Sense and Sensibility

SENSE AND SENSIBILITY

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NAU MAI HAERE MAI We are very pleased to welcome you to 2023 at The Court - a new year and a new start for us all after the last few challenging years.

I am proud to say that The Court has weathered the storms and our unique brand of theatre-making continues to go from strength to strength. If you were able to see RENT before we closed our season - with those last tickets becoming much sought after - then you will know how thrilled we were to bring you such an exciting production, with high energy and exceptional talent, night after night. Sense and Sensibility promises to similarly delight.

We welcome the first season by our newly appointed Artistic Director, Dr Alison Walls. While Alison stepped into the role on an acting basis a year ago, the Ryman Healthcare 2023 Season is the first chance we really get to see her vision and direction in full swing, with the exciting array of plays and musicals in the line-up - we hope you will get to as many as you can.

Our efforts to build our new home, in partnership with Christchurch City Council, are also beginning to bear fruit. The builder, Hawkins, is now on site on the corner of Gloucester and Colombo Streets, and our fundraising efforts are right on track to ensure the completion of an exciting new venue for exceptional Theatre for Aotearoa. Over the next few months you will be hearing much more about our future directions and, of course, start to see the new theatre itself take shape.

Once again, grateful thanks to all at The Court and all of our stakeholders and partners for being engaged and energised as we welcome our first production for 2023 by Ōtautahi Christchurch’s very own playwright, Penny Ashton. Thanks to Christchurch Casino for sponsoring this show, and thanks to you for being here and being part of it all.

Ka kite anō Barbara George Chief Executive / Tumu Whakarae

“...a new year and a new start for us all after the last few challenging years.”

WHAT IS THE MEASURE OF A FULL LIFE? At Ryman, we believe the measure of a full life is one that gets richer with age. A life where you can appreciate the little things.

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

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

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NGA MIHI NUI Sense and Sensibility is a theatrical riot of smart, funny women. First, Jane Austen, whose biting wit and protofeminist eye are often overshadowed by her addictive romantic narratives. There is a sly complicity to Austen; she credits her readers with intelligence but also gives us the ending we want (swoon)! Then enter Penny Ashton (with a nod to Ang Lee’s excellent 1995 film adaptation), who melds fabulous comedy with keen political awareness. Penny lends a contemporary energy to her theatricalisation of Austen’s 1811 novel and highlights the relevance of the Dashwood women - denied economic freedom and subject to double-standards without skimping on the fun or romance.

Penny is known for her solo theatrical adaptations, but Sense and Sensibility is entrusted to another smart, funny woman - Director, Hillary Moulder - who has in turn brought together a cast of six brilliant women (plus three fantastic understudies), who nimbly embody 22 distinct characters in a delightful whirlwind of scenes. Hillary is familiar to Court audiences through her work as a performer and choreographer and it is exciting to see her bring those skills to the direction of Sense and Sensibility.

“...a wild, smart and fun play...”

The design team demonstrate their inventiveness and meticulous attention to detail. Julian Southgate’s set cleverly and beautifully draws on Georgian theatricals all illuminated, of course, by Giles Tanner’s skilled lighting design. Tina Hutchison-Thomas’ costumes showcase her knowledge of the era, with ingenious devices that transform the characters in a moment. Matt Short’s sound design includes original composition, period pieces, period-takes on pop and evocative sound effects. The complexity of a production such as this depends too on the dedicated expertise and care of Stage Manager Jo Bunce and our incredible production team.

Sense and Sensibility is a wild, smart and fun play and I hope you will relish every detail.

Dr Alison Walls Artistic Director / Pou Kaitohu Toi

SENSE AND SENSIBILITY

BY PENNY ASHTON

FROM THE NOVEL BY JANE AUSTEN

CAST

CREW

Role

Performed by

Director and Choreographer Hillary Moulder

Mrs Henry Dashwood, Butler, Mrs Charlotte Palmer, Frip, Mr Robert Ferrars

Eilish Moran

Elinor

Bianca Paine

Marianne

Natasha McAllister

Mrs Jennings, Edward, Willoughby, Mr John Dashwood

Kathleen Burns

Margaret Dashwood, Colonel Brandon, Harry Dashwood, Mr Palmer, Miss Lucy Steele

Rebekah Head

Costume Designer Tina Hutchison-Thomas

Fanny Dashwood, Henry Dashwood, John Middleton, Miss Grey, Dr Harris, Thomas

Kim Garrett

Sound Designer Matt Short and Hillary Moulder

Understudy: Elinor, Margaret Dashwood, Colonel Brandon, Harry Dashwood, Mr Palmer, Miss Lucy Steele

