SCENE Wellington Issue 15 APRIL 2019

04 385 2681 • pivotalprint.co.nz production@pivotalprint.co.nz

CALL 0212650501 OR EMAIL INFO@DINKDESIGN.CO.NZ

www.tommys.co.nz

100% Wellington owned and operated, and we’re pretty proud of it.

Offset Print • Digital Print • Prepress • Design • Finishing

M 021 755 304 arieger@tommys.co.nz

Alistair Rieger Homes | Investments | Opportunities

Call today for a free, no obligation consultation, and good honest advice.

For the Best View in Real Estate.

Alistair Rieger

HE TTHE REN HILDBy LUCY CCHILDREN KIRKWOOD Directed by SUSAN WILSON

"Thrilling!"

THE NEW YORK TIMES TONY AWARD NOMINATION 2018 BEST NEW PLAY 30 March – 27 April Tues – Thur 6.30pm | Fri – Sat 8pm | Sun 4pm

circa.co.nz | 04 801 7992

OUR SUPPORTERS SCENE WGTN IS PROUDLY SUPPORTED BY

dinkdesign.co.nz

OUR EDITOR A veteran of Wellington theatre, Sarah Delahunty is an award winning playwright. She has sought out these local productions that sparked her interest and hopes they spark yours too! You can contact Sarah via our Facebook page FACEBOOK.COM/SCENEWGTN

I SSUE 15 | A P RI L 2019 The Children | Femme Natale 2 | The Royal Hunt of the Sun

WGTN

THE CHILDREN

BY LUCY KIRKWOOD Directed by Susan Wilson Circa Theatre Sat 30th March - Sat 27th April Tues-Thurs 6:30pm, Fri&Sat 8:00pm, Sun 4:00pm TICKETS: $52/$42/$25 BOOKINGS: www.circa.co.nz Playwright Lucy Kirkwood has been quoted as saying she believes in protest. And that “despair is not an acceptable position”. She writes about the big stuff - the sidelining of women scientists, the ethics of computer hacking, the amorality of Darwinian selection, sex trafficking, global politics, Brexit... and now with The Children, ecological disaster and the future of the world...

This play comes with credentials. It's been a sell-out success in London, New York, Melbourne and Sydney, and was nominated last year for Best Play at the Tony Awards.

Lucy Kirkwood's previous play Chimerica , won the Olivier Award for Best New Play, the Evening Standard Play Award, the Critics Circle Award and the Susan Smith Blackburn prize. And she's only thirty-five.

So, the big questions. What responsibility do we have for this planet? What do we want to leave behind for

FEMME NATALE 2 CREATED BY THE FEMME NATALE COLLECTIVE Directed by Fingal Pollock Bats Theatre Fri 26th April - Sat 4th May 7:30pm Sat 4th May 2:00pm TICKETS: $20/$15/$14 BOOKINGS: www.bats.co.nz The first Femme Natale was conceived by three mums over three wines while discussing how hard it was to continue to be involved in theatre when one had small children. With the premise that although it was hard to do a full-length show, it was possible to write and act in a 10-minute skit. So why not invite mothers to do that and put them together? It turned into a compilation of sketches. Written by various people. Performed at Bats in July 2018.

And now Femme Natale 2 - same format and basic premise?

Director Fingal Pollack: “Yes but with new themes and material. We're exploring the 'home dad’ experience, and what happens when the children get that little bit older and you start to do things like look at your husband properly for the first time in six years. We even have a plug for environmental, reusable sanitary products in there..."

Same people? “Yes - give or take a couple on maternity leave. And a couple of new writers to bring some fresh voices and experiences to the show.”

And everyone performs? “One writer doesn’t want to perform, but the rest is written by the cast members themselves. Although they are not necessarily in the skits they write – casting is according to who will play the roles best.”

So will we laugh or cry at this take of parenthood? “It’s all comedy - but it’s funny because it’s true… so you are laughing instead of crying, or laughing until you cry - is that serious or not? I don’t know!”

ISSUE 15 APRIL 2019

our children? A catalyst for the play was the Fukushima nuclear plant disaster after the 2011 earthquake and tsunami in Japan, when a retired work force offered to go in and clean up the site. A metaphor in here somewhere?

I asked director Susan Wilson for her take on the play.

“The themes of the play are universal. They could happen anywhere. As Kirkwood says, the play is not about nuclear power at all. It’s actually about human intervention in the environment and the consequences of that, and the choices we subsequently must make.”

Topical then. Is that why she chose it for production?

“I chose the play after reading it and deciding it was an important new work, one of the best from the world, in fact. Lucy Kirkwood's writing is phenomenally truthful, every word is important and in its rightful place. She is able to make poetry from the everyday and the play has musical rhythms like a concerto.

“The Children is a beautifully written piece, outstanding for its truth, comedy and resonance.

the future for everyone involved.

“There's a metaphorical level and an everyday humdrum level. It's gloriously rich and mind expanding, hugely entertaining and at times deeply affecting. The characters are totally convincing as the baby-boomer generation.”

Do we baby boomers stand accused over the state of the planet? Cathy Downes, one of the three actors, doesn't think so.

“Lucy Kirkwood isn’t pointing a finger, she’s intricately exploring three people under enormous pressure tackling very hard issues. Her insight, not just into my generation but the human condition as a whole, is staggering.

