BY ANDREW BOVELL
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CO–PRODUCED WITH
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Haere mai and welcome to The Court Theatre’s production of this much awaited drama Things I Know to be True. As you will hear throughout the programme book, and witness for yourself as you sit in the theatre, this is a moving play, well executed by an exceptional cast, crew and the many people behind the scenes, all working together to transport you to a world of enjoyment and reflection. We hope that you leave the theatre tonight thinking about your own families and how this important part of our individual eco-systems helps us through the seasons of time. My huge thanks to Dan Pengelly and his team for programming this play for us to experience. Its been such a busy year with sell-out sensations Jersey Boys and Winding Up. But dare I say it, the best is yet to come as the year builds towards another blockbuster summer musical, Little Shop of Horrors. And there is so much to enjoy along the way. Now I am reliably informed that if you have seen Little Shop of Horrors before – it won’t be like this one! Each production at The Court is a new experience supported by the experience of our Artistic Director, Dan Pengelly. Plans for our new home are coming along and I am pleased to say on time and on budget. Our thanks to Christchurch City Council and the exceptional project team. We have no doubt that we will be opening on time in 2023. The Court Theatre is a member of the Canterbury family, and we also claim a much-loved place in your family. It is nice to see you again – don’t leave it too long before you come back. Ka kite anō Barbara George Chief Executive | Tumu Whakarae
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W E L C O M E
We are so pleased to be bringing this story to life for you. In lockdown Lara Macgregor, a core part of this company for many years, sent me a play to read. We are a diverse bunch here and are attracted to different stories, theatre styles and artists. This was the only play that received unanimous support to produce immediately from everyone that read it. I think it had this response because it is about family. The memorable moments, the hard conversations, the relationships and the love. The fact that the writing is so good and the characters feel so real, like I have met them before, played a big part too. We are so delighted to be collaborating with our sister company Circa Theatre from Wellington on this show. It has been a pleasure to share resources, artists, ideas and the show itself. After the four week season here, we will pack this all up and the team will head straight to Wellington for another four-week long season. It is so wonderful to see a show having a longer life after a first season. My thanks to Lara for suggesting it to us, to Carolyn at Circa Theatre and Shane Bosher the Director who both put so much into this collaboration to enable it to fly. As always, I give my thanks to The Court Theatre whānau who have built, signed, bought, paid, supported, planned and sweated to create what you are about to experience. I hope you enjoy. Ngā mihi, Dan Pengelly Artistic Director
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S H A N E
B O S H E R ' S
“She thought about love and how sometimes you could give too much and sometimes you couldn’t give enough and knowing the right play in between wasn’t easy.” A year ago, I gathered with a company of actors and creatives in Wellington to bring this beautiful play to life. We got a week of rehearsal under our belt before we all had to scatter to homes across Aotearoa for the first lockdown. That initial production wasn’t to be, so I’m thrilled that the play has found new life here in a co-production between The Court Theatre and Circa Theatre. Barbara, Dan, Susan, Flore, Carolyn and Salesi, I reckon you’re total heroes. Things I Know to be True is about resilience and change. This is something that you, the people of Ōtautahi know very well. And so it’s incredibly comforting being in the warm embrace of The Court whānau as we learn how to tell this story. This is the fourth play of Andrew Bovell’s that I’ve had the pleasure of working on. Every time I encounter his writing, I feel like a learn a bit more about life and the world, about the complex way that we navigate our own contradictions and frailties. His storytelling is delicate and nuanced; a very wise friend of mine describes Andrew as being able to catch butterflies with tweezers. Andrew has described the setting as a house in which children have grown, in which tears have been shed and laughter has been heard. It’s a house like a million others. We’ve taken this provocation right into the heart of the production. We want audiences to look over the fence and into the backyard of this life, which is possibly super similar to theirs. Yes, Andrew has written about an Australian family, but I know you’ll give yourself permission to see beyond the specifics of gum trees and flights to Sydney to encounter the universal. We all know these people: they’re our siblings, our parents, our grandkids, our neighbours. They represent your whānau, whether biological or chosen, in all its wonderful messiness. A celebration of real lives lived in the suburbs, this is a play about possibility, loss and dreams that are exposed to be nothing more than that. It’s about growing up, moving on and what we leave behind. And finally, it’s about love, an incredibly powerful kind of love. One which can sustain us, protect us, control us and, if we let it, destroy us. Enjoy.