Isayah Snow

Sound Operator Matt Short

Understudy: Mrs Henry Dashwood, Butler, Mrs Charlotte Palmer, Frip, Mr Robert Ferrars, Fanny Dashwood, Henry Dashwood, John Middleton, Miss Grey, Dr Harris, Thomas

Louise Frost Glossop

Lighting Designer Giles Tanner

Understudy: Marianne, Mrs Jennings, Edward, Willoughby, Mr John Dashwood

Connie O’Callaghan

Set and Properties Designer Julian Southgate Director’s Mentor Melanie Luckman

Lighting Programmer Darren McKane Stage Manager Jo Bunce Assistant Stage Manager Greta Casey-Solly Dresser Lily Bourne

Acknowledgements and Additional Credits

We thank the entire Court Theatre whānau for their exceptional work and dedication in producing this play. Also: Scarlett Letters; Charlie Rose Creative; Ilam Gardens and Homestead; Michael Nicholas Williams; Michael Bell.

Rigging / LX – Jacob Fagan, Jacob Pratchett, Ruari Boyd, Isla McClarin, Seamus Moran-Tanner, Haydon Dickie, Geoff Nunn and Rosie Gilmore.

Proudly printed by Caxton

RUNNING TIME: Two hours, including a 20-minute interval VIDEOTAPING AND PHOTOGRAPHY: The videotaping and photography of this production is strictly forbidden.

Sense and Sensibility was produced by The Court Theatre 11 February – 11 March 2023

Costume Construction Daniella Salazar Findlay Currie Annie Graham Tracey Hollands Louise Galloway Pauline Laws Wig Styling Sarah Greenwood-Buchanan Set Construction Nigel Kerr Richard van den Berg Seth Edwards-Ellis Richard Daem Andrew Scott Matt McCutcheon Properties Assistant Rochelle Wright

PENNY ASHTON AUTHOR

Ōtautahi’s own Penny Ashton has been touring the world for over 20 years, having performed over 1,000 solo shows and selling out from Edinburgh to Edmonton to Mosgiel. She has represented New Zealand in Theatresports and performed Slam Poetry at The Glastonbury Festival.

In 2008 she devised the improvised Austen Found: The Undiscovered Musicals of Jane Austen and her happy collaboration with Austen began. In 2013 she wrote her first solo Austen musical Promise and Promiscuity and later, her Dickensian romp, Olive Copperbottom.

These literary musicals continue to tour successfully, including a 2023 10th anniversary tour for Promise and Promiscuity, no doubt surprising the University of Canterbury where she dropped her English major ASAP after her first classes. Penny is also a social commentator and wedding celebrant and is currently writing The Tempestuous, a new solo Shakespearean comedy. She would like to thank her Mum and Dad for all those tickets to The Court Theatre in the 1980s.

Writer’s Note on the Play “When asked to adapt a classic for The Court I knew it had to be Sense and Sensibility as I have always loved its eloquence, romance and hilarious spinster shade. So I set about transferring all of that onto six women who will play 22 of Austen’s beautifully drawn characters.

I chose to write this for women only as an homage to the brilliant Jane herself, who struggled her whole adult life to be published due to her sex. When she was finally published in 1811 aged 35, her name was not listed as the author, it being unseemly for a gentlewoman. By 1815 even the Prince Regent was a fan, but by 1817 she was dead. Her gravestone does not even mention her books.

And so I choose women to celebrate Austen, who was denied so much because she was one. And I cannot wait to see this glorious cast and crew bring her wit and sparkle to life.”

Penny

“...I have always loved its eloquence, romance and hilarious spinster shade.”

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KIA ORA

Well, here we are with a brand-new adaptation of an Austen classic. Brandnew play, brand-new Director. Six women, 22 characters and several locations.

She’s a big job. One which I am thrilled to have taken on. I mean, we all know the characters in this play - the concerned mother; the emotional 16-year-old; the bad boy you should have never dated; the sister or friend that is your ride or die. Top that off with a massive economic divide, respiratory infections, affordable housing shortages, budgeting to survive and it all becomes very relevant.

