Young, Hungry and Beautiful

The Young and Hungry Arts Trust Ambassadors are a group of keen bean Year 12 & 13 students, who attend shows at Circa and others theatres throughout the year and write reviews.  They joined us at the beautiful ones on Tuesday night.  Here are two of the reviews for you to enjoy!

THE BEAUTIFUL ONES
Reviewed by Maddy Reese, St Catherine’s College

An enthralling marriage of singing, dance and drama, the beautiful ones is an immersive story which plunges audiences into the hyper-real scene of midnight techno clubs. Lead character Ihia is a lovestruck member of a club’s dance crew, pining away for his lover Hana, who left him many months ago. However her sudden return sets in motion a string of events that threaten to tear them apart again… or possibly reunite them forever. Interspersed with utterly incredible dance sequences, musical numbers and projected light shows, this drama is unlike any other production I have seen before. 

Writer and director Hone Kouka expressed that his ambition for this production was to essentially create eight music videos spliced together with a simple-but-effective plotline in between. This ambition could not have been more perfectly realized, as the drama was convincingly suspenseful and the dance numbers were captivating to watch. I – as a fellow dancer – felt a longing to take to the stage with them. However, when this wish actually came to fruition, I was quite surprised. The involvement of the audience was a previously un-experienced phenomenon; the last thing people expected was for the performers to take their hands, pull them out of the audience and onto the dance floor, during one of the more charismatic musical numbers. This involvement proved to be an incredibly invigorating aspect of the show – now we were able to form a palpable connection with the drama and actors onstage, and it was one of the most fun parts of the whole performance. Pair this with music that all but moves your body for you, and one has a sure-fire method of giving audiences the best stage experience possible.

the beautiful ones is an eloquent combination of set design, musical incorporation and all three aspects of theatre: song, dance and acting. Easily one of the most innovative, successful and exciting productions I have seen this year. It demands you to involve yourself in your entirety: not only mind and body are required, but heart and soul as well. In return, the beautiful ones gives you everything back, rewarding you for its demands. This drama will leave half of your soul on the stage even as you walk out of the theatre.

the beautiful ones - on at Circa until Saturday 11 July

A RIVETING PERFORMANCE
Reviewed by Yasmin Yumul of St Mary’s College
 
Projections of street scenes, graffiti, rugged walls kick-started the performance which later on evolved to Maori patterns, nature scenes and interiors. Disco coloured lighting frolicked the dark stage. This ominous atmosphere and the characters’ sensuous costume commanded attention. It was a consistent atmosphere that unified the performance. 

Although the show was modern, it kept a Maori motif which made a direct connection to a lot of the character’s ethnicities and the marginalised theme of the show.

The actors had great stage presence as they dominated the floor, the air space and the corners of Circa theatre. It was a delight to watch every dance number, particularly Ihia’s performance as he longed for his lover Hana. Emotion was evident in every movement of his muscles.

The music was at times contemporary topped off with some sick beats.

There were smooth transitions between dance numbers, the music was fluid and so was the lighting. However, the transitions between scenes seemed protracted and gave the impression of ‘technical difficulties.’

The inclusion of the audience in the performance was excellent. An inviting hand from the characters to hop onto their sexy enigmatic world and groove into Ardie’s voice cemented a bond between the two ecospheres (reality and fiction). 

Passion, intensity and flair were palpable in the characters’ dancing. However, it was not only the dancing that engaged the audience’s attention. It was also their personalities; Ardie’s suave attitude, Juju’s cheekiness, Kotiro’s relatability. The fact that the characters’ had their own distinct movements and mannerisms that continued even in moments when they were not the main spectacle of the scene heightened the show’s professionalism. 

The dialogue between characters was ineffective through most of the show as it became lost in the atmosphere.

The show revolved around Ihia waiting for his lover Hana to come back. The plot was not executed well. The revelation of the twist was poor as there was little involvement, reactions from the main characters (i.e. Ihia, Hana) and it seemed to have been disregarded too easily. In addition to this, the plot itself seemed to be 2-dimensional, predictable, there was no depth or breadth achieved in the exploration of the love story. It was a surface plot about a boy waiting for a girl.

Overall, however I would moderately recommend it. It is a stimulating, and wonderful treat for the eyes and those that adore dance.


the beautiful ones is on at Circa until Saturday 11 July.

following your passion

This week in drama* on the waterfront, we hear from Scotty Cotter about a typical day in rehearsal of the beautiful ones – following your passion! 