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THINGS I KNOW TO BE TRUE BY ANDREW BOVELL CAST Bob Price. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Stephen Lovatt Fran Price. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lara Macgregor Pip Price. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Heather O'Carroll Mark / Mia Price. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Simon Leary Ben Price. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Daniel Watterson Rosie Price. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Caitlin Rivers
PRODUCTION Director. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Shane Bosher Set Designer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Andrew Foster Costume Designer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tina Hutchison-Thomas Lighting Designer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sean Lynch Sound Designer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Matt Short Stage Manager. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Scott Leighton Photographer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Danielle Colvin
ACKNOWLEDGEMENTS Lexie Matheson, Carolyn Henwood, Salesi Le'ota, Theatre Artists Charitable Trust and State Theatre Company South Australia. We thank the entire Court whānau for their exceptional work and dedication in producing this play. Running time: 2 hours and 20 mins, including a 20 minute interval. Please note: Contains adult themes and coarse language. Things I Know to be True was staged at The Court Theatre 20 March – 17 April 2021. Proudly printed by Caxton.
CO–PRODUCED WITH
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ANDREW BOVELL & SHANE BOSHER Andrew Bovell is an Australian writer with a substantial body of work across theatre, film and television. His most recent work for the stage was the co-authored play Anthem, which premiered at the 2019 Melbourne Festival with following seasons at the 2020 Sydney and Perth Festivals. Other recent plays include Things I Know to be True, When the Rain Stops Falling and The Secret River. Earlier works include Holy Day, Who’s Afraid of the Working Class, Speaking in Tongues, After Dinner and Ship of Fools. His screen credits include, Lantana, Blessed, Head On, A Most Wanted Man, Edge of Darkness and Strictly Ballroom. His six-part TV adaptation of Things I Know to be True has recently been announced by Amazon Studios and will star Nicole Kidman, who is also Executive Producing for Blossom Films.
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Shane has been a director, actor, dramaturg and producer for the last 20 years. Following training at Toi Whakaari: NZ Drama School, he has worked for most of New Zealand’s major theatre companies including Auckland Theatre Company, Downstage, Circa Theatre, Bats, Fortune Theatre and the NZ Actors Company. From 2001 to 2014, Shane was the Artistic Director of Silo Theatre. During his tenure, he directed some of the company’s most celebrated productions including Angels in America; When the Rain Stops Falling; The Brothers Size; Speaking in Tongues; Private Lives; Tribes; The Only Child; That Face; Ruben Guthrie; Holding the Man; The Real Thing; Three Days of Rain; Take Me Out; Suddenly Last Summer and Bash. He was named one of the Aucklanders of 2005 by Metro Magazine and in July 2007 was named one of the Most Influential People under 40. He is the recipient of three Auckland Theatre Awards and has been awarded Director of the Year by the NZ Listener four times.
ANDREW BOVELL
Writer
In 2014, Shane was commissioned by Auckland Live to create Both Sides Now: Julia Deans Sings Joni Mitchell. This production has since played to capacity attendance at festival engagements across New Zealand. Shane has been working in Australia since 2014, directing The Pride for DTC; The Kitchen Sink for Ensemble Theatre; Straight for Kings Cross Theatre and sell out productions of Cock and The Bitter Tears of Petra Von Kant for Redline. His many recent credits include A Streetcar Named Desire for Silo Theatre; The Things Between Us for Christchurch Arts Festival; Venus in Fur for Auckland Theatre Company; Homos for Brilliant Adventures; Delicious Oblivion for Auckland Live and Uncle Vanya here at The Court Theatre.
SHANE BOSHER
Director
2021 also sees him directing Everything After for Brilliant Adventures and a trilogy of solo works to celebrate the centenary of Bruce Mason’s birth.
