Strictly Ballroom Programme

KERI

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Tēnā koe, As our time in The Shed comes to an end, we felt that there was no better way to celebrate this moment than with the fullon explosion of glitz, glamour, vibrancy and fun that is Strictly Ballroom The Musical sponsored by PwC. The Shed, as our temporary Addington home has become known, has been a superb place for the people of Christchurch and Canterbury to come and join with us to create, share, enjoy and participate in theatre in all its many forms. There have been tears, laughter, fellowship and friendship but after thirteen years our time here is coming to an end.

I would like to thank everyone that has supported us during our time in The Shed and especially those who were instrumental in helping us get the doors open back in December 2011. So many of you contributed that while I’m unable to name everyone individually in this message, I warmly encourage you to take a moment to read the donor boards as you exit the auditorium.

2025 will be a significant milestone in the history of The Court Theatre as we celebrate taking up residence in our much anticipated and long hoped-for purposebuilt home in the heart of Ōtautahi Christchurch. On Saturday 3rd May 2025 we plan to welcome audiences to our new theatre with Bruce Mason’s celebrated work The End of the Golden Weather.

It has been a long journey to arrive at this point. Since the establishment of The Court Theatre in 1971 by Yvette Bromley

and Mervyn Thompson, there have been hopes and dreams for a permanent venue in which we might put down roots. I would like to acknowledge the many people that have contributed over the years to help us reach this moment, and particularly Philip Aldridge (Chief Executive 2005 2018), Ross Gumbley (Artistic Director 2006 - 2019) and the Trustees who were tenacious in championing the vision of a new home for The Court Theatre in the period following the 2011 earthquakes.

I would like to thank Ryman Healthcare our 2024 Season Sponsor, show sponsor PwC as well as our core funders, Creative New Zealand and Christchurch City Council.

I would especially like to thank you, our audiences, for your unfailing support over the past 13 years and I look forward to welcoming you to our brand-new home in the heart of the city very soon.

Ngā mihi nui, Gretchen La Roche Executive Director

Enjoy the show!

As a long standing partner of The Court Theatre, we’re proud to support Strictly Ballroom The Musical.

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Baz Luhrmann’s Strictly Ballroom The Musical is all about fun. Many of us remember the film, and the delight of Fran and Scott’s love story, their individual journeys of self-discovery and empowerment, and the fabulous and fierce competition of the ballroom dancing world, all laced with warm Australian humour. Luhrmann’s directorial work has always been inspired by theatre, dance, and music (including opera) and in this musical adaptation of his adored film, this is given full rein in what has become the iconic Luhrmann style. It is wonderfully OTT; lavish, funny, and romantic all at once.

We are thrilled to welcome back past collaborators, director, Benjamin KilbyHenson, music director, Richard Marrett, and choreographer, Kira Josephson, and to have celebrated ballroom dancer Jonny Williams work with us for the first time as our specialist ballroom choreographer.

With the designers, who are similarly at the height of their powers, this creative team demonstrates an excellent and joyful understanding of genre. They have leant into the maximalist style with no shortage of sequins, flashy dance moves, drama, romance, or comedy! Daniel Williams’ set design also pays homage to The Shed in this last musical on its stage. Luhrmann’s iconic red velvet curtain and the neon and sparkle of 1980s ballroom combines with the brick and steel of The Shed.

The cast have worked tirelessly, extending their already significant skills into a heightened, musical theatre version of ballroom. Strictly Ballroom The Musical is generously entertaining; its froth and sparkle elevated by complex music and dance. This is live performance, and that includes a live band, ingeniously hidden within the set. Everything you see and hear tonight represents phenomenal professional skill. We are only able to bring this level of talent, creativity, and hard work

to our stage with significant support from our season sponsor, Ryman Healthcare, from longstanding sponsor PwC, who have embraced sequined glitz as show sponsor of Strictly Ballroom The Musical, and from our core funder Creative New Zealand. Our warm gratitude goes to our patrons and audiences. We are delighted to share this joyous tribute to love, music, and dance with you all.

Alison Walls Artistic Director

Created by BAZ LUHRMANN Book by BAZ LUHRMANN & CRAIG PEARCE Adapted by TERRY JOHNSON Introducing new musical numbers by DAVID FOSTER, SIA FURLER, ISAAC HASSON, BERNIE HERMS BAZ LUHRMANN, MOZELLA, THERON FEEMSTER CRAIG PEARCE, EDDIE PERFECT, LINDA THOMPSON, ELLIOTT WHEELER Orchestrations by SIMON HALE

BY ARRANGEMENT WITH ORiGiN™ THEATRICAL ON BEHALF OF GLOBAL CREATURES HOLDINGS PTY LTD Running Time: approx. 2 hours 25 minutes (including 20-minute interval) Strictly Ballroom The Musical staged at The Court Theatre 23 November 2024 to 1 February 2025

Cast: Scott Rania Potaka-Osborne

Fran Lucy Sutcliffe

Doug Jonathan Martin

Shirley Jessie Lawrence

Barry Roy Snow

Les, Understudy Doug, Rico & Merv Cameron Clayton

J.J. Kristian Lavercombe

Rico & Merv Noah Missell

Abuela & Penny Camila Leal Rossi

Tina Monique Clementson

Liz Sophie Harris

Ken & Understudy J.J. Ben Freeth

Wayne & Understudy Ken Isaac Pawson

Vanessa & Understudy Abuela Tiahli Martyn

Nathan, Ensemble & Understudy Wayne Olly Humphries

Pam, Ensemble & Understudy Shirley Hillary Moulder

Ensemble & Understudy Fran Brylee Bucher

Female Swing & Understudy Tina, Liz & Vanessa Kira Josephson

Male Swing & Understudy Barry, Les & Nathan Jeremy Hinman

Ensemble & Understudy Scott Bryn Monk

Ensemble Iosia Tofilau

Luke Ethan Chittock

Natalie, Understudy Luke & Kylie Charlotte Howe

Kylie Kate Kelly

Creatives: Director Benjamin Kilby-Henson

Musical Director Richard Marrett

Choreographer & Intimacy Direction Kira Josephson

Specialist Ballroom Choreographer Jonny Williams

Set Designer & Costume Designer Daniel Williams

Costume Designer & Manager Daniella Salazar

Lighting Designer Grant Robertson

Sound Designer Glen Ruske

Properties Manager Julian Southgate

Stage Manager Louise Topping

Assistant Stage Manager & Sound Assist Haydon Dickie

Assistant Stage Manager Diana Lines

Production Manager Annie de Senna

Sound Operator Eve Curzon

Lighting Operator Darren McKane

Production Coordinator Emma Finlay Fight Choreographer Roy Snow Cultural Advisor Daniel Fernandez

Properties Assist Rochelle Wright

Set Construction and Workshop Manager Matthew Duffy

Rehearsal Pianist & Conductor Cover William Ernest

Wig Stylist Patrice Hammond

Dance Captain Hana Pearce

Makeup Consultant Jamie Boyd

Set Rigging Charlie Bosworth David Bosworth

Costume Construction Scotty Campbell Sarah Chisnall Findlay Currie Stella Gardner Rosie Gilmore Annie Graham Pam Jones Pauline Laws