Scotty Cotter, currently starring in the beautiful ones

The rehearsal day normally starts at 9.30am, everybody comes in rugged up in clothing due to the cold weather that has hit Wellington. (I’m from Auckland and as you can tell I fear the cold, TYPICAL!)

Dolina Wehipeihana, the choreographer, starts the music and it’s all on. Muscle and bone for a hour. This consists of  stretching, moving, rolling on the ground, body conditioning, figuring out how you get your left foot in front of your right, how to leap gracefully without feeling like a fat hippo. I successfully pass warm up!

The room is now hot and everyone has shed their winter layers, including socks, and are now to the basic shorts and t-shirts. From there we head into working over one of the dance sets. Detailing and cleaning each move and lift and figuring out how we do this seamlessly. I find myself lifting a lot of people. I feel like the Hulk! This makes me smile. The room is fueled with determination to get each point right, but also filled with a lot of laughter. I walk over to Sandip, who plays Sachin, to have a pretend wrestle with him. He taps out. I win. We work on the choreography till lunch time. By this time we are all sweating and having fun. I have passed the morning. Time for lunch.

Lunch normally starts with us all skulling back water to keep hydrated then rugging back up to fight the cold. Normally we're all still warm so just chuck on a hoody or a jacket. The Circa balcony has the best view of the waterfront, if you ever get a chance to see the rehearsal rooms you’ll see the balcony. You can see right to the ranges on a clear day and when it’s sunny its the most epic view. We all figure out what we are having for lunch cause by this point we are starving! This cast loves to eat – it’s great!

After lunch we are into the acting side of the mahi. Braedyn and Sharn, who play Juju and Ardie, are working on their scene with the director Hone Kouka. Braedyn is cracking me up and I think to myself he is someone we should all keep our eye on. He has a natural instinct when he performs and he has a bright future in the arts. From the side of my eye I spot Sharn doing the splits, he is an amazing dancer. I somehow find myself signing up to the splits challenge where at the end of the season I would be able due to me stretching everyday, do the splits. I’ll keep you updated on how that goes.

The rest of the ‘youngins’ leap up on the floor to work on the scene. Te hau and Paige who play Vaine and Lil Paulina are part of that crew. These two are our wahine force! They both effortlessly draw your attention, both amazing dancers in their own right. I like rehearsing with this crew we have a instant complicité.

Kali Kopae walks in with her baby Willow. The whole room stops and makes baby noises and faces towards the baby for a couple of minutes then we are all back into rehearsal. After the youngins have finish their scene we find out that we have the music for a song that Kali sings produced by K*saba and composed and written by Tama Waipara and Kali Kopae. See starts to sing along. Her voice is a formidable. I’m glad she’s my mate so that I can tell people how flash she is. She tells me to shut up and then we laugh at each other. It’s fun to work with her again.

Manny Solomon, who plays Ihia, gets up and dances to K*Saba's track. I like this kid. He’s got spark. He knows how to hold a stage. I appreciate that. I find myself trying to hug Te Hau so that I can get her into a playful headlock she is already on to my tricks and try's to get me in one. We make a truce then crack up.

Besides all the fun. We work hard. Which is why I love making theatre. Work shouldn’t be boring. For me following your passion and being excited about what you do is why I am involved in the arts. Having fun creating, imagining, telling stories, allowing the audience to dream and self reflect. That is why I make theatre. To share time and transport the audience to another place.

SO COME AND CHECK OUT THIS SHOW!!!! Dust off all your old dance moves and bring them along. the beautiful ones is an exiting visual tapestry that will have you shaking and grooving in your seats.

See you all there!

Peace.
Scotty Cotter


the beautiful ones is on at Circa Theatre until 11 July, the last production in the inaugural Ahi Kaa AK Festival.
Book now at 04 801 7992 or www.circa.co.nz

View the beautiful ones trailer on Youtube:  https://www.youtube.com/watch?v=UTKXhFCHkMI

MDF 2014, Aroha White and 2080: a wave of creative productivity

Playwright and actor AROHA WHITE is currently riding a wave of creative productivity at Circa Theatre, having her new play 2080 in development as part of Tawata Productions’ MDF 2014 as well as performing in Hapai Productions’ HIKOI!  We caught up with AROHA just over a week away from the opening of the Development Season of 2080.

1.  Aroha, you're very busy in the rehearsal room as an actor for Hapai Productions' HIKOI, whilst the third play you've written, 2080, is being rehearsed for a Development Season with Tawata Productions in Circa Two - how are you finding the creative mind split?