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CAST
Lara works primarily as an actor, director, dramaturg and performance coach in New Zealand. She studied acting in New York City with Uta Hagen, Anthony Abeson and Tony Greco and subsequently worked for ten years as an actor in the U.S. She holds a Post-Graduate Diploma in Directing from The National Institute of Dramatic Art in Sydney and has directed over 40 productions throughout America, Australia and New Zealand. In 2009, Lara was appointed Associate Artistic Director at The Court Theatre in Christchurch, and, in 2010 went on to become Artistic Director at Fortune Theatre in Dunedin. Her directing highlights include Red; In the Next Room (or the vibrator play); Play; Tribes; Souvenir; The Caretaker; Punk Rock; Time Stands Still and The Curious Incident of the Dog in the Night-Time.
LARA MACGREGOR Fran Price
Since 2015 she has freelanced with multiple companies including Auckland Theatre Company, Circa Theatre, Centrepoint Theatre, South Pacific Pictures, The Actors’ Program and University of Otago Theatre Studies. Her most recent performance credits include: Annie Wilkes in Misery (The Court Theatre); Sgt Gillian Carmichael in Clickbait (Netflix); Judy in This Town (Feature Film); Headmaster in The Wilds (Amazon); and Di in Di and Viv and Rose (Circa Theatre).
Heather O’Carroll is a graduate of Toi Whakaari: New Zealand Drama School (Bachelor of Performing Arts). Her previous Court Theatre credits include The Shape of Things in 2007. Other theatre credits include directing the New Zealand premiere of Fleabag, based on the hit UK TV show of the same name at Centrepoint Theatre in 2016. At Circa Theatre she has performed in The Cherry Orchard; West End Girls; The Lead Wait and Tigers of Wrath. Most recently she performed in MoodPorn at BATS Theatre. Heather is also the Marketing and Audience Development Manager at PANNZ (Performing Arts Network of New Zealand).
HEATHER O'CARROLL Pip Price
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Stephen has performed in theatre, film, and television productions throughout Australasia for the past 30 years. His most notable television credits include six years as Max Hoyland in Neighbours; Tullius in Spartacus: Gods of The Arena; Pete in Top Of The Lake; Lumsden Pennebaker in Penn Rides Out; Sheriff Tom in Ash vs Evil Dead (season 2); Arkwright Bimpen in Foolish Wings (series 5); Pompey in Roman Empire: Reign of Blood; and Dean O’Bannon in Making Of The Mob. Stephen has over 100 theatre credits. He won Best Male Performance in the Wellington Chapman Trip Awards for his performance of Septimus Hodge in Arcadia; Best Male Performance in The Herald, Herald On Sunday, and The Listener Awards for his work in When The Rain Stops Falling; Runner up in the Safer Homes Theatre Awards for Col. Blimp in Sgt. Buckle’s Dugout. Performance Excellence in Auckland’s Hackman Awards for his work throughout the year, which included Colonel Malone in Once On Chunuk Bair; Colonel Sir John Hunt in Everest: Untold; King James in Anne Boleyn, and Miss Begotten in Taylors At Large.
STEPHEN LOVATT Bob Price
Stephen’s most prized theatre work includes Henry in The Real Thing; Roy Cohn in Angels In America; Macbeth in Macbeth and Arkwright Bimpen in Pilots On Patrol. Stephen is currently in development of his one-man show Gerry - A Mixed Bag.
Daniel graduated from The Actor’s Program in 2014. He also holds a BA with double majors in Theatre and English Literature. Venus in Fur marked Daniel’s Court Theatre debut in 2017, followed by Les Liaisons Dangereuses in 2019. He is thrilled to return to The Court for Things I Know to be True. Other theatrical highlights include The Effect (Q Theatre); Lucrece (Auckland Shakespeare Company); and the 12-week sell-out season of Twelfth Night (Pop-Up Globe); in which his performance as Olivia received great acclaim. Daniel’s numerous film and television credits include The New Legends of Monkey (Netflix); Falling Inn Love (Netflix); and local shows Dirty Laundry; Westside and Why Does Love? He plays a lead role in feature film Ablaze, based on the true story of the 1947 Christchurch Ballantynes Fire, New Zealand’s deadliest fire. Daniel previously practised law as a Barrister and Crown Prosecutor.