Set Construction Kristin Clark Seth Edwards-Ellis Annie Graham (Sequin Curtains) Dean Holdaway Edward Roche

Orchestra: Conductor & Keyboard 1 Richard Marrett

Keyboard 2 William Ernest

Guitars Dougal Canard

Bass Richie Pickard

Drums Zak Williams

Percussion (Studio) Douglas Brush

Trumpet (Studio) Cameron Pearce

Saxophones (Studio) Gwyn Reynolds

Flute/Piccolo (Studio) Hannah Darroch

Clarinet/Bass Clarinet (Studio) Georgina Rees-Stevenson

Violin (Studio) Sarah McCracken

Keyboard Programming Nathan Firmin

Engineer (Studio) Thomas O’Connor

Engineer (Studio) Alistair Isdale

Home Video: Teenage Scott Cole Moffatt

Young Scott (Understudy) Basil Clarkson Young Scott Logan Golledge

Young Shirley Ava-Grace Haycock Young Fran Pearl Domigan

Acknowledgements: Charlie Rose of Charlie Rose Creative (Photography), Sam Bingham (Behind the Scenes Photography), Jem Anderson-Gardner of Commotion Studios (Videography and Show Reel), Sarah Rowan (Video Interview Editing), Sandra Roberts of Skip (Publicity), Craig Armitage of PwC New Zealand, Georgia Lassen, Simon Goudie of NASDA, Ara Institute of Canterbury, Craig Ogilvie of Showbiz Christchurch, David Bosworth of 4th Wall Theatre Services, Mara Valderrama and Joserra Sabín (Spanish language guidance), Beauty at Dukes (Cast Beauty Services), and Orange Studios.

Set sponsored by Coca-Cola Europacific Partners. Costumes sponsored by Neil and Kaye McKenzie.

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than 14 million copies worldwide. The Great Gatsby received two Academy Awards® for Art Direction and Costume Design, a BAFTA for production design and thirteen AACTA Awards, Moulin Rouge! won three Golden Globes® and received eight Academy Award® nominations, with Catherine Martin winning two for Art Direction and Costume Design.

Australia won four AFI® Awards. It is the second highest-grossing Australian film of all time.

Baz Luhrmann Creator and Book Writer Born in Sydney, Australia, Baz Luhrmann has captured the popular and critical imagination internationally with a diverse range of awardwinning projects in film, opera, theatre, and music, making him one of the world’s most recognisable creative forces. Recently, Luhrmann wrote, produced and directed on The Get Down, an original series for Netflix, which premiered in 2016. Set in 1970s New York City, The Get Down is a mythic saga of how a battered city at the brink of bankruptcy gave birth to hip-hop, punk and disco - told through the lives of music of the South Bronx kids who changed the city and the world, forever. His most recent film is the extraordinary, Oscar ® winning 3-D adaptation of F. Scott Fitzgerald’s The Great Gatsby (2013), starring Leonardo DiCaprio, Carey Mulligan, Tobey Maguire and Joel Edgerton. Earlier works include the ambitious epic Australia (2008), starring Nicole Kidman and Hugh Jackman; the Oscar®-winning Moulin Rouge! (2001) featuring Kidman and Ewan McGregor; his boldly luminous version of William Shakespeare’s Romeo + Juliet (1996), starring DiCaprio and Claire Danes; and the celebrated Strictly Ballroom (1992), starring Paul Mercurio and Tara Morice. The soundtrack albums for The Great Gatsby, Romeo + Juliet and Moulin Rouge!, executive produced by Luhrmann, have sold more

The phenomenally successful Strictly Ballroom was originally conceived by Luhrmann as a short play while still a student at the National Institute of Dramatic Art (NIDA). It was while producing an extended version under the auspices of the Sydney Theatre Company in 1988 that he met Catherine Martin, one of the company’s designers. He later directed and cowrote the film version which premiered at the 1992 Cannes Film Festival and was awarded the Prix de la Jeunesse. It would go on to win eight AFI® Awards. In 1997, Luhrmann married Catherine Martin, his longtime creative collaborator. They have two children, Lillian and William. The same year they founded Bazmark, an innovative multi-media company with the motto “A life lived in fear is a life half lived”.

Baz Luhrmann is one of Australia’s most imaginative and strikingly original opera directors. His signature production of Puccini’s La Boheme for Opera Australia won considerable acclaim in 1990 when it starred Cheryl Barker and David Hobson. His later production of La Boheme on Broadway in 2002 was lauded by critics for its sensuality and glorious production design. It was nominated for seven Tony Awards®, including Best Revival and Best Director for Luhrmann. It won the Tony Award® for Best Scenic Design. Previous opera productions include Lake Lost, which won a Victorian Green Room Award for Best Director in 1988, and Benjamin Britten’s A Midsummer Night’s Dream. It received a Victorian Green Room Award for Best Director, a Sydney Theatre Critics’ Circle award for Best Director and the Critic’s Prize at the Edinburgh Festival in 2003. Luhrmann came full circle when he directed the stage musical adaptation of Strictly Ballroom which opened in Sydney, Australia in April 2014.

Synopsis Spoilers ahead!

Scott Hastings is a talented and rebellious ballroom dancer who defies convention and dreams of dancing his own steps. His mother Shirley teaches ballroom dancing, and his father Doug meekly handles maintenance chores at the dance studio. Scott struggles to establish his personal style of dance, but his innovative and flashy crowd-pleasing steps are not considered “strictly ballroom”, and as such are denounced by Australian Dancing Federation head Barry Fife.

Scott and his dancing partner Liz Holt are disqualified at the Waratah Championships when Scott dances his own steps. Three days later, Liz leaves him to team up with Ken Railings, the recent Waratah Championships winner. With Scott now without a partner only three weeks out from the Pan Pacific Grand Prix, Shirley teams up with his coach Les Kendall, her co-instructor at the studio, to desperately hunt for a new partner for him.

Unbeknownst to Shirley and Les, Scott is approached by Fran, an overlooked beginner dancer at the studio. He eventually agrees to partner with her, intrigued by her willingness to dance his way.

Scott and Fran face their first hurdle when Barry, attempting to prevent Scott from threatening the Dancesport status quo, arranges for him to partner with established champion dancer Tina Sparkle. When Shirley hears the news, she is overjoyed. Tina entices a reluctant Scott to dance with her backstage at the State Championships, and he is unable to resist being drawn in. Fran witnesses the whole thing and leaves, devastated.

Scott tells his mother he won’t dance with Tina. He follows Fran home, where her overprotective father, Rico, discovers and challenges him. To appease Rico, Scott proposes a Paso Doble. Rico and Fran’s abuela (grandmother) are amused by Scott’s attempt at a Paso Doble, and laughter breaks out amongst the crowd, angering Scott. Rico and Abuela demonstrate the proper technique and help Scott find the rhythm in his heart.

However, Barry interferes and tells Scott that Doug ruined his own career by dancing his own steps, and has regretted it ever since.

Unwilling to upset his parents further, Scott agrees to dance with Tina.