The themes of love and security, hope, loss, inequality, money, family, all ring true for many of us in current times and this play most definitely has them at its core.

My hope was to create waves of joy for all the senses, and I mean ALL the senses.

Theatrical Georgian delights, Grecian influences, Fuseli’s paintings - all provided great inspiration, as did music, on this journey. So much fun was had in the exploration of bringing Austen’s characters to life with humour and bold physicality. I am truly proud of what we have achieved and created from the page to the floor and, finally, to the stage.

“...bringing Austen’s characters to life with humour and bold physicality.”

I cannot put in words how thankful I am for the opportunity and responsibility The Court Theatre has given me in directing this play. I am privileged beyond belief to work with such a phenomenal creative team, cast and crew in which I felt trust, support and love throughout the entire process. It takes a team of many to put on a show and I thank you all.

A very special thanks to my beautiful family and the wonderful humans in my life who encourage, support, inspire, love and believe in me. You know who you are and I love you dearly.

My sense and sensibilities were in full swing on this crazy ride and it will be hard to get off and onto another. I sincerely hope you enjoy all that is on offer for your viewing pleasure.

Hillary Moulder Director

THE RECREATION OF A GEORGIAN STAGE upcoming show in the Ryman Healthcare 2023 Season is one of Julian’s dream shows to design for - stay tuned to see which one!

The set he has designed for Sense and Sensibility is a recreation of a theatre of the Georgian era, requiring the shape of the thrust stage to create intimacy and be close to the audience. Inspiration for the design came from Drottningholms Slottsteater (Drottningholm Palace Theatre) in Stockholm, Sweden, and reflects the theatres of the early 19th century.

Set design model by Julian Southgate

When he took a costume helmet home from a 1994 outdoor performance of Shakespeare’s A Midsummer Night’s Dream to fix it, Julian Southgate probably couldn’t have predicted that this would lead him into a career in props and set design spanning nearly 30 years (and counting).

The design process involved working closely with Director Hillary Moulder to ensure the set would be fit-for-purpose and work with the choreography and movement in the show. The postponement of the show from 2022 meant ideas and designs were conceptualised over a longer than normal timeframe.

Julian has designed numerous Court Theatre sets and also manages the Theatre’s thousands of props. Many of these props are repurposed for multiple shows, sourced second-hand from vintage stores or online, or created from scratch. The horse and sheep seen in Sense and Sensibility have lived several lives, including being rescued from The Court’s previous home in The Arts Centre after the 2010 / 2011 earthquakes.

“...backdrops are used to create a mood or feeling, rather than the actual replication of the setting itself.”

Julian’s favourite part of the job is the opportunity to try his hand at many crafts and, if something doesn’t work the first time, to try something new until he gets it perfect. His favourite set designs include the intimate and immersive Year of the Rat at The Forge, when The Court was in The Arts Centre, and End of the Rainbow, which featured the band on a revolving platform as scenes changed. An

To create the set, design sketches are first created and a scale model of the set is built (you may have seen some from past shows in the Court foyer!) The entire set is then constructed from the ground up here at The Shed, with the workshop team building the Georgian world of Sense and Sensibility while 1990s New York filled the stage in RENT.

For Julian, a highlight of bringing the Georgian era to life is the freedom to use theatrical techniques that have been long unused but are fun to play with and bring joy to the actors and the audience. Examples are placing the set and props on a shrunken-down stage (only half of the depth of the actual stage is used) which is thrust toward to the audience, adding to the comedic nature of this play.

As Sense and Sensibility features a number of settings, from Norland Estate to London to the Devonshire countryside, backdrops are used to create a mood or feeling, rather than the actual replication of the setting itself. This choice is also reflective of Georgian theatres, where flat scenery provided a backdrop, but wasn’t interacted with by the actors in the same way we see in modern theatre.

While the stage design helps bring 1811 to life for 21st century audiences, theatre-going has changed dramatically; it used to be very

Set model by Julian Southgate

common for audiences to arrive late, talk throughout the entire performance and have their footmen courier gossip between patrons during shows! We’d prefer that you sit back, appreciate the talent and creativity on show, and simply enjoy a most excellent play.