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DANIEL WATTERSON
Ben Price
CAST
Simon was born and raised in Timaru and is a graduate of Toi Whakaari: NZ Drama School (Bachelor of Performing Arts) and Otago University (Bachelor of Arts). His most recent Court Theatre credit was Cinderella in Space by Kathleen Burns. Other recent credits include: Filthy Business (Auckland Theatre Company); Hudson and Halls Live (Clarence Street Theatre); A Doll’s House (Twist Productions); Cock; Under Milkwood; and The Father (Circa Theatre). TV credits include: Friend to the Friendless; Dirty Laundry; Shortland Street; Hilary; and the voice of ‘Spottywot’ in Pukeko Pictures’ animated series: Kiddets. He has written radio plays Exit Stage Left and the award winning You. Me. Now for Radio New Zealand. He also co-wrote Cinderella - The Pantomime and Alice in Wonderland - The Pantomime (Circa Theatre).
SIMON LEARY
Mark / Mia Price
Simon was nominated for Best Actor and Outstanding Performance at the Wellington Theatre Awards for his performances in A Servant to Two Masters and Switzerland.
Caitlin is a recent graduate of Unitec, Bachelor of Performing and Screen Arts – Acting. She’s also taken Miranda Harcourt’s acting workshop. Originally from Queenstown, she currently resides in Auckland. Things I Know to be True is Caitlin’s debut performance at The Court Theatre. Her other theatre credits include, As You Like It and Orpheus Descending (Unitec).
CAITLIN RIVERS Rosie Price
WHERE TO FIND HELP Some of the content in Things I Know to be True may be triggering. You can find help through these organisations: Healthline 0800 611 116
Allright.org.nz hello@allright.org.nz
Outline.or.nz 0800 688 5463
It’s Not OK Areyouok.org.nz 0800 456 450
Gender Minorities Aotearoa genderminorities@gmail.com 04 385 0611
Alcohol Drug Helpline Alcoholdrughelp.org.nz 0800 787 797
Be There Be-there.nz
Lifeline 0800 543354
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From small humble beginnings 50 years ago, The Court Theatre has grown to become a much loved and well-respected institution in Christchurch.
in its 50-year history. From all the professional theatre companies that opened all over New Zealand in the 70s, The Court is the only one left standing.
The early years saw The Court and its cast of actors, crew and staff perform and run the business several venues until a home was found in the Arts Centre in 1976 where The Court put down its roots, and had its first permanent home.
Why might that be? One good reason is family. Many who have worked at the theatre over the years consider it to be like family. There’s love, anger, passion, disagreements and of course drama, yet in the end, everyone is here because they love what they do and they care about each other, just like a family.
That all changed in 2011 with the February earthquake that claimed 185 lives and devastated the city. The Court was left without a home, meaning it faced challenging and uncertain times. The team rose to the challenge and fundraised to build a temporary home that became affectionately known as The Shed. This new home has proved popular but now the time to move is nearing as The Court is planning its future in a brand–new purpose build home in the central city.
This sense of whānau extends beyond the walls of The Court, reaching into the community. The Court Supporters, The Court Foundation, sponsors, programme participants and our patrons are all part of The Court Theatre whānau. The Court Theatre family is set to move to the city centre, where it will continue to grow its valued close relationships with the community “Family for me is about comfort, and being comfortable with who you are,” The Court’s Construction and Premises Manager Theatre’s Bryce Goddard says.
The Court has not only survived but thrived through all the challenges encountered
Running on Friday nights at 10:15pm, SCARED SCRIPTLESS is an improvised comedy show that’ll have you on the edge of your seat, wondering what will happen next! 15
Messages from The Court whānau
Bryce is not alone. There is a sense of belonging and love with family, and family isn’t always limited to just parents, grandparents, brothers or sisters, but can be your closest friends, teachers, mentors and close work colleagues, your chosen family.
Layla Moutrib | Sponsorship Manager Family for me is like a tight hug, sometimes suffocating, but more often than not, the most loving, comforting, warm, supportive, safe and encouraging experience in the world. We laugh and we cry together, always with love.
