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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.
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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 -
Continued on page 16>>
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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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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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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.
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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
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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! 44 11
WORK: Liverpool One
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CORE FUNDER
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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
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LEADERSHIP
Gabrielle Tasman John Rhind Ltd
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