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HILLARY MOULDER DIRECTOR AND CHOREOGRAPHER

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

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

Hillary’s Court Theatre acting credits include Chicago (Hunyak); Jesus Christ Superstar (Ensemble / Dark Angel); Jersey Boys (Female Understudy / Dance Captain); Time Machine (Professor); Les Liaisons Dangereuses (Madame Volange); Escape from Haunted House (multiple characters); A Christmas Carol and A Streetcar Named Desire (Eunice). She also choreographed Ladies Night, Once and Flagons and Foxtrots.

Hillary’s other works include Matilda (Choreographer / Mrs Wormwood, Showbiz Christchurch); Beauty and the Beast The Pantomime (Sydney the Wicked Witch, GMG Productions); A Fine Romance (JTM Productions AUS); Bechdel Test; Severely Queer - a Little Cabaret and He Says, She Says (Blackboard Theatre Collective); Chats with Pat (Producer and Director); Nine (AMT); Shortland St; Oliver; Me and My Gal; Alice in Wonderland; The Wasps and Hamlet. She has performed with Disneyland Paris and The Royal New Zealand Ballet, and has been an improviser with the Court Jesters.

Sense and Sensibility will be Hillary’s directorial debut, for which she is extraordinarily grateful.

“Sense and Sensibility will be Hillary’s directorial debut....”

CAST

Eilish Moran

Bianca Paine

Natasha McAllister

In 1969, Eilish first tiptoed onto the stage at the age of four in Dame Ngaio Marsh’s production of A Midsummer Night’s Dream. She joined The Court Company at 18 as a student actor and since then has become a regular on The Court’s stage.

Bianca is a graduate of The Actors’ Program New Zealand (Diploma of Stage and Screen Acting).

Natasha is a graduate of Wellington Performing Arts Centre (WPAC; Bachelor of Performing Arts). Based in Te Whanganui-a-Tara (Wellington), Natasha is often seen at Circa Theatre where her most recent theatre credits include Pinocchio and the title roles of The Little Mermaid; Cinderella and Alice in Wonderland.

She has appeared in 80 productions at The Court.

Some of her favourites include August: Osage County; Homeland; Suddenly Last Summer; Dancing at Lughnasa; Travesties; Cabaret; End of the Rainbow; Blood Brothers; Ropable; Chicago; Titus Andronicus; In The Next Room, or The Vibrator Play; Les Liaisons Dangereuses; The Pink Hammer and Flagons and Foxtrots.

Her television and film credits include the drama series Hope and Wire on TV3 and the short film Run Rabbit, directed by Robyn Paterson.

Eilish is an Associate of The Court Theatre.

Her previous theatre credits include Chicago (The Court Theatre); The Children’s Midsummer Night’s Dream (Pop-up Globe) and Michael Jackson ONE (Cirque du Soleil).

Bianca’s television credits include Shortland Street, The Panthers and the most recent Commercial Bay campaign.

She has had an exceptional dance career, both in New Zealand and the USA. Dancing under Emmy Award winning choreographer Parris Goebel for four years, she became a World Champion, winning one Bronze and two Gold medals at the World Hip Hop Championships (Las Vegas). She also performed in Cirque du Soleil’s Michael Jackson ONE for three years in Las Vegas.

Alongside being the cochoreographer for Circa’s annual pantomime, Natasha enjoys choreographing numbers for musicals, drag shows and pop concerts such as The Tiwhas! (Circa); Purple People Eater (Cuba Dupa, WITCH) and Underscore (Te Auaha, WITCH).

Her favourite roles include Amber Von Tussle (Hairspray, MM Musicals, London); Chris Harginson (Carrie: The Musical, WITCH, Bats) and Liliane La Fleur (Nine, WPAC).

This is Natasha’s first Court Theatre show, and she is looking forward to spending her summer with a team of incredible artists.

Kathleen Burns

Rebekah Head

Kim Garrett

Kathleen began her career as a Court Jester in 2003 and still performs in Scared Scriptless.

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

Rebekah is a graduate of the National Academy of Singing and Dramatic Art (NASDA; Bachelor of Performing Arts).

Kim is a graduate of the National Academy of Singing and Dramatic Art (NASDA; Bachelor of Performing Arts, Acting).