So many have and continue to consider The Court as part of their family, and there is not much you wouldn’t do for family. Being part of a family can mean teamwork, working towards a common goal, and sometimes ‘reading between the lines’ to really understand what is going on, just like life at the theatre.
Jo Bunce | Head Stage Manager Having children is like having a piece of your heart walking around outside your body. Rachel Vavasour | Customer Experience Manager Family is forgiveness, is encouraging, is unconditionally there for you, allows you to soar like a bird (be free), is love and laughter and kindness.
What about storytelling? From a young age, we learn to lean in and listen more closely when we hear ‘once upon a time’ when our parents read to us at night. Being a good storyteller is fundamental to successful live theatre; it’s what we do, telling a story with every expression, word and movement on stage – we love it and we love sharing it with you, our extended family.
Rachel Tully | Programmes Manager My family are so important to me, they have shaped who I am and how I choose to live my life. Even though I live over 18,000kms away from them now, I still think of them as my support crew and think of myself as one of the people in their lives that they can trust and rely on when things don’t go to plan.
Live theatre has an impact that is well beyond what can be measured in economic terms. It also increases educational outcomes, contributes to the health and wellbeing of communities, raises aspirations, inspires and entertains, increasing the opportunities to engage with high-quality art.
Vanessa Gray | Kaihautū Ahurea Ka whāngaia, ka tipu, ka pūawai. That which is nurtured, grows, and then blossoms. I chose this whakatauki because it describes how positive and negative attitudes can develop within a whānau.
We are looking forward to celebrating an incredible 50 years of treading the boards at The Court Theatre in April with all our family that make it such a special place.
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ANDREW FOSTER Set Designer
He has a passion for large-scale immersive and site-specific presentations. These include the works Mouth and Bleach created with Trouble and Boilerhouse (UK) for the Edinburgh and Glasgow Festivals; Apocalypse Z, an immersive theatre work about a Zombie outbreak and Second Unit: What We Do in the Shadows, an immersive experience based on the iconic Kiwi movie. Andrew lives in Auckland with his wife, choreographer Sarah Foster-Sproull, and their two beautiful children, Ivy and Roman.
Over the last 20 years, Tina has been privileged to work in theatre, film, television, ballet and opera across Australia, China, South Africa and New Zealand. Her 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 and Mum’s Choir.
TINA HUTCHISON-THOMAS Costume Designer
Tina is a multi-award winner in the international competition, World of WearableArt, including the New Zealand Design Award in 2018. She continues to work for Showbiz; GMG Productions; Toi Toi Opera and The New Zealand Musical Consortium. Other costume-making credits include her work for Sydney Theatre Company; Opera Australia and various feature films, such as Star Wars Episode III; Eucalyptus and costume designer for The Stolen. She has traveled with International productions of The Lion King and The Phantom of the Opera, and styled for TVNZ; Foxtel; Network Ten (Australia) and various TVCs. Tina continues to design for The Court Theatre and other production companies in Canterbury.
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CREATIVES
Andrew’s previous Court Theatre credits include Peninsula and Shepard by Gary Henderson. His other theatre credits include Te Po and Mr Red Light (Nightsong); Orchids (Foster-Group); To Kill a Mockingbird and Black Confetti (Auckland Theatre Company) and Red and Venus in Fur (Circa Theatre).
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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 in New Zealand.
MATT SHORT
Sound Designer
Matt joined The Court Theatre as the House Technician/ Sound Designer at the beginning of 2018. His recent Court Theatre credits include Elling; Les Liaisons Dangereuses; The Arsonists; The Pink Hammer and A Streetcar Named Desire. Growing up in North Canterbury, Matt developed a passion for music from an early age. He formed rock bands in high school and university, becoming an accomplished guitarist.
Sean Lynch has been working in New Zealand professional theatre for more than 30 years. He is a musician, actor and lighting and sound designer. Sean has previously worked with The Court Theatre as lighting designer for the 2017 production of Hudson and Halls Live! Previous sound designs include Havoc in the Garden; Flintlock Musket; Yours Truly; I Love You Bro; Tribes; The Pitchfork Disney; The Heretic; Polo and Hir.