Oh! Well I think 2080 is destined to be a mind splitting play. You see, when I was lucky enough to first develop the script two years ago, I was in the same situation. I was work shopping the 2080 script during the day, performing Sunset Road in the evenings and writing at night. This time round, I’m flat out in the rehearsal room for Hikoi during the day but have been making the most of our early chilly mornings to make any amendments to the script that are needed. Knowing that the 2080 crew are just next door is definitely distracting, I want to be in there and playing with them, buuuut at the same time I wouldn’t want to be anywhere else than on the floor with my nutty Hikoi family. I count myself very lucky to have the opportunity to undergo a mind split.

2.  In 2012, 2080 made its very first outing as a brand spanking new script - how have your ideas about your play changed over the last two years?

The main change has been growth in the world. Finding dark corners I didn’t see the first time, looking for more of them and realizing the longevity of this story.

3.  The word on the street is that 2080 is an 'indigenous sci-fi' - would you care to elaborate upon this statement?

2080 is a cautionary tale. It is one of many many possible outcomes for our future. It is a world I would never want to live in. For me so often the only way to start solving a problem is to sit down and talk it out, that’s what started this korero. The world that 2080 exists within is science fiction, no doubt about it, set in the not too distant future with laws of its own, 2080 skates the line of reality and fiction. But the growing gap between rich and poor in this country is not fiction nor is the ease with which people are dismissed because they are deemed as “different”. I’m a fan of this new indigenous Sci-Fi genre I think.    

4.  You and Tawata wanted to develop 2080 a little further before taking the play into full production -  how is the Development Season useful for you as a playwright?

It is the chance to take bold swings for all elements of the play. As far as the script's concerned, already the development season is introducing me to aspects of the world I hadn’t realized. Having Natano, Shadon, Acushla and Hone knocking their heads together also means we get to fearlessly explore the world. The growth of the play is the natural next step. When we take 2080 in to full production next year I expect to know all the street names in the brother’s neighborhood, no stone left unturned.

Using animation for the set is a big job. Even simple animation like what we want to look at for 2080. It’s amazing not having to rush straight to an end result, trying to avoid broad strokes in order to get to an end product and aiming for specificity. The development season lets us explore our options and also see how it reads to an audience. The hip hop is in the same boat as the animation.

5.  With 2015 being the year of full production for 2080, what's your idea for your next stage play? 

Ladies. Leisure. Love. Lust and loss. We’ll start there.

6.  As we're celebrating Matariki, what are your hopes and dreams for the forth coming year?

I have some travel on the cards in August this year and if I’m well behaved February next year. I’m blessed to be a part of Tawata’s Auckland season of Sunset Road after Hikoi finishes up for this year. There is a play for the ladies wandering around my head looking for a piece of paper to get all over, I very much hope this can be a collaboration of wahine toa writers and actors. I hope to get up to Auckland in October to work with Nga Rangatahi Toa on a project called Manawa Ora telling stories from our South Auckland brothers and sisters. And then it will be time to get this Maori / Pasifika Sci-Fi production (2080 that is!) up and singing.  Woo-hoo.

The MDF Development Season of 2080 runs in Circa Two from 25-28 June, with a preview on 24 June. Hikoi runs in Circa One from 28 June to 12 July, with a preview on 27 June. A series of free rehearsed readings will take place as part of the Matariki Development Festival on 4 and 5 July. To book for any of these fantastic works, visit www.circa.co.nz or ring the Circa Box Office on 801-7992.

Costume Design in TU

Notes on Costume Design for TŪ currently playing at Circa One: Clare Bowden

Photo by Matt Grace.

I don’t know when Hone Kouka first started mentioning this project to me. Over the past 8 or so years it would come up when he was asking for small amounts of help on other theatre projects. He would say “the big one is coming”. I worked on the development season up at Victoria University in 2010 when he was pitching to festivals.  TŪ had its full theatre debut at the New Zealand Festival of the Arts in 2012, it opened to acclaim on Pipitea Marae in Wellington.  TŪ returns to Circa Theatre, Wellington this Saturday 15^th June before travelling to Auckland for the Auckland Matariki Festival in July. 

I feel like I have been a great fit for this job, I am humbled to have been sought out for it, and I have THOROUGHLY enjoyed the process of development. The design brief was left very open for me to bring my interpretation to Hone’s work and to complement exciting design from other disciplines of theatre: MARK McENTYRE – set. ULLI BRIESE – lighting. KARNAN SABA – sound. HONE HURIHANGANUI - composition.

Photo by Matt Grace.

I have been extremely well supported and encouraged by a phenomenal, experienced, award winning crew.

