.

My hope is that you leave the theatre tonight

To Luke, Andy, Hillary, Dan Williams and the rest

a little lighter, a little warmer and with a little

of the creative team and The Court Theatre, I am

more hope. Let us be your solace for a few hours.

beyond grateful for your work and your support.

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E N DA WA L S H

JOHN CA R N EY

AUTHOR

WRITER - DIRECTOR

Enda Walsh is an acclaimed playwright,

John Carney is a Dublin-based writer-director

screenwriter and director. His recent work

who came to the world’s attention following

includes the play Arlington and the opera

the box office hit and critically acclaimed

The Second Violinist which both premiered

musical feature film Once, which garnered

at the Galway International Arts Festival

multiple Independent Spirit, Sundance and

in 2016 and 2017 respectively. He also worked

Raindance Awards. Previously, John was

on the new musical, Lazarus, with David

a bassist in the Irish rock band The Frames,

Bowie, which opened at the New York Theatre

where he met Glen Hansard. These musical

Workshop in December 2015. Enda adapted

roots continue to be evident in John’s work

and directed Max Porter’s Grief is the Thing

with his latest production, Can a Song Save

with Feathers, which ran both in Glasgow

Your Life? Other projects include Dogs

and New York. His work has been translated

of Babel for David Heyman and Nathan

into many languages and has been performed

Kahane starring Steve Carrell and a feature

internationally since 1996. In 2014 he

adaptation of M.R. James’ Casting the Runes

received an Honorary Doctorate from Galway

for Barbara Broccoli and Michael G. Wilson.

University.

1 0

GLEN H A N SA R D

M A R K ÉTA I RG L OVÁ

MUSIC & LYRICS

MUSIC & LYRICS

Glen Hansard is an award-winning musician

Markéta Irglová is an Academy Award winning

with a host of real-life songs and lilting

musician and actor born in the Czech Republic.

vocals that reflect a passion for his diverse

Film: Once and Milluji tě Modře. Albums: Muna,

influences. Film: The Commitments, Once.

Anar, The Swell Season, the soundtrack of Once

Albums: Between Two Shores, This Wild Willing,

(Academy Award for Best Original Song, ‘Falling

Didn’t He Ramble, Rhythm and Repose, Strict

Slowly’, Olivier Award for Outstanding Musical

Joy, the soundtrack of Once (Academy Award

Contribution), Strict Joy.

for Best Original Song, ‘Falling Slowly’; Olivier Award for Outstanding Musical Contribution), The Swell Season, The Cost, Burn the Maps, Set List, For the Birds, Dance the Devil, Fitzcarraldo, and Another Love Song.

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MELANIE LUCKMAN DIRECTOR Melanie is a freelance theatre

Her other directing credits include:

director based in Christchurch

The Collective (NASDA); Flagons

Ōtautahi. She holds a Master

and Foxtrots (Fortune Theatre);

of Theatre Arts (Directing) from

Noye’s Fludde (New Zealand Opera);

Toi Whakaari: New Zealand Drama

Gameplan (Young and Hungry Arts

School and Victoria University

Trust, Wellington); Twelfth Night

and a Bachelor of Arts from

(Wellington Summer Shakespeare);

the University of Canterbury.

and Hamlet (Toi Whakaari).

She is a previous Associate Director

Melanie is a founding member

of The Court Theatre. Her Court

and the Artistic Director of Cubbin

Theatre directing credits include:

Theatre Company for whom she has

Groundswell; The Great Art War;

created and directed: Up and Away;

Constellations; In The Next Room,

Play Play; and Me and My Nana.

or the vibrator play; A Streetcar Named Desire; and numerous children’s shows.

11 33

LU K E D I S O M M A

A N DY M A N N I N G

MUSICAL SUPERVISOR

MUSICAL DIRECTOR & PERFORMING AS EAMON

Described by Kim Hill as the “wunderkind of the Christchurch musical scene,”

A multi-faceted musical theatre performer,

Melbourne based composer, Musical

Andy is in high demand as a Music Director,

Director and educator Luke Di Somma

Actor and Arranger in New Zealand and the

is one of New Zealand’s leading musical

UK. They are a graduate of NASDA and Royal

theatre artists. A Fulbright Scholar,

Conservatoire of Scotland.

Luke is a graduate of New York University’s Tisch School of the Arts, and currently

Andy has performed, as an actor, in Amadeus

balances freelance projects with lecturing

(The Court Theatre) and Billy Elliot (Auckland

at Federation University of Australia.

Theatre Company.)

Luke is the co-writer of hit musical

As a composer, Andy’s musical The Magic

That Bloody Woman. Recent credits

Cookbook (written with Will Robertson)

at The Court include Hedwig And The Angry

was work-shopped at The Court Theatre

Inch; The Mikado and One Man, Two Guv’nors.