At the Pan Pacifics, Doug explains to Scott that Barry lied: Barry had convinced Shirley to dance with Les instead of Doug so that Barry could win the competition. It is also revealed that Barry is plotting to sabotage Scott in favour of audience favourite, Ken. Scott runs after Fran and persuades her to dance with him.

In the next round, Scott and Fran make a dramatic entrance and begin dancing, immediately riveting the audience. Barry tries to disqualify them, the music is cut, and the crowd falls silent. Scott and Fran hold their places and refuse to leave the floor. Doug begins clapping out a beat to enable the pair to continue dancing. The clapping gets louder and louder as the other competitors join in, and Scott and Fran defiantly dance their Paso Doble to the pure, exhilarating power of human rhythm. Doug asks Shirley to dance with him and they take to the floor. As the performance finishes, Scott and Fran kiss.

A note from the Director In 1992 a small independent film swept the world and made Australian movie history, skyrocketing Baz Luhrmann into the stratosphere. The movie became the first in what was to be known as The Red Curtain Trilogy and, although costing a fraction of Moulin Rouge and Romeo + Juliet, all the bones of Luhrmann’s unique style were to be found; larger than life characters, the lampooning of authority, the celebration of pop music and MGM-style, rose-tinted, romance tickling with melodrama. And at its beating heart, an insider’s knowledge of the camp madness that was 1980s suburban ballroom competitions (Baz was a ballroom dancer as a child, his mother a ballroom instructor). The film, of course, is Strictly Ballroom.

Though many hold this film with a gooey fondness, few know Strictly Ballroom began life as a theatre show. Then it became one of the fastest-selling films of all time. THEN it became the musical presented to you tonight.

Developed by Baz himself, the musical sets up an almost impossible task for any live performer: sing songs that have a borderline-

operatic scope; dance a plethora of ballroom styles impeccably; carry a story we all know and love. Well, challenge accepted, Baz. As you clap this cast of 24 of Aotearoa’s very best, know they have given their ALL to meet this challenge and, as you’ll see, do so with endless talent and elan. As well as, it would be remiss not to mention, authenticity. Nothing can be satirised without accuracy. Under the guidance of choreographer Kira Josephson and tutelage of ballroom expert (and longtime professional dancer on Dancing With the Stars) Jonny Williams, the cast have had a crash course into the ballroom world. Under the masterful ears and fingertips of Richard Marrett they sing up a storm. And all on a set Daniel Williams has designed to pay homage to The Shed in this, the very last production before The Court Theatre moves to its new home in the city.

Welcome to Strictly Ballroom The Musical!

Benjamin Kilby-Henson Director

Musical Numbers ACT I

ACT II

DREAM OF BALLROOM Orchestra & Company

BEAUTIFUL WHEN YOU DANCE J.J. & Company

STRICTLY BALLROOM Scott, Liz, J.J. & Company

LIFE IS A LEAP OF FAITH Abuela & Fran

OPEN LATIN FINAL – ALL OUT WAR Company

NEW STEPS Company

TWO TO TANGO Shirley, Les, Scott, Liz, Doug & Ken

DANCE TO WIN (REPRISE) Barry

ON THE EDGE Scott

LOVE IS IN THE AIR PRELUDE Scott, Fran & Company

WHAT WAS IT ALL FOR? Shirley & Doug

FLASHBACK SEQUENCE Barry, Les, Doug & Company

TIME AFTER TIME Fran, Scott & Company

STRICTLY BALLROOM (REPRISE) Tina & Company

DANCE TO WIN Barry, Les, Merv & J.J.

YOU CAN’T HAVE EVERYTHING Fran & Scott

LIFE AFTER DANCE Tina & Scott

LET’S DANCE! Kylie, Luke & Company

PERHAPS, PERHAPS, PERHAPS Fran

YOU SHOULD HAVE DANCED WITH ME Shirley & Doug

FRAN’S EPIPHANY Fran

ON THE EDGE (REPRISE) Scott

PASO DOBLE Scott & Rico

LATIN FINALS Orchestra

MAGNIFICO Abuela, Fran & Company

LOVE IS IN THE AIR Company

A note from the Musical Director At the time of writing, I have been working on this musical adaptation of the beloved Baz Luhrmann film for about six months and it has been a pleasure to be recreating the complex and exciting sounds of ballroom dance. The musicians involved in the project have all risen to the challenge of performing its idiomatic rhythms and flourishes and I know you will enjoy the thrilling musical soundscape they create to support the story. Add to this songs by incomparable artists like David Foster and Sia, powerful orchestrations by Simon Hale, and performances by our hand-picked, Australasian cast of musical theatre triple threats – there is no doubt you are in for a wonderful, music-filled evening at the theatre.

The story we tell tonight rings true for all artists. Throughout the rehearsal period I have been struck by the similarities between the two worlds of dance and music training,

where so much of a performer’s formative experience can come in the guise of one form of competition or another. The endgame of any artistic endeavour though, is never to win or to defeat, but rather to create something new that moves us. These are the lessons young Scott and Fran have in front of them as they sing and dance their way through to the Pan Pacific Grand Prix.

Together with the Strictly generous direction of my colleagues, Ben Kilby-Henson, Kira Josephson and Jonny Williams, and the contributions of a host of other artistic miracle-workers, we are proud to bring you this last, glittering “hurrah” from The Shed in Addington, Strictly Ballroom The Musical.

Richard Marrett Musical Director

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A note from the Choreographers Choreographing Strictly Ballroom The Musical at The Court Theatre was an absolute joy, especially as the entire cast dove into the world of ballroom dance for the first time. From our very first rehearsal, every cast member approached their dance training with enthusiasm, embracing the challenge of learning new styles, from the elegant waltz to the energetic samba.

We emphasised the importance of not just mastering the steps, but also feeling the music and expressing the characters’ emotions through movement. The joy of watching everyone grow as dancers was truly rewarding.

Having two choreographers on this production was such a privilege and we really enjoyed getting to form our own creative partnership, bringing expertise from our respective backgrounds of ballroom and musical theatre. We collaborated extremely well together and quickly found a shared language. There was a lot of hard work, but also a lot of laughing and excitement. We think there should be more ballroom musicals written immediately so we can continue to work together.

This is the most dancing that there has ever been in The Shed, so we think it’s a perfect farewell to this venue. The show is a love letter to dance and the joy it brings, and we’ve been honored to bring that to Ōtautahi Christchurch. TEQUILA! Kira Josephson and Jonny Williams Choreographers

Rania Potaka-Osborne Scott Hastings

Lucy Sutcliffe Fran

Jonathan Martin Doug Hastings

Rania is a graduate of Ettingshausens (Cert IV in Performing Arts).

Lucy is a graduate of the National Academy of Singing and Dramatic Art (NASDA) with a Bachelor of Performing Arts (Music Theatre).