Her previous Court Theatre credits include Ladies Night; Educating Rita; The Curious Incident of the Dog in the Night-Time; Steel Magnolias; The Pink Hammer and RENT. Her other theatre credits from around the country include A Servant to Two Masters; Under Milkwood; Cinderella and The Little Mermaid (Circa Theatre); Avenue Q; Five Women Wearing the Same Dress and Flagons and Foxtrots (Fortune Theatre); Perfuct Storm; Dungeons and Comedians and Feminist Yarns with Kathleen Burns (Little Andromeda).

Kathleen’s screen credits include Sextortion (TVNZ); Working Class; Ghost Shark 2 and the soon-to-be-released The Push.

Kathleen made her mainstage directorial debut with Flagons and Foxtrots at The Court Theatre in 2022.

Her previous Court Theatre credits include Cops and Robbers; The Little Mermaid and The Ugly Duckling.

Her other theatre credits include Beauty and the Beast - The Pantomime (GMG Productions); Toys (Little Andromeda); Wicked (Showbiz Christchurch, Invercargill Musical Theatre and NPOS); Peter and the Wolf (SILO Theatre / Singapore International Festival of Arts); Glenn Miller and The Andrews Sisters (Operatunity) and The Importance of Being Earnest (New Zealand Playhouse).

Her television credits include Sweet Tooth (Pilot), Custard’s World (HEIHEI / TVNZ+) and What Now (Whitebait Media).

Rebekah is a co-founder of the Ōtautahi-based company, Tusk Puppets, and is a proud member of Equity New Zealand.

Her previous Court Theatre credits include August: Osage County; White Rabbit, Red Rabbit; Shepherd; Le Sud; Romeo and Juliet; Exit the King; Mary Poppins; Macbeth; Waiora; Legally Blonde the Musical; He Kura E Huna Ana and The Father. Kim has also been involved in many Court Theatre children’s shows and school touring productions.

Her other theatre credits include The Maids; Duck; The Slapdash Assassin and The Motor Camp (Fortune Theatre); Putorino Hill (Taki Rua), for which she received a Chapman Tripp Award nomination for Best Supporting Actress in 2014, and Hairspray (Showbiz Christchurch).

Since June 2018 Kim has been appearing as Te Rongopai Rameka in Shortland Street.

Isayah Snow

Louise Frost Glossop

Connie O’Callaghan

Isayah (Ngāi Tahu and Ngāti Kahungunu) is a Christchurchbased performer from West Auckland.

Louise is a graduate of The London Academy of Music and Dramatic Art (Diploma in Classical Acting) and Victoria University of Wellington (BA in Theatre and Film and English Literature). She also has LTCL in Speech and Drama.

Originally from the West Coast, Connie is a graduate of the National Academy of Singing and Dramatic Art (NASDA) with a Bachelor of Performing Arts, Musical Theatre.

She was previously involved with The Court Youth Company in 2019 / 20, performing in several shows including Boudicca and Jekyll and Hyde. Other theatre credits include White Rabbit, Red Rabbit and Reminisce (Little Andromeda); and Love and Information (Dramasoc).

Isayah recently had a small role in the Christchurch-filmed feature Te Motu.

This is Isayah’s first professional theatre role and she looks forward to being on standby to support her cast-mates in this new COVID climate.

Her previous Court Theatre credits include Gypsy; Daughters of Heaven; Private Lives; Shadowlands; A Day in Hollywood / A Night in the Ukraine; Larnach – Castle of Lies; Big River; Arcadia; She Stoops to Conquer; She Loves Me and The Wind in the Willows. Other theatre credits include The Importance of Being Earnest and Hay Fever (Scriptease Productions).

Louise has directed and produced two musicals with Enchanting Productions – The Secret Garden in 2021 and, last year, A Little Night Music, working with musical director Mark W. Dorrell. Louise also teaches drama and musical theatre, and sings with Conspiro.

Her previous Court Theatre credits include The Princess and the Frog (and the Robber!) and Flagons and Foxtrots. Her other theatre credits include Red Robyn Riding Hood; Shakespeare as you Write it; Chilled; Rumpelstiltskin and The Emperor’s New Clothes (New Zealand Playhouse); and Cancel Santa (Little Andromeda).

When she’s not on stage, Connie works as a technician at Little Andromeda Theatre.

This is Connie’s second understudy role at The Court Theatre and she is very grateful to be back again.