Mid-winter Readings, and Glo was work-

His work has been heard throughout

shopped at Auckland Theatre Company’s

the UK, America and Australasia. Previously

Here and Now Festival. They have composed

based in London, he co-wrote the opening

music for numerous Tim Bray Productions

number for several West End Bares concerts

and worked with Tusk Puppets to create

in London’s West End. His music has been

their first full-length puppet show,

sung by Broadway’s Andréa Burns, Olivier

The Lost Sock. They composed and were

Award winners David Bedella and Rebecca

Sound Designer for Misery (The Court Theatre).

Trehearn, and Tony nominees Andy Karl

Andy was the Resident Musical Director

and Eva Noblezada.

for That Bloody Woman, and the Musical

He’s worked with the Christchurch

Director for Cinderella (GMG Productions);

Symphony Orchestra, New Zealand

Isolation Mixtape Challenge; He Says, She says;

Opera, Auckland Theatre Company

Legally Blonde and Pippin (Royal Conservatoire

and started both the Christchurch Pops

of Scotland); On The Town and Mr. Burns

Choir and CIMTSS, where he has taught

(NASDA); Keep Out Of My Box with Torum Heng;

with Broadway’s Andréa Burns, Sutton

Triage, A Nursing Cabaret with Zuleka Khan,

Foster and Jonathan Groff.

which was awarded Best Cabaret at the Auckland Fringe Festival. They co-wrote

He has been commissioned to compose

and performed Puss with Nomi Cohen

Unruly Tourist, The Opera for The New

in the NZ International Comedy Festival

Zealand Opera, and his debut album, Songs

and was a vocal coach for Ugly and Severely

For My Friends, will be out later this year.

Queer (Blackboard Theatre Collective).

1 4

MUSE FINDING YOUR

What sparks your creativity? While there’s

the muse of love poetry, Euterpe - the muse

inspiration to be found in all kinds of places

of music, Melpomene - the muse of tragedy,

for some artists that unconscious burst

Polyhymnia - the muse of hymns, Terpsichore -

of creativity often comes from a muse.

the muse of dance, Thalia - the muse of comedy

Some people scoff at the idea of the muse

and Urania/Ourania - the muse of astronomy.

and view it as a cliché but the reality is that

While these nine muses have been referenced

much of the great art in the world wouldn’t

in countless ways, throughout history artists

exist without muses.

have also found themselves drawn to those

Whether it is music, literature, visual arts

they find intriguing. Sometimes this curiosity

or other creative endeavours, the role

led to infatuation and romance, inspiring many

of the muse is to inspire the artist and often

words of art dedicated to devotion and longing.

support them to do their best work. In Once,

Can you imagine the prolific music from

our lead character Guy, a talented musician,

The Beatles without the existence of Linda

is about to give up his dream until he meets

McCartney, Pattie Boyd (who later went

Girl, who encourages him to follow his dreams

on to inspire Eric Clapton), and perhaps

and inspires his music.

controversially, Yoko Ono? These women

The origin of the muse can be traced back

all performed beautifully as muses, leading

to Ancient Greek mythology where the nine

to brilliant songs that have stood the test of time.

Muses were the inspirational goddesses

Paul McCartney told People magazine in 1997,

of literature, science and the arts. They were

“Any love song I write is written for Linda.”

considered the source of knowledge, embodied

Love songs are one way a muse’s influence

in the poetry, lyric songs and myths of the time.

is felt. When that relationship sours sometimes

The muses were: Calliope - the muse of epic

the muse is inspirational in other ways.

poetry, Clio - the muse of history, Erato -

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MUSE

The role of a muse is much more than just

FINDING YOUR

romantic. Artists have created art inspired by many things about a muse. Whether it’s that person’s character, intelligence, beauty or simply an idea that has come to the artist in the presence of a muse. Many artists over the years have documented their gratitude at finding the person

The break-up of musicians Stevie Nicks

who turned things around for them or inspired

and Lindsey Buckingham in 1976 led

them to create their greatest work.

to two incredible songs that they each wrote

The fascinating and somewhat tumultuous

for Fleetwood Mac’s 1977 album Rumours

relationship between artists and their muses

inspired by each other’s part in the breakdown

has also been documented many times,

of their relationship. “Dreams” by Stevie Nicks

particularly in film. The 2006 film Factory

is regarded as one of the greatest songs

Girl depicts the relationship between model

about a relationship in turmoil, while Lindsey

and muse Edie Sedgwick and pop art legend

Buckingham’s “Go Your Own Way” has become

Andy Warhol, played by Sienna Miller

an anthem for independence and leaving a bad relationship behind.