Jonathan has performed on The Court Theatre stage for over 20 years, last seen in Something Rotten!. Other highlights include Little Shop Of Horrors, In The Next Room, or the vibrator play, The Producers, Arsenic And Old Lace, Anything Goes, La Cage Aux Folles, Shepherd, Romeo and Juliet, The Seagull, and Cabaret. Other theatre credits include North By Northwest, Grand Horizons (Auckland Theatre Company), Avenue Q, Winston’s Birthday, Into The Woods (Fortune Theatre), The Rocky Horror Show (Hamilton Operatic) Madagascar the Musical (GMG Productions). Henry V, As You Like It, A Midsummer Night’s Dream, The Merchant of Venice, and Twelfth Night (Pop Up Globe).

Strictly Ballroom The Musical is Rania’s Court Theatre debut. Other theatre credits include West Side Story (Opera Australia), The Wedding Singer (David Venn Enterprises), Moulin Rouge! The Musical (Global Creatures) and Chicago (Crossroads Live). Rania’s television credits include Dancing with the Stars Australia, The X Factor Australia, and The Real Full Monty.

Campaigns include I’m a Celebrity and The Iconic Australia.

Rania is also an in demand commercial dancer and model in Australia, working with artists such as Sam Smith and Keiynan Lonsdale.

Her previous Court Theatre credits include Next to Normal and Something Rotten!. Her other theatre credits include Madagascar the Musical (Australia and New Zealand Tours), Cinderella (GMG Productions), 42nd Street, Holiday Inn, Urinetown, and Curtains (NASDA). In 2019, Lucy won the New Zealand Dance Awards Pro/Am Music Theatre Award and was awarded a scholarship to train at Broadway Dance Center in New York City.

Lucy is a proud member of Equity New Zealand.

Jessie Lawrence Shirley Hastings

Roy Snow Barry Fife

Since graduating from one of NZ’s top drama schools, Jessie has been kept busy across numerous local and international stage and screen productions.

Roy steps out of A Doll’s House and onto the dance floor as Strictly Ballroom The Musical’s premier villain Barry Fife.

Most recently, Jessie played a leading role in Happiness, a new musical comedy series set to hit television screens in 2025. Other prime-time screen credits include Shortland Street, EastEnders, The Brokenwood Mysteries, My Life is Murder, and Cheryl West’s sister ‘Jeanette Miller’ in Westside.

Noteworthy theatre credits include King Lear and North by Northwest for Auckland Theatre Company, Venus in Fur for The Court Theatre, The NZ Tour of Jersey Boys, Pop-up Globe’s Julius Caesar, and The Effect at Q Theatre.

Previous Court Theatre appearances this year include Dr Rank in A Doll’s House, and nefarious train conductor Michel in the smash hit Agatha Christie’s Murder on the Orient Express. Further Court Theatre credits include Appropriate, Little Shop of Horrors, Frankenstein, End of the Rainbow, The Curious Incident of the Dog in the NightTime, Chicago, Ladies Night, and Ideation.

Roy can be found renovating his old house in Geraldine, keeping his wife happy, and walking his daughter’s pug Tibbers.

Jonathan is a proud member of Equity New Zealand.

Cameron Clayton Les Kendall, Understudy Doug Hastings, Rico, & Merv Cameron has been on stage since he was 10 years old. He has won many accolades in country music throughout the last 29 years including NZ and Trans-Tasman Entertainer of the year awards.

Cameron’s previous Court Theatre credits include Flagons & Foxtrots, RENT, Cinderella and Something Rotten!. Cameron has also worked in film and television for the last decade both on and off screen.

When not in a show you’ll find Cameron at the bar…working.

Kristian Lavercombe J.J. Silvers

Noah Missell Rico & Merv

Camila Leal Rossi Abuela & Penny

Kristian is best known for his recordbreaking role as Riff Raff in The Rocky Horror Show, with over 2,600 performances.

He has starred in productions worldwide, including multiple seasons in the West End and a recent three-month residency at the Lido in Paris.

Noah is a graduate of the Victorian College of the Arts (Bachelor of Fine Arts, Music Theatre) in Melbourne, Australia.

Camila is a graduate of the National Academy of Singing and Dramatic Art (Bachelor of Performing Arts, Musical Theatre).

Noah is thrilled to make his Court Theatre debut in Strictly Ballroom The Musical.

Some of his theatre highlights include Parade (Soundworks Productions), West Side Story (Opera Australia), and the Australian tour of Disney and Cameron Macintosh’s Mary Poppins (Michael Cassel Group).

Strictly Ballroom The Musical is Camila’s first appearance in a Court Theatre production. Her theatre highlights include Sweet Charity, Attempts on Her Life, and Pippin (NASDA), as well as TOIA (The Body Festival). Camila is a competitive Street Latin Dancer (Salsa, Bachata, Rueda de Casino, Samba), and has travelled around New Zealand and overseas performing and competing.

Other notable roles include Frankie Valli in Jersey Boys, Jesus in Jesus Christ Superstar, and Leaf Coneybear in The 25th Annual Putnam County Spelling Bee. His extensive credits also feature Puck in A Midsummer Night’s Dream and various classics such as Hamlet and The Cripple of Inishmaan.

Noah’s television credits include Olivia Newton-John: Hopelessly Devoted To You and his commercial credits include Sportsbet’s Reimagine and Chemist Warehouse’s Panadol Extra. Noah co-hosts the Australian radio station JOY94.9 and is a proud member of Equity Australia.

Monique Clementson Tina Sparkle

Sophie Harris Liz Holt

Monique (Te Rarawa) is a graduate of the National Academy of Singing and Dramatic Art (Bachelor of Performing Arts).

Sophie is a graduate of the National Academy of Singing and Dramatic Arts with a Bachelor of Performing Arts, specialising in Musical Theatre.

Her Court Theatre credits include Jesus Christ Superstar (Mary), Little Shop of Horrors (Audrey), RENT (Mimi) and Something Rotten! (Bea). Her other theatre highlights include Sister Act (Deloris) and Les Misérables (Eponine) with Showbiz Christchurch.

She has also hosted an afternoon kids show on TV2 called THE FEED (Whitebait Studios).

Monique has been a professional improvisor with The Court Jesters and is now based in Melbourne.

Strictly Ballroom The Musical is her first Court Theatre production. Her other theatre highlights include Sophie Sheridan in Mamma Mia!, Lauren in Kinky Boots (Showbiz Christchurch), and Wendla Bergman in Spring Awakening (Ovation Musical Theatre). Sophie’s television credits include Becky in Dark City: The Cleaner and her film credits include Eve in Though I Walk.

She would like to give a special thanks to her high school drama teacher, Shaun EdwardsBrown, and The Entertainment Company for the support they have given her.

Camila is a proud member of Equity New Zealand.

Ben Freeth Ken Railings & Understudy J.J. Silvers Ben is a graduate of the National Academy of Singing and Dramatic Art (Bachelor of Performing Arts). His previous Court Theatre credits include Romeo and Juliet, Mary Poppins, Legally Blonde the Musical, Chicago, Titus Andronicus, Jersey Boys, Little Shop of Horrors, Flagons & Foxtrots, RENT, Something Rotten!, and Agatha Christie’s Murder on the Orient Express.

His directing credits include Time Machine, Disney’s Frozen JR., She Kills Monsters and assistant director on Next to Normal (The Court Theatre), and The Isolation Mixtape (BTC).