I have kept to the 40’s in the shape of garments. There is also a deliberate nod to wartime use of domestic textiles in garments. My mother has a story of an extravagant usage of cloth for a full circle skirt, but this was finally made for her in scratchy dowdy teatowelling! Candlewick, hessian sacking, cheesecloth, floral furnishings and mattress ticking - these sorts of textiles escaped the rationing placed on ordinary fabrics and were often used for new designs on a budget. There’s a subtle reference to Maori and blankets in there too.

Beautiful elegant well-dressed 1940’s urbane Maoridom:  Well, the cast are extremely beautiful and handsome – I literally could put them in sacks!  I threw in the colours of rural Maori houses of the 1970’s that I grew up amongst to give the stage glow. Spearmint, Mustard, Lemon, Lolly Pink with Ratana Purple.  I also drew from time I spent as a teen with an elderly Maori Matriarch who had been a prominent member of Auckland Society. She had recognised a mutual interest in her favourite NZ designers, Kevin Berkahn and Colin Cole, and left me a small but exquisite collection of her garments and textiles which I cherish.  

It looks right to me – this is my interpretation for the story and these characters within a family (I have three brothers). 

Photo by Matt Grace.

Thank you to my fabulous staff for their support to allow me to interrupt the regular biz for this buzz. Thank you Hone Kouka and Miria George of Tawata Productions for the opportunity.

I hope after reading this you are inspired to come and see the show, to see the layers and layers of talented work that go into this show with its illustrious cast and very New Zealand family story.

Arohanui, 

Clare

Clare Bowden is owner, director and co-designer of Mandatory, an independent menswear store which opened in 1997 in its current location on Cuba Mall, Wellington. The store has an international reputation for great pants! Clare first met Hone and his work (his trilogy) at the 1996 Wellington International Festival of the Arts. She has no theatre training and this is her first return to making Womenswear of any kind since 1997. 

To book tickets for TU, on in Circa One until 29 June, call the Circa Box office on 801-7992 or visit www.circa.co.nz.

TU

Playwright and director Hone Kouka tells drama on the waterfront about the creation of TU, opening in Circa One on 15 June.

Hone Kouka.

Tihei mauriora,

“Wider than the mightiest sky”,

My elder brothers have always been at the forefront of my thoughts throughout the creation of TU, a bright and shinning reminder of their passion, wit, vigour, deep love for each other and whanau. It is to them that I dedicate this koreo – Philomel, Boydie, Ivor and Tu.

I had been fortunate to record the wonderful Patricia Grace novel TU while working as a drama producer at Radio New Zealand in 2005, its deep resonance of whanau and brotherhood stayed with me and planted the seed for it to come to life on the stage. I humbly thank Pat Grace for allowing me to use her beautiful novel as the inspiration and guide for this production.

It is with great pride that during Matariki we celebrate this Maori production in the whare of Circa Theatre, this season marks a special moment for the whakapapa of Maori theatre in Wellington.  I thank Circa for their generosity and spirit to myself and Tawata Productions.

I thank the cast and crew for their fearlessness, tautoko and aroha, some have been with this korero since its inception in 2008. I thank Miria for her tireless and often unseen commitment to this production, without her this grand gesture would not have left the page.

TU reminds me of what we are constantly striving towards, peace, understanding and the ever reaching bonds of aroha.

Nga mihi
Hone

Inspired by the Patricia Grace novel, TU is a story of love, redemption, whanau and brotherhood.  Returning to Circa Theatre after an acclaimed World Premiere at the 2012 NZ International Arts Festival, TU is the first Maori production to be performed upon the mainstage in Circa One.

Tawata Productions are proud to celebrate this landmark occasion as part of Wellington's Matariki festivities.


TU
Written and Directed by Hone Kouka
Based on the novel by Patricia Grace
Starring: TAMMY DAVIS (Ngati Rangi, Atihaunui a Paparangi), JAROD RAWIRI (Ngati, Whanaunga, Ngati Tuwharetoa, Ngati Hine), TAUNGAROA EMILE (Ngati Kahungunu, Ngati Rarotonga), KIMO HOULTHAM (Ngai Te Rangi, Te Arawa, Ngati Kuki Airani), MOANA ETE (Ngai Tahu, Samoa), TINA COOK (Nga Puhi), AROHA WHITE (Nga Puhi), SCOTT COTTER (Tainui, Fijian, Scottish) , MATU NGAROPO (Tuhoe, Ngati Porou, Te Rarawa) and ERINA DANIELS (Nga Puhi).