and Guy Pearce respectively. Their 1960s

Traditionally, we think of muses as female

one of the most prolific artistic periods

but any gender or non-binary person can inspire

of Warhol’s career.

love story is fraught with drama but was also

art. The role of Diego Rivera in inspiring his wife

While the role of the muse in art is undeniable,

Frida Kahlo’s art was an important one, while

Austrian neurologist and the founder

musician Carly Simon confirmed in recent years

of psychoanalysis, Sigmund Freud, believed

that her infamous 1972 song “You’re So Vain”

that inspiration comes from the inner psyche

was in fact inspired by actor Warren Beatty.

of the artist. He concluded that the artist’s

On a more romantic note, Aretha Franklin’s

inspiration comes out of unresolved psychological

charming “Day Dreaming” also from 1972,

conflict or childhood trauma and that inspiration

was inspired by her brief engagement to Dennis Edwards of The Temptations.

could come directly from the unconscious.

In our current era, Lizzo’s catchy “Boys”

Whether you believe Freud’s theories or not, anyone who has ever realised a creative dream,

from 2018 is a playful ode to her appreciation

big or small, can attest to the high of creating

of all those who identify as men. While

a work that fulfils your idea or dream. Creativity

on Ah-Mer-Ah-Su’s 2018 album STAR she reflects

is a core part of being human and what makes

on her relationships but also utilises herself

us able to transcend ourselves. Finding someone

as a muse, sharing her story of finding herself

who can help us create art in any form such

as an artist and her journey of self-acceptance

as a muse, is certainly worth celebrating.

as a transgender woman.

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1 6

THE CAST

AMY ST R A K E R

CA M E RO N DOUGLAS

GIRL

GUY

After graduating from the National Academy of Singing and Dramatic Art (NASDA) in 2005, Amy began her career with an internship at The Court Theatre. Since then she has appeared in numerous productions here including: Oliver!; Long Days Journey into Night; Flagons and Foxtrots; Doubt; Guys and Dolls; The Country Wife; The Great Gatsby; Homeland; Glorious; Cabaret; The Women; Amadeus; Cat vs Dog; Ache; In The Next Room, or the vibrator play; Mum’s Choir; Les Liaisons Dangereuses; and A Streetcar Named Desire.

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

His professional theatre debut was at The Court Theatre in My Fair Lady and since then has performed in numerous productions.

Most recently Cameron appeared in Jesus Christ Superstar; A Streetcar Named Desire and Jersey Boys.

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

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

Cameron’s professional experience also spans television and music. He is the lead singer and acoustic guitarist of New Zealand’s premiere skiffle rock and roll band, The Goldonies. His television credits include: Outrageous Fortune; Legend of the Seeker; and One Night Only.

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

1 7

TO M K N OW L E S

ANIA U P ST I L L

BILLY

REZA

Tom is a graduate of Toi Whakaari: The New Zealand Drama school.

He has toured New Zealand extensively with Grease; Saturday Night Fever; Seed; Live Live Cinema’s Little Shop of Horrors; and Cringeworthy!

Tom also performed in The National Theatre of London production of The Brief and Frightening Reign of Phil (in collaboration with Bret McKenzie); and in Transmission.

He has written a multi awardwinning rock opera, Allergic to Love: curse of the 80’s, which toured to America, Mexico and throughout New Zealand.

He is premiering his new reggae musical Atarangi: Morning Sky this year.

Tom’s TV credits include: The Brokenwood Mysteries; The Māori Sidesteps; and starred in the Export beer advert which featured the award-winning song, I’m Drinking It For You. Tom recently performed with the Modern Māori Quartet and regularly plays in multiple bands around New Zealand.

Ania Upstill is a graduate of the Dell’Arte International School of Physical Theatre (Professional Training Program).

This is their Court Theatre debut. Their other theatre credits include: solo clown show Transhumance (Butch Mermaid Productions); In Many Hands (Brooklyn Academy of Music); Thou Shalt Not (Thinkery & Verse); R+J: A Genderqueer/ Female Reimagination (Hypokrit Productions); and Richard III (The Bacchanals).

Ania’s directing credits include: Into the Bush (TAPAC); Alone it Stands (Wellington Irish Society); and Love’s Labour’s Lost (Wellington Summer Shakespeare).

Ania Upstill is a professional theatre educator and a clown.

They have toured with Clowns Without Borders USA, and have taught clown internationally.

They have also performed clown and drag acts at venues in New York including House of Yes, The Duplex and The Tank.

1 8

J U L I ET R EY N O L D S M I D G L EY BARUSKA Juliet moved from England to New Zealand in 2000.

She has a B.A. in Performance Arts and Education and a Diploma in Jazz Performance.