Ben is a member of the board of Equity New Zealand.

Isaac Pawson Wayne Burns & Understudy Ken Railings

Tiahli Martyn Vanessa Cronin & Understudy Abuela

Olly Humphries Nathan Starkey & Understudy Wayne Burns

Isaac graduated from the National Academy of Singing and Dramatic Art (NASDA) with a Bachelor of Performing Arts. Notable theatre credits include Mary Sunshine in Chicago, Bob Gaudio in Jersey Boys, Norman in Ladies Night, and most recently Roy/Bobby Jeremy in Fun Home. A theatre highlight of his is playing Tick in Priscilla, Queen of the Desert (Showbiz Christchurch), later reprising the role in New Plymouth.

Tiahli graduated from Morea Performing Arts in the United Kingdom with a Diploma in Dance and Performing Arts, and The University of Auckland with a Bachelor of Arts/Bachelor of Science conjoint degree in French, Spanish and Psychology.

Olly is a 2014 graduate of the National Academy of Singing and Dramatic Arts (Bachelor of Performing Arts). His previous Court Theatre credits include Something Rotten!, Chicago, Titus Andronicus, Legally Blonde the Musical, and Mary Poppins.

His other theatre credits include Kinky Boots (Showbiz Christchurch and G&T Productions), Shrek the Musical (Showcase Entertainment Group), and Beauty and the Beast - The Pantomime (GMG Productions).

Isaac travels around Aotearoa and the globe as a performer of Operatunity, NZ’s largest provider of daytime concerts and music travel. He looks forward to travelling with the company to Croatia next year.

Hillary Moulder Pam, Ensemble & Understudy Shirley Hastings Hillary has performed in productions such as Chicago, Jesus Christ Superstar, Jersey Boys, Time Machine, Les Liaisons Dangereuses, A Streetcar Named Desire, A Christmas Carol, Matilda The Musical, Beauty and the Beast - The Pantomime, A Fine Romance and We Were Dangerous (Piki Films). Additionally, she showcased her choreographic talent in Ladies Night, Once, Flagons & Foxtrots, Next to Normal, Matilda The Musical, That Bloody Woman, Mamma Mia!, Fun Home, and directed the enchanting shows Sense And Sensibility, A Flight Before Christmas, Every Brilliant Thing and Mamma Mia!.

She is a proud member of Equity and is thrilled to be a part of this incredible production.

Her recent credits in New Zealand include both seasons of Something Rotten!, Little Shop of Horrors (The Court Theatre), The Best Exotic Marigold Hotel (Stetson Group), Beauty and the Beast - The Pantomime (GMG Productions) Parade (Bravi Theatre), and, in England, Aladdin (Everyman Theatre).

Alongside performing, Tiahli is currently completing her Personal Training Certification through NASM. She is a proud member of Equity New Zealand.

Brylee Bucher Ensemble & Understudy Fran Brylee is a graduate of the National Academy of Singing and Dramatic Art (NASDA) with a Bachelor of Performing Arts, Musical Theatre.

Her previous Court Theatre credits include The Wind in the Willows, Chicago, Legally Blonde The Musical, Macbeth, and Mary Poppins.

Her other theatre credits include playing Charity in Sweet Charity, Fastrada in Pippin (NASDA), Wicked, We Will Rock You (Showbiz), and Beauty and Beast - The Pantomime (GMG Productions).

Olly is a member of Equity New Zealand, and a proudly trained secondary school teacher. In 2024 he started his new role at NASDA (ARA) as a dance tutor and is excited to pass on his love of musical theatre to the next generation of performers.

Bryn Monk Ensemble & Understudy Scott Hastings Bryn is a graduate of the National Academy of Singing & Dramatic Art (Bachelor of Performing Arts).

His NASDA credits include 42nd Street as Billy Lawlor, Urinetown as Bobby Strong, and Holiday Inn as Ted Hanover. Since graduating in 2020, Bryn has appeared in Madagascar The Musical NZ and Australian Tour, Beauty and the Beast - The Pantomime (GMG Productions NZ), Shrek The Musical Riyadh Tour (Showcase Entertainment Group), Wonderland Glow Show (Glow Show Company), Rumpelstiltskin, The Emperor’s New Clothes (NZ Playhouse Tour), Something Rotten! (The Court Theatre), and most recently an Angel in Kinky Boots (Showbiz Christchurch).

Kira Josephson Female Swing, Understudy Tina, Liz, & Vanessa

Jeremy Hinman Male Swing, Understudy Barry, Les, & Nathan

Kira is from the USA, where she attended the Orange County School of the Arts and received her BFA in Theatre Arts from Stephens College.

Jeremy is a performer, director and choreographer who was born and raised here in Ōtautahi. He is a graduate of the National Academy of Singing and Dramatic Art (NASDA). Recent onstage credits include Kinky Boots, Shrek The Musical, Jersey Boys and Priscilla Queen of the Desert.

Other theatre credits include direction for Chess (Amici Trust), company management for Beauty and The Beast - The Pantomime (GMG Productions), and direction for The Incredible and Glorious World According to the Fitzroys and The Badger Story (Glass Ceiling Arts Collective). He is a co-founder of Blackboard Theatre Collective and the creator of drag cabaret trio Les Femmes.

Kira is a proud member of Equity New Zealand (and Secretary of the Board) and is represented by KR Actors.

She appears as Jane in Power Rangers Dino Fury and Power Rangers Cosmic Fury, and as Bec in Kid Sister on TVNZ. She also appeared in the horror film M3GAN. Previous Court Theatre credits include Something Rotten!, Dance Nation, The Girl on the Train, Little Shop of Horrors, and Legally Blonde.

Ethan Chittock Luke Ethan is a 2023 NASDA graduate who is super excited to be back at The Court Theatre this summer taking on the role of Luke in Strictly Ballroom The Musical.

His first appearance at The Court Theatre was last summer as a member of the ensemble in the Australasian premiere of Something Rotten!, followed by a re-run earlier this year.

His other recent theatre credits include Marius - Les Misérable (VTA), Robert/ Bobby - Company (NASDA), and Fred Casely/Ensemble - Chicago (NASDA).

Ethan would like to take the chance to say thank you to all his family for their ongoing support towards everything he does.

Iosia Tofilau Ensemble Iosia is a Samoan born performer with a passion for the arts and is a graduate of Wintec (Bachelor of Music and Performing Arts).

Iosia’s theatre highlights include Shrek The Musical (Middle East & Western Australia Tour) and Madagascar The Musical (Aotearoa Tour) with Showcase Entertainment. He also performed in numerous musicals during his time at Wintec.

Iosia carries his faith in God which inspires and guides his work. He hopes that you enjoy Strictly Ballroom The Musical as much as he loves being a part of it.

Jeremy is a proud member of Equity New Zealand.

Charlotte Howe Natalie, Understudy Luke & Kylie Charlotte is part of the 2024 graduating class of the National Academy of Singing and Dramatic Art (Bachelor of Music Theatre).