CREW

Julian Southgate SET DESIGNER

Julian has designed numerous Court Theatre sets including Babylon Heights; Year of the Rat; Skin Tight; Baghdad, Baby!; Blackbird; Kiss of the Spiderwoman; The Tutor; Heartbreak House; Angels; The Perfumed Garden; Side by Side by Sondheim; Much Ado About Nothing; Pacific Post; The Women; Amadeus; End of the Rainbow; The Hound of the Baskervilles; Plum; Le Sud; Romeo and Juliet; Exit the King; In the Next Room, or The Vibrator Play; Hedwig and the Angry Inch; The Wind in the Willows and A Streetcar Named Desire.

Julian has also made props and sculpture for numerous Court Theatre productions, festivals, operas, and outdoor and street theatre.

Tina Hutchison-Thomas

Matt Short

COSTUME DESIGNER

SOUND DESIGNER AND OPERATOR

Tina’s costume design credits for The Court Theatre include Kings of the Gym; Snap!; When the Rain Stops Falling; Ache; Plum; Stag Weekend; Shepherd; Romeo and Juliet; Exit the King; Badjelly the Witch; Macbeth; The Streaker; The Curious Incident of the Dog in The Night-Time; Titus Andronicus; Ideation; Mum’s Choir and RENT.

Matt began his career working in marketing for a major London record label. He has since worked in broadcast television and other media platforms.

Her other recent costume design work includes Beauty and the Beast and Cinderella (GMG Productions); Barber and Bernstein Double Bill and Suor Angelica (Toi Toi Opera); Sweet Adelines International – Waikato Rivertones and A Midsummer Night’s Dream (The Barden Party). She was the Costume Co-ordinator / Standby for a recent locally made feature film with Piki Island.

Tina is a multi-award winner in the World of Wearable Art.

Matt returned to New Zealand to co-film, record sound and compose music for an adventure guide series for TVNZ. Over the last ten years he has composed music and designed sound effects for many major brand advertising and marketing films.

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

Giles Tanner

Jo Bunce

Greta Casey-Solly

Giles is a graduate of Hagley Theatre Company (Diploma in Performing Arts), where he concentrated on technical production, and holds a Bachelor of Arts in Political Science and Philosophy from the University of Canterbury.

Jo graduated from Toi Whakaari: New Zealand Drama School with a Diploma in Technical Production in 1996 and has been working in theatre for over 25 years. She freelanced for many years in Wellington as a lighting designer / operator and stage manager, as well as working overseas in London and Edinburgh and in film. She was an on-set production assistant for King Kong.

Greta is a graduate of the National Academy of Singing and Dramatic Art (NASDA; Bachelor of Performing Arts) and the International Institute of Modern Letters, Victoria University Wellington (Master of Arts).

LIGHTING DESIGNER

Experienced in lighting and sound, Giles started working with The Court in 1995 as a casual technician. After operating his first co-production in 1996, Giles became House Technician in 1998.

Currently Head Technician at The Court Theatre, Giles has worked on more than 50 Court productions including Amadeus; Hui; When the Rain Stops Falling; Blood Brothers; Constellations; Macbeth; Educating Rita; The Little Mermaid; Waiora: Te U Kai Po - The Homeland; The Events; Ropable; Venus in Fur; Titus Andronicus; In the Next Room, or The Vibrator Play; Stephen King’s Misery; Astroman; Hedwig and the Angry Inch; The Father; Fresh Off the Boat; The Wind in the Willows; A Streetcar Named Desire; The Girl on the Train and Flagons and Foxtrots.

STAGE MANAGER

Jo is the Head Stage Manager at The Court Theatre and has been involved in over 50 Court Productions going back to 1996, including The Motor Camp; End of the Rainbow; The Hound of the Baskervilles; Blood Brothers; One Man, Two Guvnors; Shepherd; Constellations; Niu Sila; Waiora; The Events; Ropable; Steel Magnolias; Venus in Fur; Easy Money; Ideation; Stephen King’s Misery; Elling; Time Machine; Les Liaisons Dangereuses; The Arsonists; Fresh Off the Boat; A Streetcar Named Desire; Ladies Night; Frankenstein; The Girl on the Train and Flagons and Foxtrots.

ASSISTANT STAGE MANAGER

Her previous Court Theatre credits include Legally Blonde the Musical; Snow White and The Wind in the Willows.