As well as performing she teaches at the National Academy of Singing and Dramatic Art. Her previous Court Theatre credits include: Side by Side

by Sondheim; Calendar Girls; Pacific Post; August Osage County; Blood Brothers; The Mikado; and One Man Two Guvnors.

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

As a singer, Juliet has performed in the UK, Italy, and the Caribbean and had the pleasure of performing for President Clinton during his APEC visit to New Zealand. She has appeared as a soloist with the BBC Concert Orchestra for Radio 2 and has been a guest vocalist with the CSO on numerous occasions.

WILLIAM D U I G NA N

CHRISTOPHER ALAN M OORE

CA M E RO N MCHUGH

BANK MANAGER

SVEC

ANDREJ

William is a graduate of the Victoria University of Wellington (Masters of Arts in Creative Writing, Scriptwriting).

Once is William’s Court Theatre debut.

His theatre credits include: Phantom of the Opera; Grease; Kiwi Moon (Capital E); Rocky Horror Picture Show (Embassy Theatre); and WEiRdO. William is a writer and designer for theatre, with work appearing around the world. Notable projects include writing for original musicals Boxed and WEiRdO, set design for Isaac’s Eye (Circa Theatre), and marketing design for BATS Theatre, Circa Theatre, Playmarket, Capital E, Wellington Theatre Awards, Basement Theatre, Q Theatre, and in the Edinburgh Fringe Festival.

William also works with Weta Workshop in their Locationbased Experiences team, most recently on Weta Workshop: Unleashed, open now at Sky City, in Tāmaki Makaurau.

Christopher is a graduate of Te Kura Toi Whakaari o Aotearoa.

Once is Christopher’s Court Theatre debut.

His other theatre credits include: Wedding Singer; Grease; Footloose; The Addams Family; Our House (Waitakere College); Merrily We Roll Along; and Pre-Lockdown Post (Toi Whakaari).

Christopher’s television credits include: Sunny Skies; and Shortland Street.

Christopher is a passionate theatre maker, a singersongwriter and an acrobat with a background in dance, gymnastics, diving, cheerleading and parkour. He also loves to play percussion, he laughs loudly and feels grateful and honored to be pursuing his career.

Hutia te rito o te harakeke, kei hea to kōmako e ko e?

Cameron graduated from the National Academy of Singing and Dramatic Art (Bachelor of Performing Arts) in 2019 under the tutelage of Nick Hollamby and Angela Johnson.

Once is his Court Theatre debut.

Other theatre credits include: Fiddler on the Roof; 42nd Street; Earthquakes in London; and Curtains (NASDA). Cameron has proudly worked and taught for Two Productions and JK Performing Arts in Ōtautahi.

Cameron is a passionate singing teacher having created his own vocal studio Cameron McHugh Music after completing a certificate in vocal pedagogy and technique through New York Vocal Coaching.

Cameron would like to thank all the music teachers he has had throughout the years - your time and effort have gotten me to where I am today.

Find him on social media @cameronmchughmusic

1 9

H E L E N FA H Y

M ATT CHAMBERLAIN

EX-GIRLFRIEND / EMCEE

DA Matt is a graduate of Toi Whakaari: New Zealand Drama School (Diploma in Performing Arts, Acting).

Helen has a Joint Bachelor of Arts Degree in Drama and Theatre Studies and Music from the University College Cork, Ireland.

He was last seen at The Court in 2018’s Astroman. His other theatre credits include: Nga Tangata Toa (Taki Rua Theatre); Think of a Garden; Welcome to the Murderhouse (Indian Ink); Up North (Centrepoint Theatre); and The Anthony Wilding Story, a solo show that he co-wrote and has performed throughout the country and internationally.

Once is Helen’s first professional production with The Court Theatre, but hopefully not the last!

Helen’s past credits include: the Irish premiere of Aida (Marian Choral Society); Footloose and Les Misérables (Loughrea Musical Society); Pirates of Penzance; Suessical (Athenry Musical Society); and Fiddler on the Roof (Athenry Musical Society and Kirwee Players).

Matt’s television credits include: One Lane Bridge; Jean; M is for Murder and Shortland Street. His film credits include In My Fathers Den; Punch; Avatar; King Kong; and Under the Mountain.

Helen’s film credits include Death Arrives at Six. Helen is an accomplished musician and singer.

She plays violin and viola and sings with the band Molly’s Remedy. Before moving to Christchurch, Helen founded her own School of Speech and Drama and also delivered an extensive children’s drama programme to numerous primary schools in her region. She has written, produced and choreographed various children’s musicals and plays.

Matt has co-written a new play called Timber, which will premiere at Centrepoint Theatre in 2022..

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L I L LY - M A R I E CHAPMAN

BRIAR JA R M A N

IVONKA

IVONKA Briar currently studies Drama at The Court Theatre’s after school Drama Classes, vocal tuition with Amy Bowie and danced with The Ballet Academy, learning Classical & Jazz dance genres.