Her most recent theatre credits include Our Time: A Cabaret, Freaky Friday, and Me and My Girl (NASDA). Charlotte trains at JK Performing Arts where she has been in several productions, including Cats and playing the titular role in Peter Pan Jr. She then reprised this role for Legacy Dance.

This is Charlotte’s first appearance in a Court Theatre production, an opportunity she is very grateful for.

Charlotte is a proud member of Equity New Zealand.

Kate Kelly Kylie Hastings Kate is part of the 2024 graduating class from the National Academy of Singing and Dramatic Art (Bachelor of Music Theatre).

Her recent theatre credits include Honk! JR., Me and My Girl, Faust.Us, Freaky Friday, and Our Time: A Cabaret (NASDA).

Kate feels privileged to have worked alongside so many talented creatives and artists throughout this process. She is very excited to dance around in sparkly dresses all summer long.

Kate is a proud member of Equity New Zealand.

Benjamin Kilby-Henson Director

Richard Marrett Musical Director

Benjamin is one of New Zealand’s busiest theatre directors, forging a diverse career, spanning form, scale and medium including original works, scripted premieres and opera. Ben trained at the Mountview Academy of Theatre Arts, London.

Richard works throughout the country as a musical director, vocal coach, pianist, arranger and conductor. He has a Master of Arts (Music) and LRSM.

This is Benjamin’s third musical for The Court Theatre, including great success with Little Shop of Horrors and Something Rotten!. Benjamin’s production of The Effect for Auckland Theatre Company in March was described by The New Zealand Herald as “The cultural event of the year.” Ben will also be returning to the new Court Theatre next year to direct The King’s Speech.

Ben is currently the Artistic Manager of The Actors’ Program, one of New Zealand’s leading acting conservatoires as well as Artistic Associate & Casting Director for Auckland Theatre Company.

Kira Josephson Choreographer & Intimacy Director Kira is thrilled to be choreographing the final summer musical in The Shed!

Past choreography credits at The Court Theatre include Something Rotten! (in which she was also the Swing), Little Shop of Horrors (in which she was also the Audrey Standby), Dance Nation (in which she was also Vanessa/The Moms), and Disney’s The Little Mermaid JR. (in which she could not be in as she was slightly over 18).

Other choreography credits include Urinetown, The Wedding Singer, The Drowsy Chaperone (NASDA), Little Women, Spelling Bee (Stephens College), The Boyfriend, and Into the Woods (OCSA).

Kira also serves as the Intimacy Director for this production. She has trained primarily with Intimacy Directors and Coordinators (IDC) and Theatrical Intimacy Education (TIE), and completed more than 30 specialised workshops in intimacy education. Her recent ID credits include She Kills Monsters, Dance Nation, Nude Dudes (The Court Theatre), Be More Chill, Curtains (MUSOC), Figment (Resonate, Ltd), and Dark City (Episodes 2 and 3).

He has worked as Musical Director on some 27 shows for The Court Theatre, beginning with My Fair Lady in 2001, through to Something Rotten! this year past. Other recent productions have included Matilda the Musical and Kinky Boots (Showbiz Christchurch).

Richard counts several concerts with Christchurch Symphony Orchestra among his highlights and he is also responsible for the musical supervision of several New Zealand touring productions.

He has been Artistic Director of The Vocal Collective for the past five years, and previously worked as manager of the degree programmes offered by the National Academy of Singing and Dramatic Art (NASDA) and Ara Music Arts.

Jonny Williams Specialist Ballroom Choreographer

Jonny is a multiple New Zealand Professional Champion in Ballroom and Latin American dancing.

His TV credits include seven seasons of the hit New Zealand TV series Dancing with the Stars.

Jonny has represented New Zealand competing internationally in countries like Japan, China, Australia and America.

Daniel Williams Set Designer & Co-Costume Designer Daniel graduated with a degree in Performance Design from Massey University and Toi Whakaari: New Zealand Drama School in 2006. His design credits include work for Circa Theatre, Centrepoint Theatre, Fortune Theatre, Downstage Theatre, Silo Theatre, Massive Company, and Auckland Theatre Company. Daniel was the Associate Show Director of the 2017 World of Wearable Arts Awards show and most recently has been art directing large-scale events along with feature film production design. In 2021 he art directed the scenic props for SeaWorld in Abu Dhabi.

Daniel recently designed sets and costumes for Little Shop of Horrors, Once, The Girl on the Train, and Something Rotten! at The Court Theatre. You can check out more of his work at danielwilliamsdesign.com.

Daniella Salazar Co-Costume Designer

Julian Southgate Properties Manager

Daniella joined the Costume Department in March 2021 as Costume Technician and later that year became the Costume Manager.

Julian has designed numerous Court Theatre sets including 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, A Streetcar Named Desire, Sense and Sensibility, Agatha Christie’s Murder on the Orient Express, and A Doll’s House.

As a dancer with Body Electric Dance Studios (Melbourne) for 10 years and now with Summer Studios here in Ōtautahi, she has a deep appreciation for the performing arts and is thrilled to be involved in making theatre here in her hometown.

Daniella’s Court Theatre design credits include The Girl on the Train (2022), Appropriate (2023), and Dance Nation (2023). Other theatre credits include production design assistant for Auckland Theatre Company’s The Effect (2024) and costume construction for SUARA/ORA RUA (Singapore Arts Festival 2024).

His other stage set designs include Cats, Joseph and the Amazing Technicolour Dreamcoat (Showbiz Christchurch), and the national tour of Pinocchio (Royal New Zealand Ballet).

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

Louise Topping Stage Manager

Glen Ruske Sound Designer

Grant Robertson Lighting Designer

Louise studied Stage Management at The Royal Academy of Dramatic Art (RADA) in London. She has worked in British repertory theatre, off-West End theatre, and for The Sydney Theatre Company to name a few.

Glen has designed and operated sound for orchestras and theatre shows since the early 1990s.

Grant began at The Court Theatre in 1988, working as a lighting/sound designer and stage manager.

His talent has seen him tour with numerous professional and amateur theatre companies, orchestras and international artists throughout New Zealand.

He has worked on over 70 Court Theatre productions including Larnach, Treasure Island, The Producers, Mary Poppins, Chicago, Jersey Boys, and RENT.

Glen has designed and operated sound for productions as diverse as The Unruly Tourists, Les Misérables, Sweeney Todd, Miss Saigon, The Phantom of the Opera, Kinky Boots, Jersey Boys, and Matilda The Musical.

Grant has worked around NZ as a venue technician, designer and operator on events, shows and arts festivals. In 1998 he started The Light Site, designing and supplying lighting for theatre and events, and consultancy services for venues, as well as lighting for civic and art installations.

Louise has also worked extensively in television production, primarily for the BBC and BBC Wales, as well as for Seven Network Australia and Ensemble Australia.

This is Louise’s fourth mainstage production at The Court Theatre, having previously stage managed Fun Home, Something Rotten! (2023 & 2024) and as Assistant Stage Manager on Agatha Christie’s Murder on the Orient Express.

In 2007, Glen formed BounceNZ with offices in Auckland and Christchurch; they specialise in sound reinforcement for theatre, orchestra, outdoor festivals and corporate events.