Greta has spent the last two years working with WITCH Music Theatre in Wellington on projects such as Sweeney Todd; ROXY and The July Project in the capacity of actor, director and choreographer.

Returning most recently to The Court Theatre as a Teaching Artist and joining the crew of RENT, Greta has enjoyed coming home to her Court Theatre whānau and is looking forward to joining the incredible team in the season of Sense and Sensibility!

Greta is a proud member of Actor’s Equity.

Designs by Tina Hutchison-Thomas

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SPILLING THE TEA… A Q&A WITH TINA HUTCHISON-THOMAS, COSTUME DESIGNER What led you into costume design?

After high school, I went to Ara and studied Clothing, Fashion and Design. During that course, there was a tiny section about the history of fashion that I really enjoyed. By the end of the diploma, I decided fashion wasn’t for me, and history of fashion and costume interested me more. As a kid I always used to draw ladies with pointed bodices, puffed sleeves and full skirts, so maybe I subconsciously already knew what my path was going to be. In high school my strength was in sewing, and I also studied history and art, so I think it was a natural step.

How do you usually start your design process?

It all starts with the script and the director’s vision.

The connection with set, props, lighting and sound are all aspects that influence how I design a show. This collaboration, which starts months in advance, is followed by loads of research including books, Pinterest, art, media and looking at colours and textures. All of this combined becomes my inspiration for the design.

Was this production different?

This production was slightly different, because the designs were already there from the initial planned programming of the show (for the 2022 season) before COVID hit us. I wanted to be respectful of the work that had already been put into place by my colleagues and therefore continued the process with that in mind.

A big difference with this production is that all 22 characters are played by only six female actors. The outfits of the male characters need to be tailored to a female body and they must be able to make extremely quick changes on stage. At one point in the performance an

actor is on stage as two personas; it’s a fun creative challenge to combine two looks into one moment!

How do you come up with designs to fit each character?

The starting point is the script and the overall creative vision. When I get to understand the characteristics of each role, I can start thinking of colours, fabric choices and all the accessories that make the character come to life.

For instance, for some less favourable characters in the play this translates into darker tones, such as blacks and purples, in their costumes. The pattern we created for a coat even hints of reptile skin. We also need to remember that sewing machines hadn’t been invented in the era we’re presenting, so we try and be as authentic as we can in that regard as well.

Do you have to think about costumes differently than street fashion?

While researching the Georgian era I noticed that there were no front closings on many fashions of that time. For our actors, clothing needs to be practical to enable a rapid change of character, so many of the costumes do have front closings, but they are built in such a way that it doesn’t appear that way in the detailing.

Everything is attached together so the actor can change it in one go. Belly paddings etc. are integrated into the costumes; even the wigs are stitched into a bonnet or hat for the exact same reason. Poppers, magnets, and ties are our friends!

In general, the main difference is the fabric type, the thread and how we stitch the costumes. A much stronger thread is used for costuming because of the demand put on

costumes during a performance. Some fabrics we use are drapery and upholstery fabrics and costumes need to be made in a certain way as well, so they can be resized for future productions. Luckily, for this play, I was able to source a lot of material from The Court Theatre’s fabric supply, so we didn’t have to buy as much.

How big is the team creating the costumes?

We have our permanent team, Daniella and Findlay, working on it full-time. In addition, we also have three casual costume technicians because of the volume and complexity of this build. And before Christmas we had a fantastic pattern maker creating all of the patterns, so we were ready to get into it from day one of rehearsals. Normally I am less involved in the practical part of the costume creation, but because of the amount of work that needs to be done, and the technical challenges, it’s all hands on deck.

What is the funniest thing that ever happened while working on costume designs?

There is one moment that comes to mind straight away, but I’d rather keep that one off the record. What I can say is that there is great joy when you see an actor during the fittings slipping straight into character. An instant transformation appears in front of you, which can lead to hilarious situations.

What is your favourite part of bringing the Georgian era to life?

I love doing the research as I have a natural interest in history and fashion. The fabric choices, colour palettes for the characters and seeing the collaboration come to life on stage.

The delicate nature of the era, empire lines, flowing fabrics and precise tailoring are just a few wonderful aspects from the period. It is the collective vision that shines through in the end; that would probably be my favourite part.

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Sense and Sensibility

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Te Kuia me te Pungawerewere

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