Lilly-Marie is a current student of Mt Pleasant Primary School.

She has attended weekly drama classes at The Court Theatre for the past two years.

Previous to this she attended the Helen O’Grady Drama Academy.

She was the title character in Selwyn House School’s production of The Little Red Hen and has performed in: Wizard of Oz; Hansel and Gretel; and Alice in Wonderland produced

by The Ballet Academy.

Once is Lilly-Marie’s first professional appearance.

Once is Briar’s first show for The Court Theatre.

Challenge yourself and grow your skills through The Court Theatre’s Education Programme.

With drama classes for all ages, dare to dream at courteducation.org.nz

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THE CREATIVES

DA N I E L W I L L I A M S

H I L L A RY M O U L D E R

SET DESIGNER

CHOREOGRAPHER

Daniel graduated in 2006 with a degree in Performance Design from Massey University and Toi Whakaari: New Zealand Drama School.

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 the National Academy of Singing and Dramatic Arts (NASDA).

His theatre career has seen him design sets and costumes throughout New Zealand and internationally. He won the 2013 Q Theatre, Auckland Newcomer Award at the Auckland Theatre Awards, and has been nominated multiple times at the Wellington Theatre Awards including winning ‘Weta Workshop Set Designer of the Year’ in 2008.

Some of her Court Theatre credits include: Jersey Boys; Chicago; Jesus Christ Superstar; Time Machine; 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); Chats with Pat (one-woman show); 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 a recently appointed Court Jester.

He has designed for Circa Theatre, Centrepoint Theatre, Fortune Theatre, Downstage Theatre, Silo Theatre, The Court Theatre and Auckland Theatre Company.

Daniel was the Associate Show Director of the 2017 World of Wearable Arts Awards.

He has been an art director for many large scale events in film and production design between 2019 - 2020.

Hillary debuted as Choreographer for The Court Theatre with Ladies Night. She is thrilled to be back as part of the creative team on this truly beautiful piece of theatre.

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G L E N RU S K E

G I L E S TA N N E R

SOUND DESIGNER

LIGHTING & AV 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 audiovisual design.

BounceNZ has a strong relationship with and are a proud sponsor of The Court Theatre.

The combination of live performance and excellence in sound production is a winning partnership.

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 Speedthe-Plow in 1996 and designed lighting 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.

BounceNZ is a professional sound production and hire company with branches in both Christchurch and Auckland. Since the early 1980s BounceNZ has been supplying superior sound for orchestras, theatre shows and corporate events. They are sought after worldwide and their talented staff have toured with numerous professional and amateur theatre companies, orchestras and international artists throughout the world.

They have designed and operated sound for productions as diverse as: The Rocky Horror Show in Singapore; Maui; Beauty and the Beast; Les Misérables; Cats; Miss Saigon; Joseph; My Fair Lady; 42nd Street; and Grease to name a few.

He also graduated from the University of Canterbury with a Bachelor of Arts in Political Science and Philosophy.

BounceNZ are delighted to have the opportunity to be part of another show with The Court Theatre.

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DEBORAH MOOR

S COT T L E I G H TO N

COSTUME DESIGNER

STAGE MANAGER

Deborah has worked for The Court Theatre since 2000 and in 2019 became the Costume Manager after working as the Acting Costume Manager for 11 months. She has worked on over 200 shows including: The Diary of Anne Frank; South Pacific; My Fair Lady; Grease; Romeo and Juliet; Mary Poppins; Winston’s Birthday; Macbeth; Legally Blonde the Musical; Chicago; Easy Money; In the Next Room, or the vibrator play; Jesus Christ Superstar; and Jersey Boys. She most recently designed the costumes for Winding Up.

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

His previous Court Theatre credits in Stage Management include: Hedwig and the Angry Inch; The Pink Hammer; The Wind in the Willows; Crash Bash: What’s the Rush?; Jersey Boys; and Things I Know to be True.

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).

She is well known for her designs for children’s shows including: Mrs McGinty and the Bizzare Plant; Jack and the Beanstalk; Puff the Magic Dragon; The Littlest Ninja; and Thumbelina.

Her other design work includes: Backwards in High Heels; Glorious; Winston’s Birthday; Easy Money; and Five Women Wearing the Same Dress (Fortune Theatre) for which she was nominated for a costume design award in 2011. She has also created work for Southern Ballet, Southern Opera, Circo Arts and Jenny Gillies.

Deborah has travelled nationally and internationally managing the wardrobe requirements for a large team, along with sewing for Jenny Gillies. She has created work for the Tauranga Floral Festival, Royal Adelaide Show, Ellerslie Flower Show and Christchurch Festival of Flowers all on more than one occasion.