Other credits include Madama Butterfly (Canterbury Opera), Les Misérables, Miss Saigon, Matilda the Musical, and Wicked (Showbiz).

A note from the Set Designer Strictly Ballroom The Musical marks the end of an era for The Court Theatre. It’s the final show in The Shed and I wanted to mark this special moment in full scale. The driving force behind the design for this production is in fact The Court Theatre itself. When beginning the process, I was inspired by the foyer, its textures, colours, materials, and quality. On stage you will see the iconic shipping container box office represented within the vibrant red proscenium arch with recognisable lightbulb frame, a motif we have carried throughout the whole show.

Also nods to the bar’s rusty steel mesh, concrete floors, corrugated iron exterior, and internal brick walls, all significant elements that make up that beautiful foyer outside the auditorium doors.

Along with the foyer, I was attracted to the aesthetic of Baz Luhrmann’s Red Curtain Trilogy. His bold use of colour, pastiche, and graphic style lead the pathway for how I would present the different environments the story takes us to. I took direct inspiration from Strictly Ballroom the movie, I’m sure those die-hard fans among us will find joy seeking out bits from the film replicated on stage. One of the challenges with this show was working out how to fit such a big cast on stage, as well as honouring the countless scene changes required from the script. The Court Theatre stage is very wide, so it became apparent we needed to track multiple 2D scenic flats in from the wings rather than using big structural trucks and backdrops that are clunky and take up too much space.

Ben and I decided to go emblematic and gestural with the scenery by building a world using transparent metal mesh panels clad with graphic billboard imagery just like a Baz Luhrmann film.

Of course, the 1980s Aussie ballroom scene is a delightfully tacky backdrop to set this all against. It’s full of sparkle, glamour, and heightened campness, all things very close to my heart. It’s been such a pleasure making

this wild and nostalgic show with my partner in crime Benjamin Kilby-Henson, along with some of the best creatives in the bizz! Special thanks to Matthew Duffy and the workshop team for going above and beyond, as well as Daniella Salazar and the costume queens for pulling off this epic spectacle for Ōtautahi audiences this summer season. A massive thank you also to Coca-Cola Europacific Partners for their support creating this sparkly spectacle.

I hope you brought your sunglasses!

Enjoy the show x Daniel Williams Set Designer

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A note from the Costume Designers Baz Luhrmann’s classic films have a special place in our hearts, his iconic Red Curtain Trilogy: Strictly Ballroom, Romeo + Juliet, and Moulin Rouge are some of our favourite films to date. His aesthetic is characterised by a bold and eclectic visual style that blends theatrical opulence with contemporary iconography. He often uses vibrant colours with a mix of modern and historical elements to create immersive worlds. We wanted our design to embody a Baz Luhrmann aesthetic, taking inspiration from all of his films. We have built a heightened world dripping in sequins, ruffles, sparkles, fringing, advertising, branding, spandex, and feathers, set against a rural Australian 1980s backdrop. When we began this journey, we kept coming back to Strictly Ballroom, taking reference and inspiration directly from the movie in order to stay true to the period, but also to add some fun “Easter eggs” for audiences who know and love the film.

We approached this project knowing we would need to collect a vast amount of ballroom dresses. A traditional waltz gown normally costs a few thousand dollars, so we had to build the vision from a different angle as that was just not in our budget. Many of the garments we sourced from Thailand, China, and Australia, and then we added glitz and glamour to them as well as some pieces made in house.

The glorious men’s Latin jumpsuits were made by our fabulous team, and Shirley’s frocks were also handmade. There are about 165 full costumes in the show, 58 wigs, 28 headpieces, 62 pairs of shoes, and approximately 70 understudy garments standing by in the wings.

Characters like Scott and Fran embody their journey through their costumes, transitioning from conservative 80s attire to more expressive garments that highlight their growing confidence and individuality. It was a clear design decision to keep them both grounded in

reality while the rest of the cast are more overt with broad Kath & Kim like ‘Aussieisms’. One of our favourite moments in the show is “Magnifico”; here we get a glimpse into the heart and soul of the story and are transported somewhere completely new. It’s rich, hot, and passionate while contrasting styles among the ensemble emphasise the driving theme of tradition versus innovation; it’s a welcome rest from the dazzling sparkles and decadence of the ballroom scene.

As designers, we each bring something unique to the process. For Daniella, who was born in Chile and grew up in predominantly English-speaking New Zealand, the film’s immigrant story has a personal resonance—she could see her own family reflected in its themes. For Daniel, the film’s vibrant, over-the-top world of ballroom is a perfect match for his obsession with extravagance. In the film, the merging of cultures eventually wins them the competition, much like our design team. Together, it made perfect sense to combine Daniella’s attention to detail and emotional connection to the story with Daniel’s passion for bold, colourful designs. As a team, we’re excited to bring these spectacular costumes to life for this year’s summer musical, Strictly Ballroom The Musical.

A massive thank you to Neil and Kaye McKenzie for sponsoring all our sparkles.

Daniel Williams & Daniella Salazar Costume Designers

GET CLOSER TO THE

MUSIC

SPARK.CO.NZ/MUSIC

Strictly Ballroom The Musical - Credits WHEN YOU’RE STRICTLY BALLROOM Written by Eddie Perfect Control

SCOTT’S PASO DOBLE Written by Elliott Wheeler

ALL OUT WAR Written by Eddie Perfect Control

RICO’S PASO DOBLE Written by Elliott Wheeler

TEQUILA Written by Chuck Rio

MAGNIFICO Written by David Foster, Bernie Herms and Maureen Anne McDonald

Universal Music - Careers. Administered by Universal Music Publishing MGB Australia Pty Ltd © 1957 EMI Longitude Music. Licensed by EMI Music Publishing Australia Pty Limited

ON THE EDGE Written by David Foster, Bernie Herms, MoZella and Maureen Anne McDonald Song of Universal Inc., G3650 Music and Pure Note Music.

Administered by Universal Music Publishing Pty Ltd. Used by kind permission of Southern Music Publ. Co. (A’Asia) Pty Ltd. © 2016 Mo Zella Mo Music / EMI April Music Inc. Licensed by EMI Music Publishing Australia Pty Limited.

TWO TO TANGO Written by Eddie Perfect Control

WHAT WAS IT ALL FOR? Written by Eddie Perfect Control

TIME AFTER TIME Written by Cyndi Lauper and Robert Hyman

Control

Control

Song of Universal Inc., G3650 Music and Pure Note Music.

