SCENE ISSUE 25 MARCH 2020

Show Dates: Friday 28 Feb 8.30pm Saturday 29 Feb 8.30pm Sunday 1 Mar 7.30pm Monday 2 Mar 8.30pm Ten and Two-Thirds is a slow-tempo meditation on ecoconsciousness and hope amidst the extreme weather events, mass extinction, and plastic wasteland the earth is experiencing, and will continue to experience, without us taking steps toward change.

A RM ST R O N G Written by

Starring

Andrew Laing

PR ESENT S Directed by

Conrad Newport

derf n u o l

W

Dean Parker

CR E A T I V E

A whirlwind of theatrical delight

12 February - 7 March circa.co.nz | 801 7992

BATS Theatre 1 Kent Tce, Wellington

I SSUE 25 | FEBRUA RY 2020 Fracture | The Extinction Paradox | Stupid Bitch Wants a Puppy One Man, Two Guvnors | Dance Me to the End Summer Shakespear: A Midsummer Night's Dream

WGTN

ISSUE 25 FEBRUARY 2020

SIX DEGREES FESTIVAL

SHOWS CREATED BY STUDENTS OF VICTORIA UNIVERSITY'S MASTER OF FINE ARTS: CREATIVE PRACTICE PROGRAMME

STUPID BITCH WANTS A PUPPY WRITTEN AND DEVISED BY CLAIRE WALDRON Produced by Monkeyhorse BATS Theatre Tues 11th - Sat 15th 6pm TICKETS: $20/$17/$15 BOOKINGS: www.bats.co.nz “An original, multimedia, solo theatre piece”, the publicity for Claire Waldron's solo show tells us.

Claire further describes it as “post-dramatic”. Luckily, she goes on to explain.

“Post-dramatic is theatre that is non-linear in structure and in narrative, often uses multimedia and movement, and breaks commonly recognised theatrical conventions.” Part of her master's degree has been looking into this post-dramatic thing.

Her show looks at the subtleties and nuances for women to whom labels of any kind are given.

THE EXTINCTION PARADOX

CO-DEVISED BY MAX NUNES-CESAR AND CAST Playnet Productions Directed by Max Nunes-Cesar BATS Theatre Tues 11th - Sat 15th Feb 8:30 pm TICKETS: $20/$17/$15 BOOKINGS: www.bats.co.nz Black Mirror meets The Good Place? As often happens when offered a TV series as explanation for a play, I'm familiar with the titles but haven't watched the shows.

So need further explanation - which Max provides.

“It's almost like watching three different sci-fi stories which is how it relates to Black Mirror , a science fiction anthology show. It relates to The Good Place because they both follow a group of humans trying to prove to an otherworldy force that they can become better people in order to escape damnation, with comedic elements sprinkled throughout.” Okay.

“Comedy is part of everything I do. But it's ingrained, it’s so not obvious. My politics are also not obvious but instead underpin the work. I’m a feminist but I don’t need to state that, as it is as natural to me as breathing. I don’t like setting up expectations or giving answers that are definitive.”

Five humans are asked to navigate through simulations of three different futures to try and save the world.

There's definitely a good deal of humour to be had in the reactions of characters to their situations, as well as some satirical digs at real-world issues.

Multimedia is a big focus “which I’m totally geeking out on. It’s exciting to find technology and play with visual work and integrate, extend and deepen my thinking and vision.”

Max Nunes-Cesar provided the blueprint. “We then devised the bulk of each scene together in collaboration, and then I wrote a proper script based on everything we'd done, with a few ideas of my own.”

The Stupid Bitch in the title is a slightly difficult one for me... but not for Claire. “It’s something that we’ve probably called someone under our breath at least…, it’s funny but the flip side is that it cuts deep… depends on the context. I like that.”

There are ethical conflicts, issues of trust - a challenge to humanity’s will and ability to change. The question is asked: what should we do now to fix the world?

DANCE ME TO THE END WRITTEN AND DIRECTED BY CARRIE THIEL

BATS Theatre Wed 12th - Sat 15th Feb 5:30pm, 6:45pm, 8pm, 9:15pm TICKETS: $20/$10 BOOKINGS: www.bats.co.nz It's a 10-minute experience. You can choose to be either an audience member or a VR (virtual reality) participant. The VR participant role is a passive one, a performance is not required of them, although they will be onstage with a live performer. And they can choose whether to have an audience or not.

The story's premise is described as “distraught after the death of her long-time friend and collaborator, a

ONE MAN, TWO GUVNORS

BY RICHARD BEAN

Produced by Stagecraft Theatre Directed by Ewen Coleman Gryphon Theatre Wed 26th Feb - 7th March Wed 26th 7:30, Thurs Sat 7:30, Sun 3:00pm, Tues/Wed 6:30pm TICKETS: $25/$20/$15 BOOKINGS: www.iTicket.co.nz This one isn't subject to any contemporary interpretation.

It's classic British comedy, and director Ewen Coleman isn't changing a thing.

“Brighton, England in 1963 with costumes of the period, accents, mainly cockney, and keeping in all English references. It only really works if done as written.”

It's also both scripted, and created by collaboration.

We could do with an answer to that.

FRACTURE

DEVISED BY ECHO THEATRE NZ Directed by Jacob Cleghorn BATS Theatre Tues 11th - Sat 15th Feb 7pm TICKETS: $20/$17/$15 BOOKINGS: www.bats.co,nz It's 89 years since the Napier earthquake that took 231 lives. Director of Fracture , Jacob Cleghorn, has a big interest in Aotearoa/NZ history and feels that we don't know enough about what happened in Napier on 3rd Feb 1931.