SEAN LYNCH
Previous lighting designs include Brel; Speaking in Tongues; Chicago; Angels in America; Belleville; Once on Chunuk Bair; Jesus Christ Superstar; The Book of Everything; Live Live Cinema's Little Shop of Horrors; A Streetcar Named Desire and Hir.
Lighting Designer
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CREATIVES
Matt began his career in London at the age of 23, working as a marketing rep for a major London record label. He has since worked professionally in broadcast television and other media platforms.
His previous Court Theatre credits include Hedwig and the Angry Inch (Assistant Stage Manager); The Pink Hammer (Stage Manager); The Wind in the Willows (Assistant Stage Manager); Crash Bash: What's the Rush? (Stage Manager) and Jersey Boys (Assistant Stage Manager).
SCOTT LEIGHTON STAGE MANAGER
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 Eight Songs for a Mad King (Stage Manager) and Blackboard Theatre Collective's production of UGLY: The Untold Story of the Stepsisters (Stage Manager).
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CREATIVES
Scott is a graduate of Hagley Theatre Company (Diploma in Performing Arts) and Toi Whakaari NZ Drama School (Bachelor of Performing Arts Management).
AN INTERVIEW ANDREW WITH BOVELL WHAT IS THINGS I KNOW TO BE TRUE ABOUT?
would be involved, which meant doing some research on the company’s devising style. However, Scott Graham told me not to pre-empt the physicality, “Let me respond to what you write.”
The play is a deeply intimate play, naturalistic in style, but also monologue heavy. It’s about family resilience, bringing up children who have now moved into their own lives, and the next chapter for the parents left behind. It’s also about the circle of life, beginning with the youngest child asking, “What do I know to be true?” She doesn’t know much at the beginning of the play, but by the conclusion she has learnt more about the world around her. As the children move towards more certainty and follow their convictions, the parents, particularly the father, become less certain.
In the early stages we all came together and shared stories about ourselves as artists and as people. During this process we all told stories about family. Tilly Cobham-Harvey spoke about travelling to Europe for the first time, the big ritual so many young people undertake, going to the old world that is more sophisticated. She had her heart broken and became home-sick and was standing on a train platform making a list of the things she knew to be true. That became the starting point of my play.
HOW MUCH OF THE STORY IS BASED ON YOUR OWN LIFE?
WHY ADELAIDE AS THE LANDSCAPE FOR THE PLAY?
There is a lot of my father, he was a quintessential Australian suburban father. It has some of my mum and dad in the characters, but also my partner and I, and how we’ve felt since our children have all moved out of home. It isn’t autobiographical, although the feelings that it creates can certainly relate to my life as well as other’s lives.
I wanted to write my own version of the big family play, like August Osage County by Tracy Letts. My mother died not so long ago and at that moment, I became ‘nobody’s child.’ Also, my youngest child has left home and studying at university – like I was ‘nobody’s immediate father.’ I wanted to explore what that meant. I miss being a child and a father, but I appreciate the time and space I have to re-connect with my partner, because our lives have become ensconced around our children.
I also really wanted to explore the father role and the place that I live, in southern Adelaide. It was a world where I grew up, ran away from and a place I eventually came back to.
WHAT IS THE PROCESS FOR YOUR WRITING?
I also think it is a universality story. When Things I Know To Be True goes to London, they are keeping the setting as suburban Australia. Whilst not everyone can relate to the setting, everyone can relate to the family elements in the play, that of familial love and the complexities that sustains us, protects us, inhibits us and destroys us.
This has been a long process, starting with an idea about three years ago. It began with a group of people who wanted to create together, including the director, Geordie Brookman and the actors. Right from the beginning I also knew that Frantic Assembly
Originally printed on Study Guide: Things I Know to be True By Robyn Brookes | State Theatre Company South Australia 24
Join us in celebrating an incredible 50 years of treading the boards at The Court Theatre.
A special function for those who have worked at The Court Theatre. Our Alumni Event is all about catching up with old faces, sharing stories and reminiscing about all the good times.