Adminstered by: Universal Music Publishing Pty Ltd. Used by kind permission of Southern Music Publ. Co. (A’Asia) Pty Ltd. Magnifico - MoZella / Bernie Herms / David Foster) © 2016 Mo Zella Mo Music / EMI April Music Inc. Licensed by EMI Music Publishing Australia Pty Limited

LOVE IS A LEAP OF FAITH Written by Sia Furler, Baz Luhrmann, Eddie Perfect, Isaac Hassen, Theron Feemster Administered by Universal Music Publishing Pty Ltd © 2017 EMI Music Publishing Ltd. Licenced by EMI Music Publishing Australia Pty Limited

HAPPY FEET Composed by Jack Yellen and Milton Ager

© 1930 WB Music Corp. By kind permission of Warner/Chappell Music Australia Pty Ltd

NEW STEPS Written by Eddie Perfect Control

© 1983 Dub Notes and Rella Music Corp. By kind permission of Warner/Chappell Music Australia Pty Ltd. © Published by Native Tongue Music Publishing Pty Ltd obo Concord Copyrights

LOVE IS IN THE AIR Written by Vanda & Young

BEAUTIFUL WHEN YOU DANCE Written by Eddie Perfect

THE LOOKS, THE CHARM Written by Elliott Wheeler, Baz Luhrmann, Craig Pearce

DANCE TO WIN Written by Eddie Perfect

YESTERDAY’S HERO Written by Vanda & Young

LIFE AFTER DANCE Written by Eddie Perfect

YOU CAN’T HAVE EVERYTHING Written by Eddie Perfect

PERHAPS, PERHAPS, PERHAPS Written by Osvaldo Farres and Joe Davis

LET’S DANCE Written by Eddie Perfect

Control

Control

Control

Used by kind permission of Southern Music Publ.Co. (A’Asia) Pty Ltd

BEAUTIFUL SURPRISE Written by MoZella, Baz Luhrmann, Bernie Herms, David Foster, Linda Thompson, Maureen Anne McDonald

© 2016 Mo Zella Mo Music / EMI April Music Inc. Licensed by EMI Music Publishing Australia Pty Limited Southern Music Publ. Co (A-Asia) Ptd Limited c/o Peermusic Pty Ltd ©Brandon Brody Music Administered by Warner-Tamerlane Publishing Corp By kind permission of Warner/Chappell Music Australia Pty Ltd

BMG AM Pty Ltd

Control

BMG AM Pty Ltd

Control

Control

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Ēhara tāku toa i te toa takatahi, engari he toa takitini.

Our strength is not made from us alone, but made from many.

Thank you to The Shed and all those who played their part.

Join us as the story continues.

THE COURT COMPANY OUR VALUES MĀIATANGA COURAGEOUS | MANAAKITANGA WELCOMING | WHĀNAUNGATANGA BELONGING | KOTAHITANGA ONE TEAM

The Court Theatre Company is made up of full and part-time, casual and contracted staff, and volunteers.

Executive Director Gretchen La Roche ARTISTIC Artistic Director Dr Alison Walls Associate Artistic Director Tim Bain EDUCATION AND ENGAGEMENT Education and Engagement Manager Ben O’Brien-Limmer Education Administrator Madeleine Murphy FRONT OF HOUSE Customer Experience Manager Rachel Vavasour Box Office and / or Lead Hosts Helen Brocklehurst Margot Coleman Haydon Dickie Helen Fahy Amélie Harris Annah Johnstone Leanne Kearney Mandy Perry Rebecca Radcliffe Rose Spoelstra Cécile Wagener Lauren Ward Karyn Willetts Customer Experience Administrator Erin Hills Food and Beverage Manager Petra Laskova Duty Managers Anthea Johnson Jack Taylor Scott Willoughby Food and Beverage Beatrice Billcliff Ben Cox Cameron Clayton Helen Fahy Bradley Grainger Sienna Holland-Reiser Davinder Kaur Jana Maxova Lea McEwan David Patullo Danielle Reiser Ben Robertson Melissa Sheldon Helen Vessey

FINANCE Finance Manager Kevin Fee Administration Assistant Fiona Haines Payroll and Accounts Administrator Annah Johnstone Special Projects Assistant Claudia Fe Jambalos

THE NEW COURT IN THE CITY Artistic Adviser / Lead Director Ross Gumbley Transition Project Manager Flore Charbonnier Project Manager Tom Clisby

HUMAN RESOURCES Human Resources Manager Viv Palmer

TEACHING ARTISTS Daniel Allan Lisa Allan Nikki Bleyendaal Ryan Goodwin Ben Jarrett Hannah McDougall Myrna Mortada Ben O’Brien-Limmer Krystal O’Gorman Stacey Schembri Jamie Spyker Grace Von Huben

MARKETING AND COMMUNICATIONS Sales and Marketing Manager Virna Smith Graphic Design & Social Media Specialist Georgia Bingham Marketing Coordinator Prue Griffiths Business Systems Coordinator Anisha Thomas FUNDRAISING Partnerships and Development Manager Sophie Hicks Partnerships and Development Account Manager Andrea Winder Grants Manager Anna Colthart PRODUCTION Production Manager Annie de Senna Production Coordinator Emma Finlay Head Stage Manager Jo Bunce Head Technician Giles Tanner Lighting and Sound Technician Geoff Nunn Properties Manager Julian Southgate Properties Assistant Rochelle Wright Costume Manager Daniella Salazar Costume Technician Findlay Currie Workshop Manager Matthew Duffy Set Construction Seth Edwards-Ellis Edward Roche

COURT JESTERS Daniel Allan Jorja Baylee Harmony Beaven Brendon Bennetts Kathleen Burns Nelly Campbell-Reeves Jeff Clark Kirsty Gillespie Ryan Goodwin Criss Grueber Maddie Harris Riley Harter Reylene Rose Hilaga Bryony Jamison Benjamin Kent Scott Koorey James Kupa Hannah McDougall Emma Nelis Henri Nelis Emma Newborn Dan Pengelly Caitlin Penhey Ciarán Searle Jarred Skelton Vito Strati Gabby Wakefield Tilly Walbom Jester Musicians Gabriel Baird Deen Coulson Kris Finnerty Criss Grueber Hamish Oliver Dan Robertson Jesters Producer Hannah McDougall

Information accurate at time of publication

TRUST BOARD Chair Steve Wakefield Deputy Chair Jenny May Board Andrea Bankier Paul Bryden Sela Faletolu-Fasi Pete Glasson Tanya McCall Anne Newman Georgina Toomey Steven van der Pol FOUNDATION BOARD Chair Laura Palomino de Forbes Treasurer Christopher Weir Board Hall Cannon Cilla Glasson Carolyne Grant FRIENDS Patron Ben Gough Chair Annie Bonifant Deputy Chair Cheryl Colley Secretary Charles Duke Treasurer Lynn Vandertie Membership Secretary Jay Pollock Committee Andrea Bankier Pat Braithwaite Helen Crooks-Scarf Carolyne Grant Jenny May Raewyn Raynel David Winfield (Theatre Chaplain) ASSOCIATES Bryan Aitken Stuart Alderton Paul Barrett Judie Douglass Tony Geddes Joe Hayes Geoffrey Heath Elric Hooper MBE Avril Lockhead Yvonne Martin Lynda Milligan Eilish Moran Stewart Ross FELLOWS OF THE COURT John Harrison ONZM John McSweeney Felicity Price ONZM

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FUNDERS AND MAJOR DONORS CORE FUNDERS

Elizabeth Ball Charitable Trust

NZ Charitable Foundation

Farina Thompson Charitable Trust

Pamela Webb Charitable Trust

The Robert & Barbara Stewart Charitable Trust

Contact our team about sponsorship opportunities at fundraising@courttheatre.org.nz