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3 0

Once

upon a time...

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CAN’T HAVE A CITY WITHOUT

Have you ever walked past a busker strumming

Folk music is an extension of the term folklore,

away on their acoustic guitar and wondered

and while there are variations to what defines

if that person will go on to be famous one day?

folk music, it is essentially about storytelling,

Busking is where some of the music industry’s

sharing customs and traditions. These days,

biggest folk singers started out, like Ed Sheeran,

contemporary folk music is less traditional

Tracy Chapman and Jewel, who like Guy in Once,

and incorporates other genres like pop, rock

took to the streets to get their songs heard

and country.

and talent noticed.

"Falling Slowly" which Guy and Girl sing

Buskers have played an integral role in creating

soulfully together in Once is a beautiful

the soundtrack to many cities in the world, using

example of a contemporary folk song that

the pavement as their training ground before

is rich with emotion and longing. You might

hopefully making it big. While you will find

already be familiar with this sublime song as it’s

all kinds of music performed by buskers,

featured in numerous television shows including

folk music, that of melodic voices and acoustic guitars, is synonymous with busking.

Continued on page 34>>

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Continued from page 33>>

to be public places with lots of foot traffic, good visibility and low background noise. You will often

CAN’T HAVE A CITY WITHOUT

find buskers at tourist spots, busy parks, entertainment districts and outside events. Overseas, busking is particularly popular at underground train stations especially in cities like London and New York.

The Voice and Last Man on Earth. It has also been covered by the likes of Josh Groban and Kate Ceberano.

Timing and audience are everything for a successful busking act. A performance that might make money

Busking is central to the story of Once and while the

at one place and time may not work at all in a different

show is set in modern days, busking itself has a long

setting, so buskers will often adjust their act each

history stretching back to our earliest societies. There

time to get the best response from their audience.

were buskers in Ancient Egypt, Rome, Greece and India.

Aside from their musical talent, being a charismatic

You could say that buskers have been performing

performer and quick with a bit of light-hearted banter’

in public spaces since public spaces were invented.

can help a busker’s chance of success too.

The term busking was first noted in the English language

While busking often conjures up the nostalgic notion

around the 1860s in the UK. The verb “to busk”, from

of dropping a coin in a hat, with our increasingly

the word “busker”, comes from the Spanish root word

cashless society, don’t be surprised if the next time

“buscar”, which means "to seek" and while we often

you see a busker they have an EFTPOS device

think of buskers seeking money, in previous centuries

to collect your donation. Tapping a card may not feel

buskers were also seeking food, shelter or gifts.

like it’s in the old-fashioned spirit of busking but with

Did you know that the place where a busker’s

more people not having any cash on them, it ensures

performance occurs is called a pitch? And a good pitch

that busking is still viable for the next generation

can make all the difference as to whether or not

of performers. After all, you never know who you

a busker has a successful day. Popular pitches tend

may come across singing on the street.

3 4

LIST

ACT ONE

ACT TWO

Leave

Sleeping

Song Without Words

When Your Mind’s Made Up

Falling Slowly

The Hill

North Strand

Gold (A Cappella)

The Moon

The Moon (Reprise)

Ej Padá Padá

Falling Slowly (Reprise)

If You Want Me Broken Hearted Hoover Fixer Sucker Guy Say It to Me Now Abandoned in Bandon Satisfy Me Gold

3 5

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3 7

ONCE ACT ONE

elusively replies that they are having difficulties and he is not around. They thank each other

On a street in Dublin, Guy, sings a song he wrote.

and agree to meet again. After he leaves, Baruska

As he puts his guitar on the ground and is about

implies that there is something between them,

to leave it, Girl, a Czech woman, approaches

but Girl insists they are just friends. Alone, she

and asks him if he wrote that song and why

plays Guy’s CD and sings her own words along

he is leaving his guitar behind. Guy explains

with his music.

he does not want it anymore and that he works for his dad’s vacuum cleaner repair shop.

Another day, Guy plays a song about the sad

Girl excitedly tells him that her vacuum needs

state of his life when Girl enters. She proposes

repairing and that she can repay him in music.

that they record his songs to submit to a record

She takes Guy to a shop owned by Billy, who

company and hopefully win Ex-Girlfriend back.

lets Girl play the piano there. She implores

Somewhat reluctant and sceptical, Guy agrees.