Friday | 23 April 2021 | 6:30PM to 9PM | $20 A night of entertainment and surprises as we celebrate The Court Theatre’s incredible 50 years. Sit back and enjoy a fabulous four course dinner and drinks as an evening of theatre sights and sounds unfolds around you. Be part of our auction with all proceeds from the night going to our new home in the city. Only 120 seats, book early to be part of this special night; consider purchasing a table of 10. Dress; black tie.
Saturday | 24 April 2021 | 7:30PM to 12AM | $295 The Court Supporters’ Event, is a head-to-head theatrical debate hosted by Sir Roger Hall KNZM QSO, showcasing 50 years of theatre life at The Court.
Sunday | 25 April 2021 | 2PM to 4PM | $20 A fantastic new book written by Felicity Price with Derek Hargreaves, History of The Court Theatre, will be available to purchase.
Space is limited. Find out more at courttheatre.org.nz
WRITTEN BY
STEPHEN SINCLAIR & ANTHONY McCARTEN Barry, Gavin, Norman, Craig and Wes find themselves down on their luck outside the pub on Saturday night. What starts as a drunken joke, rapidly becomes a challenge they can’t back out of... an all-male strip show. Will they have the bravery, the bods and the balls to follow through? Ladies Night is a raucous comedy about the power of friendship, determination and classic Kiwi ingenuity. Not to be missed! "A hilarious adult comedy about taking risks, friendships and a good dose of Kiwi 'can-do' spirit. It's a must-see." – NZ Herald Ladies Night runs from 1 May to 5 June 2021. Book now at courttheatre.org.nz
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Camellia Court Rest Home 84 Harewood Road, Papanui Ph: 03 375 0722
Hoon Hay House Dementia 16 Anvers Place, Hoon Hay Ph: 03 335 0297
For more information visit
www.goldenhealthcare.co.nz 28
Somerfield Somerfield Rest Home Home Rest 137 Barrington Barrington St., St., 137 Somerfield Somerfield Ph: Ph: 03 03 332 332 5897 5897
Hoon Hay Hay Rest Rest Home Home 16 Anvers Anvers Place, Place, Hoon Hoon Hay Hay Ph: 03 03 379 379 7825 7825
SYNOPSIS
This story is set in Australia, following the life and the many struggles of the Price Family. Fran, the mother, Bob the father, and their four children.
Choosing the name Mia, she moves to Sydney to begin her transition. At home, The Price's younger son Ben arrives in an agitated state, needing to see his parents. Ben reveals that he has stolen some money by skimming at work and now the company is investigating. If caught, he could go to jail. Bob is furious and tells him to face the consequences. Fran tries to fix it by giving Ben her savings, something that Bob is unaware she has.
Fran is a busy senior nurse, Bob on the other hand took an early retirement, and spends his days tending to his beloved garden and roses. The play starts with Rosie Price, talking about her European getaway during her gap-year and the disillusion that drove her to return home. The rest of the family gathers to meet her. It is then revealed that Pip, Rosie's elder sister, has decided to leave her husband and two children behind to live in Vancouver; to which her mother deeply disapproves. Later, once Pip is in Vancouver, she connects emotionally with her mother through a letter.
Fran tells Bob that she’s put money away, “I had to know I could go if I ever needed to.” She fell in love with someone else and almost left, but instead she chose Bob and the kids and what they had. Fran then repurposes her savings to treat herself and Bob. They talk about travelling. Tragedy strikes. It is revealed that Fran had been involved in a car crash and was pronounced dead on arrival. She passes away without reconciling with Mia, emotionally connecting with Pip in person, forgiving Ben and taking Bob to South Africa. All of the children return home for the funeral.
The second eldest child, who has been known to the family as Mark, comes out as transgender. The family's support and understanding are put to the test: Bob and Fran do not know how to respond and Rosie is upset that her sibling hasn't confided in her.
Challenge yourself and grow your skills through The Court Theatre’s Education Programme.
Make your celebration or function extra-special with entertainment from the comedians behind Aotearoa’s longest running late-night comedy show.