I mention more recent earthquakes. Turns out Jacob knows a fair amount about them.

“I'm from Christchurch and lived through the 2011 earthquake and the effects that followed. But there have already been several shows about that earthquake; I didn’t want to do something that had already been done.”

This year, Summer Shakespeare has gone indoors.

No sitting on the grass with ducks trying to eat your sandwiches. No last minute cancellation due to a sopping wet stage. No moment of magic on the one still warm night in a Wellington summer. Not sure how I feel about this...

The main research was done on nine interviews with survivors of the Napier quake filmed by Gaylene Preston. “As a collective, we watched and analysed them all. We then decided which stories to use, based on our personal interest, what content was important to the historical event and what could be done theatrically with that content.The script is entirely verbatim text taken from these interviews.”

Director Shane Bosher is upbeat though. “We're doing something kinda different this year. We'll be performing in the Basement Theatre at Te Whaea. This space allows us to focus the storytelling, avoid pesky wet weather cancellations and create a rambunctious spirit of play between actor and audience.”

It was a very collaborative process. “My initial vision is still there, but it has vastly improved,” says Jacob.

“The bulk of the process has been workshopping ideas and concepts brought into the devising room. Everyone involved is incredibly dedicated, and feels a connection with - and huge respect for - the people whose experiences we are developing this show around.”

“I've always been struck by how A Midsummer Night's Dream connects with audiences, regardless of age or experience. The language is accessible and there is a great spirit of democracy in the storytelling - we jump from lovers to fairies to mechanicals to royals.

Ewen saw the National Theatre of Great Britian perform it on tour in Auckland.“What struck me was the physicality of the National Theatre production and how all the slapstick and farcical action was genuinely very funny.”

So it's a totally light-hearted experience?

“Absolutely. We have washed-up, washboard musician Francis Henshall accidentally finding himself working as security for two bosses who must never meet. There is the notorious criminal Roscoe Crabbe, (who is really his twin sister Rachel in disguise because Roscoe has been killed), and the slightly sadistic Stanley Stubbers, (who has actually killed the real Roscoe). The perpetually hungry

While we are in the midst of rehearsal, Australia is burning and Trump is continuing his crimes against humanity. We need theatre to tell us that we are not alone, that there is possibility in the world. Dream does exactly that.”

“When I re-read the play I was struck by how wonky some of the gender dynamics are. If you view the original text through a contemporary lens, most of the femaleidentified characters have a lack of agency. Speaks of patriarchy and oppression.

Writer/drector Carrie Thiel enlightens me. “As the VR participant, you will be invited into the studio and given a headset. You will then experience the intersection of physical and virtual realities. You essentially become a character in the story yourself.”

One Man, Two Guvnors is itself a modernised version of an 18th century classic farce called A Servant of Two Masters

by Carlo Goldoni. Both plays involve a central character who has to keep two other characters away from each other throughout complicated and farcical situations. Many physical theatre gags and clever word-plays ensue.

He's also enthusiastic about what can be done with the play. And what it can do for us.

I ask what this year's take on a Shakespeare will be. And yes, as is often the case with Shakespeare productions these days, gender comes into it ...

Being a bit technologically challenged, I ask a basic question: what does this virtual reality participant actually do?

“Not many of us get to see the process of how a live performer 'puppets' a digital character. But I also wanted to put the audience inside the experience. When I started I was shocked at how willing I was to immerse myself completely

BY WILLIAM SHAKESPEARE

Directed by Shane Bosher Te Whaea Basement Theatre Thurs 13th - Sat 29th Feb, Tues - Sat 7pm, Sun 4pm TICKETS: $25/$15 BOOKINGS: www.summershakespeare.co.nz

dancer attempts to pick up the pieces of her life. As she endeavours to choreograph a new dance work, she can't help but feel her late friend's presence.”

The “performer” is dancer Laura Jones. She is both motion captured (a digital puppet) and in the room as the live performer.

SUMMER SHAKESPEARE: A MIDSUMMER NIGHT'S DREAM

“Hippolyta has been 'acquired' by Theseus through brute force, effectively a chattel of war. Hermia is threatened with execution for defying her father and for choosing the man she loves. Oberon punishes Titania for her 'insubordination', drugging and sex-shaming her. BIG problem.” in the experience and in the virtual world. When I added the two elements together - watching a performance in VR which was driven by a performer in the room, and having the ability to physically interact with them - well, the first time, I literally squealed with delight.”

Francis just needs to keep his two guvnors apart long enough to earn a big feed.”

There are five different settings, both indoors and out, with doors that have to actually work as the production needs to flow from scene to scene without blackouts or scene changes breaking the continuity. And there are 13 people in the cast.

Light-hearted for us - hard work for the actors?

As anyone who's read a few Scenes will know, for me these are reasons enough to give the Bard a rest. But again, Shane is enthusiastic about what can be done.

“I see every crisis as an opportunity, so in this production we've chosen to alter some of the gender profiles of the characters, reframe some of the storytelling mechanisms and we are using the adventure in the forest as a trigger for exploration and self-discovery.”

Dryw McArthur plays the original Helena (one of the lovers, dumped by Demetrius for her friend Hermia) as a male, Helenus. He finds only positives in the dynamics created by this.

“It raises a number of interesting questions about sexuality and the complexities of relationships and love, which have been very interesting to explore.”

Shane again: “We're creating a Dream that speaks to community, inclusivity, gender expression, sexuality, and agency and is underpinned by physical bravura and a love of language. I want to say to the audience let's embrace the play's conflict between imagination and reason. Let's believe in fairies, let's believe in possibility.”

We can expect explosions of colour and lots and lots of enviro-friendly glitter.

But no sandwich-eating ducks...