“The script is electric, leaps off the page at you. It’s sensationally well written and constructed, witty, chilling, compulsively engaging and hauntingly moving.”

I ask Cathy about the character she plays. Again, she enthuses.

The play has both real and surreal moments. Mostly, it seems to be taking place in real continuous time in a small cottage on the south-east coast of England.”

“The complexities and conflicts of her needs, desires, goals - inside an immensely intelligent, articulate brain make her a marvellously challenging gift to take on. She’s also got a great sense of humour. To reveal her point of view would be a plot spoiler...”

On the surface, the play is about the relationships shared by three baby-boomer scientists, and how they impinge on

So - the future of the planet? I like that there could be a plot spoiler. Suggests we don't already know the end of the story...

Is there an underlying theme that comes through? Such as “don't try this at home”?

“If I want the audience to walk away with anything,” replies Fingal,“ it is 'you are not in this alone!' Because we are creating comedy skits, we are not constrained by naturalism, so we can introduce large and universal themes in a funny and poignant way that strike at the deeper truth in a very short time reflecting on the collective experiences of parenthood. The show covers a whole range of frightful, ordinary yet extraordinarily fantastic stuff we encounter as parents.”

I wonder about parenting in different cultures - or is this mainly the middle class, theatre-going audience version of child rearing?

“Technically we are all white, middle class and theatregoers – which we also make fun of.

But we focus on the universal experiences of parenting.

For example, no matter what culture you are from, you are going to identify with sleep deprivation. Although our cast has a very diverse range of backgrounds and parenting styles, focusing on the common experiences of parenthood means that people from a diverse range of cultures can, and have, enjoyed it.

“It’s kind of the perfect short sharp shiny way to reward yourself, grab a drink, take a load off with a partner or group of parenting friends - or just to have a gander at what this job, parenting, can be like for others. There are so many common challenges and there’s a million different ways to parent, not all of them successful!”

Interestingly, I now realise, I asked Fingal if this is a show for everyone, not just parents. Did I ask that of a play about the state of the planet? No. Or if a play about Peru several hundred years ago is best only for historians or Peruvians? So I'm still thinking the subject of parenting young humans - one I spent thirty years of my life on - is of lesser value than other stories...?

And, as Fingal adds, we've all been children once. So. Everyone, Femme Natale 2 is for you.

THE ROYAL HUNT OF THE SUN

BY PETER SHAFFER

Bit of a story change though. While the Inca's remain male, Spain has become a matriarchal society for this production - and the invaders are women?

Wellington Repertory Directed by Matt Todd The Gryphon 22 Ghuznee St Wed 3rd - Sat 6th & Thurs 11th - Sat 13th April 7:30pm Tues 9th & Wed 10th April 6:30pm Sun 6th April 3:00pm TICKETS: $25/$20/$15 BOOKINGS: www.wellingtonrepertory.org.nz

Matt says he's done this to highlight the difference between the two cultures and to assist in removing the narrative from its historical setting, allowing the audience to focus on the story, rather than the history.

Spain invaded Peru in 1531 under the leadership of Francisco Pizarro. To convert the heathen to christianity and take as much gold as possible. After a fair bit of massacre, they arrived at the heart of Inca civilisation high in the Andes. Here ruled Atahuallpa, king of the Incas and son of the Sun God. Short version - Atahuallpa was killed and the Spanish ruled in Peru until 1821.

But naturally, Matt sees it differently.

English playwright Peter Shaffer wrote a longer version in 1964, examining the conflict by creating a strong relationship between Pizarro and Atahuallpa. It won awards back then and had a major revival in Britain in 2006. And now Matt Lloyd is keen to give it a go in 2019.

“I’ve always appreciated the plays of Peter Shaffer; he has a gift for story-telling and a wonderful mastery of language. His plays are powerful and challenging, yet also entertaining and thought-provoking.”

Why do this particular play right now?

“The underlying themes of faith and the consequences of it's loss, greed, and cultural disconnect resonate strongly with me as a commentary on current global geopolitics.

The lack of understanding of the differences between the two cultures, or even the lack of ability or desire to comprehend those differences, can also be seen in many current situations, such as the recent migrant crisis in Europe, or the Brexit saga. And greed, of course, is a universal constant.”

“Also,” Matt adds, “there is huge scope for characterisation by the actors, with shifts in intensity, emotion, and physicality which present challenges for the actors, the director, and the audience”.

Hmm...yes, women have taken part in violence and oppression in small numbers over the centuries. But the fundamental structure of almost all societies has been one of male power. What does this arbitrary gender swapping really do for women's position in the world today? Equality is the opportunity to play murdering invaders?

“The concept of women in the role of warriors is one that wouldn’t raise an eyebrow in modern society. The change of gender of the invading army (which is a tiny fraction of the size of the Incan Empire) is not relevant; the Spanish army, which happens to consist of female soldiers in this case, invades and conquers the Incas through determination, luck, and the ability to exploit a situation that is presented to them.” And he suggests that the fact that it opens up a number of strong roles for female actors in a community theatre production is a happy consequence.

Yes, I know … roles and gender. An ongoing issue here at Scene.

Anyway, I am delighted to learn there are twenty-six characters involved. A real play. There'll be a simple set, with most of the effects to be realised through lighting.

The Incas will have masks. And beards.

And yes, there will be gold.

Follow our Facebook page to be in the draw to win spot prizes and free tickets.

FACEBOOK.COM/SCENEWGTN