Guy to play another song of his. Guy refuses

First, they must go to the bank for a loan to pay

and as he is leaving, sheet music falls from

for recording in a studio. Before they head

his bag. Guy tells her to keep it, she begins

to the bank, Baruska tells Girl and Guy (and the

to play his music on the piano. He stops.

audience) a tale of a man who almost chased

He gets out his guitar and they sing his song

his dreams but never did out of fear. Because

together. Girl asks Guy who the song is about, but Guy evades her questions.

he does not understand Czech, Guy does not

At the vacuum repair shop, Girl talks to Da, Guy’s

Manager is sympathetic, but tells them he needs

know what she is saying. At the bank, the Bank

father. After Guy fixes her vacuum, he offers

assurance that they will be able to pay back

to show her his room. In his room, Guy plays

the loan. Guy sings one of his songs, profoundly

her a recording of one of his songs (“The Moon”).

moving Bank Manager, who has a guitar

In the recording, Guy and his Ex-Girlfriend are

of his own. He performs a song of his own

talking about the song. Guy explains to Girl that

for Guy and Girl. When he asks for their honest

she left six months ago for New York and has

feedback, they tell he can play well but cannot

met someone there. Girl tells him that he should

sing or write songs. Nevertheless, Bank Manager

go to New York to win her back and asks him

grants them a loan.

to make a CD of his songs. Guy tries to kiss her, and she stops him.

At a pub’s open mic, Guy and Girl are watching

The next day, Guy apologises to Girl for his

the next performer as “The Hooverman”, Girl tells

her friends perform. When the host announces

behaviour. He walks her home and hands her

Guy that it is him. Nervous, Guy performs a love

a CD. Girl invites him to her apartment, where

song. Guy and Girl look at each other during

he meets her roommates Andrej, Svec, Reza

the song, in love with each other.

and mother Baruska. A little girl enters and Girl introduces her, Ivonka, as her daughter.

ACT TWO

Later, Girl listens to Guy’s CD and asks him why

At a rehearsal in Billy’s shop, tensions are running

there are no lyrics. Guy invites her to add her

high - especially between Billy and Bank Manager.

own. When he asks about Ivonka’s father, Girl

Rehearsal turns to chaos, and Billy kicks them out

3 8

is coming to Dublin to try to work things out.

Continued from page 38>>

of his shop. At a pub, Guy begs Billy to give the band another chance. Girl asks Reza to seduce and charm Billy as a favour. In return, Reza tells Girl to be honest about her feelings for Guy and to tell him how she feels. Reza and Billy hit it off and dance.

Guy and Girl take a small trip to Howth Head to be by the sea. Guy reminisces about his childhood memories of this place. A romantic moment almost happens, but Girl clarifies that she is still married to Ivonka’s father. Guy asks her in Czech if she still loves him. Girl replies in Czech that she loves Guy, but he does not know what she is saying. As she leaves and the scene changes, Guy sings.

At the studio, Guy, Girl and the band record their first song. While everyone else takes a break after that song, Girl plays a song alone that reveals her feelings about Guy, who walks in on her singing.

After she finishes, she tells Guy that her husband

Guy accuses her of pushing him away, and Girl retorts that he still has something with his ex in New York. He reveals that he no longer sings his songs for his former love - his sings for them. Girl stops him and tells him “It Cannot Be About That”. Guy leaves.

Another day, Bank Manager and Billy have made amends. Girl approaches Guy and asks him if he will call Ex-Girlfriend that night. Guy says he will and asks her to come by later. Girl hesitantly agrees. At his father’s shop, Guy plays his record for Da, who is very proud of his son.

Guy finally calls Ex-Girlfriend. She confesses she misses him. When he tells her that he is coming to New York, she is overjoyed - and so is he.

Girl does not show up.

At her apartment, Billy, Andrej, Svec and Reza surprise Girl with a piano. She sits at the piano.

Although they are in separate places, Guy and Girl play together.

COMING UP AT THE COURT THEATRE THE COURT THEATRE’S

7 AUG – 4 SEPT

PRODUCTION OF

Music and Lyrics by

Lin-Manuel Miranda, Opetaia Foa’i & Mark Mancina Book Adapted by

Susan Soon He Stanton Music and Orchestrations Adapted and Arranged by

Ian Weinberger

Based on the 2016 Disney film Moana Licensed exclusively by Music Theatre International (Australasia)

By

10 - 24 JULY IN C OLLA B OR A TI ON WI TH

I N COL L A B O R A T I O N WITH

NICK DEAR

f rom the nove l by

MARY SHELLEY

I n col l aboration w ith N ATI ON A L ACA D E M Y

OF SI N GI N G & D R A M ATI C A R T (N A SDA)

SHOW S P O NS O R

S HO W S PO NS O R

OUR VALUES M Ā IA T A N G A C O UR A G E O US EXECUTIVE Chief Executive Barbara George Artistic Director Daniel Pengelly General Manager Susan Rendall Chief Financial Officer Paul Dawson

MANAAKITANGA W ELCOMING

W HĀNAUNGATANGA B E LON GIN G

Administration Fiona Haines Customer Experience Administrator Erin Hills Communications Assitant Tyler Jones Set Construction Nigel Kerr