With drama classes for all ages, dare to dream at courteducation.org.nz
courtjesters.co.nz 30
THE COURT THEATRE OUR VALUES M ĀI A TA N G A COURAGEOUS EXECUTIVE Chief Executive Barbara George
MANAAKI TANGA WE LCOMING Education Coordinator / Head Tutor Riley Harter
Artistic Director Daniel Pengelly
Customer Experience Administrator Erin Hills
General Manager Susan Rendall
Set Construction Nigel Kerr
Chief Financial Officer Paul Dawson
Director in Residence Rose Kirkup
SENIOR LEADERS
Marketing Assistant Lynette Lamprecht-Smith
Production Manager Flore Charbonnier Marketing Manager Mally Goldberg Artistic Adviser / Lead Director Ross Gumbley Sponsorship Manager Layla Moutrib Programmes Manager Rachel Tully Customer Experience Manager Rachel Vavasour COMPANY Stage Manager / Assistant 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 Kaihautū Ahurea Vanessa Gray Campaign Assistant Ruchika Gulati Administration Fiona Haines
WHĀN AUN GAT AN GA B ELONGI NG Kirsty Gillespie Criss Greuber Millie Hanford Robbie Hunt Scott Koorey Henri Nelis Daniel Pengelly Ciarán Searle Jarred Skelton Andrew Todd Gabby Wakefield Vanessa Wells
Food and Beverage Manager Petra Laskova
Jester Musicians Deen Coulson Frankie Daly Kris Finnerty Criss Grueber Andy Manning Hamish Oliver Jack Page
Costume Manager Deborah Moor Customer Experience Box Office Rebecca Radcliffe Costume Technician Daniella Salazar
Jester Apprentices Maddie Harris Riley Harter Aaron Jelley Hillary Moulder
House Technician Matt Short Graphic Designer Ryan Smith
TRUST BOARD
Jesters Manager (Artistic) Trubie-Dylan Smith
Chair Steven van der Pol
Properties Manager Julian Southgate
Secretary Susan Rendall
Head Technician Giles Tanner
Board Annie Bonifant Tony Feaver Erin Jamieson David McBrearty Anne Newman Georgina Toomey Steve Wakefield
Set Construction Richard van den Berg Client Manager Andrea Winder Theatre Chaplain David Winfield COURT JESTERS
FOUNDATION BOARD
Dan Bain Brendon Bennetts Emma Brittenden Kathleen Burns Jeff Clark Emma Cusdin Trubie-Dylan Smith
Chair Catherine Boyer Secretary Laura Palomino de Forbes Board Hall Cannon
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KOT AH IT AN GA ONE TEAM Tina Duncan Cilla Glasson David McBrearty Christopher Weir SUPPORTERS Patron Dame Adrienne Stewart DNZM, QSM
Chair Annie Bonifant Deputy Chair Allanah James Honorary Secretary Charles Duke Honorary Treasurer Lynn Vandertie Honorary 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
With your help
is an awar with an international reputa 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 f
NEWS
Picture yourself on opening night, a glass of fine wine in your hand, waiting in anticipation Tompkins by One and excitement for the bing bongs to announce the doors are open, Haworth for the firstselected time, to Housing the for Kingsbridge Esta 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:
WORK: Liverpool One
• 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
We can’t wait to welcome you to our new home! WORK: Liverpool One
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SPONSORS + FUNDERS HOURUA WHAKAIHUWAKA PRINCIPAL SPONSOR
SE A SON SPONSOR
CORE FUNDER
MEARES WILLIAMS LAWYERS
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Nā tō rourou, nā taku rourou, ka ora ai te iwi. With your food basket and my food basket, the multitudes will thrive. To inquire about how a sponsorship relationship with The Court Theatre could add value to your business, please contact our Sponsorship Manager Layla Moutrib at Layla.moutrib@courttheatre.org.nz
Elizabeth Ball Charitable Trust Farina Thompson Charitable Trust
Pamela Webb Charitable Trust
NEW ZEALAND INSTITUTE OF MANAGEMENT
AND
LEADERSHIP
Gabrielle Tasman John Rhind Ltd
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