SENIOR LEADERS

Graphic Designer Lynette Lamprecht-Smith

Production Manager Flore Charbonnier

Costume Manager Deborah Moor

Marketing Manager Mally Goldberg

Customer Experience Box Office Rebecca Radcliffe

Kaihautū Ahurea Vanessa Gray Artistic Adviser / Lead Director Ross Gumbley Interim Education & Outreach Manager Riley Harter Food and Beverage Manager Petra Laskova Sponsorship Manager Layla Moutrib Customer Experience Manager Rachel Vavasour COMPANY Deputy Production Manager Erica Browne Head Stage Manager Jo Bunce Project Manager Tom Clisby Set Construction Seth Edwards-Ellis Accountant Claudia Fe Jambalos Construction & Premises Manager Bryce Goddard Campaign Assistant Ruchika Gulati

Costume Technician Daniella Salazar House Technician Matt Short Jesters Manager (Artistic) Trubie-Dylan Smith Properties Manager Julian Southgate Head Technician Giles Tanner Set Construction Richard van den Berg

Hillary Moulder Henri Nelis Daniel Pengelly Ciarán Searle Jarred Skelton Andrew Todd Gabby Wakefield Vanessa Wells Jester Musicians Deen Coulson Katie Cowan Frankie Daly Kris Finnerty Criss Grueber Andy Manning Hamish Oliver Jack Page Jester Apprentices Selwyn Gamble Eleri Griffiths Lauren Heaysman Benjamin Kent James Kupa Rosie Maguire Hannah Dougall Maddy McZant Mikaela Ruegg Hamish Thomas TRUST BOARD

Client Manager Andrea Winder

Chair Tony Feaver

Theatre Chaplain David Winfield

Secretary Susan Rendall

COURT JESTERS

Board Annie Bonifant Erin Jamieson David McBrearty Anne Newman Georgina Toomey Steven van der Pol Steve Wakefield

Brendon Bennetts Emma Brittenden Kathleen Burns Jeff Clark Emma Cusdin Trubie-Dylan Smith Kirsty Gillespie Criss Grueber Millie Hanford Maddie Harris Riley Harter Robbie Hunt Aaron Jelley Scott Koorey

FOUNDATION BOARD Chair Catherine Boyer Secretary Laura Palomino de Forbes

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K O TAHI TANGA ON E TE A M Treasurer Christopher Weir Board Hall Cannon Tina Duncan Cilla Glasson David McBrearty FRIENDS OF THE COURT THEATRE Patron Dame Adrienne Stewart DNZM, QSM

Chair Annie Bonifant Deputy Chair Allanah James Secretary Charles Duke Treasurer Lynn Vandertie Membership Secretary Jay Pollock Committee Pat Braithwaite Wendy Carryer Tony Feaver Cheryl Colley John McSweeney David Winfield ASSOCIATES Bryan Aitken Stuart Alderton Paul Barrett Judie Douglass Tony Geddes Derek Hargreaves MNZM Joe Hayes Geoffrey Heath Elric Hooper MBE Maurice Kidd Avril Lockhead Yvonne Martin Lynda Milligan Eilish Moran Stewart Ross FELLOW OF THE COURT John Harrison ONZM

IT'S ALL HAPPENING

is an awar with an international reputat design

PROOFS FOR SELECTION FOR MEDIA RELEASE - NOT FOR CIRCULATION

is an award-winning with an international reputation for int design

PROOFS FOR SELECTION FOR MEDIA RELEASE - NOT FOR CIRCULATION

NEWS

Haworth Tompkins selected by One Housing fo

NEWS

Picture yourself on opening night, a glass of fine wine in your hand, waiting in anticipation Haworth Tompkins selected by One Housing for Kingsbridge Esta and excitement for the bing bongs to announce the doors are open, for the first time, to the 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: • The Court Theatre helps us keep ticket prices accessible for our community, so that as many people as possible can enjoy our productions.

• The Court Education Programme enables us to positively impact the lives of children and adults through classes, performances and workshops.

• The New Court in the City will ensure that generations of theatre lovers will continue to gather at The Court to share stories, laughter and life.

Prefer to donate online? Simply visit courttheatre.org.nz/donate or contact us at donations@courttheatre.org.nz WORK: Liverpool One

We can’t wait to welcome you to our new home!

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WORK: Liverpool One

HOURUA WHAKAIHUWAKA PRINCIPAL SPONSOR

SE A SON SPONSOR

CORE FUNDER

MEARES WILLIAMS LAWYERS

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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

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ROUROU – SMALL BASKET

Whatever your occasion, there’s a Giesen wine

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SMOOTH.

GENEROUS.

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