15-29 June
Tues & Wed 6.30pm, Thurs – Sat 8.00pm, Sun 4.00pm (no show Mon)
Saturday 29 June 2.00pm & 8.00pm
Circa Theatre, 1 Taranaki Street, Wellington
Tickets: $46/38/25
Bookings: 04 801 7992 or www.circa.co.nz
$25 Preview Night – Friday 14

Tawata Productions is a Maori production house established in 2004 specialising in the development and production of new work from Aotearoa New Zealand.  We proudly present the diverse voices of writers from Aotearoa New Zealand to the world beyond. http://tawata.wordpress.com/

The Mourning After

Watch playwright Ahi Karunaharan and director Miria George cooking traditional Sri Lankan kai and talking about theatre show, The Mourning After.

The Mourning After

October 16, 2012 presented by Tawata Productions

Written and Performed by Ahi Karunaharan

VANAKKAM, AYUBOWAN.

Tickets for Tawata's final production of the year in Te Whanganui-a-tara, 'The Mourning After', are on sale now!

Written and performed by Ahi Karunaharan, 'The Mourning After' follows Kiwi-born Shekar as he travels to his father's village in the pearl of the Orient, Sri Lanka. On his arrival Shekar discovers that the tsunami has swept away the village and all that remains is a single house and those left behind.

As Shekar sifts through the ruins in search of answers, the buried truths of his father's past are revealed.

Featuring sound design by Karnan Saba, lighting design by Laurie Dean and directed by Miria George, 'The Mourning After' is showing for a limited season at Circa Theatre!

SEASON: 7.30pm / 16 -- 27 OCTOBER 2012 

TICKETS: $40 -- $25 / GROUPS 8+ $25

BOOKINGS: 1 TARANAKI ST / 04 801 7992 / www.circa.co.nz

Sunset Road: A peek behind-the-scenes

A photographic montage of the rehearsal process for Sunset Road.

Thank you to Andria Daphnee and Challen Wilson for all your hard work on this photographic montage.

Sunset Road runs until 7 July in Circa Two. To book, call the Circa Box Office on 801-7992 or visit http://www.circa.co.nz/.

Sunset Road

Two videos from Tawata Productions about Sunset Road, opening 20 June in Circa Two:

Wahine Māori talk beauty queens: cast members Tina Cook and Aroha White talk about their journey into their characters and the context of the 70s. Discover facts and insights about 1970s Aotearoa

Many thanks to Pikihuia Haenga, Challen Wilson and Hone Kouka for the filming and editing of this interview.

Meet Writer/Director, Miria George of Sunset Road: Miria George and her journey into writing theatre spectacular, Sunset Road.

Many thanks to Pikihuia, Villi, Challen, Hone and Miria for the creation of this video interview.

Sunset Road runs until 7 July in Circa Two. To book tickets, please call the Circa Box Office on 801-7992 or go online at www.circa.co.nz. 

I, George Nepia: Rugby's first global superstar

Playwright Hone Kouka talks about his play, I George Nepia, which will return for a second season at Circa 8-17 December.

DOTW: For those who weren’t able to see I, George Nepia the first time it was at Circa, what is the story?

HK: I, George Nepia is the story of a country boy who, after the All Blacks 1924 tour of the UK, became rugby’s first global superstar. It also follows parts of his life after rugby in particular his relationship with his eldest son and wife.

DOTW: What made you decide to write this play? What is your connection to this story?

HK: The decision to write the play now was due to the 2011 Rugby World Cup, it was also that nothing had been written about this man. My connection to the story is that he is a great uncle to me on my mother’s side of the whanau and that I was brought up on the legend of the great George Nepia.

DOTW: What can you tell us about actor Jarod Rawiri? What do you think of his portrayal of your script?

HK: Jarod Rawiri is an established stage and screen actor based in Auckland, he was recently nominated for best actor in a television series for the 2011 AFTA’s for his portrayal of Hone Heke.

Jarod’s portrayal of young and old George is “fabulous,” this is the word used by one of George Nepia’s family members who attended the opening of the play during the first season at Circa. Jarod has also been nominated for a best actor award at the 2011 Chapman Tripp Theatre awards for his portrayal of George Nepia.

DOTW: Tell us a bit about the development process; when did you begin working on it and how did it get from there to here?

HK: I thought about the story and how to tell the story of George Nepia, not long after it was announced that NZ would be hosting the 2011 RWC. The early sketches were workshopped in June of this year at the Matariki Development Festival and the script that is seen on stage is what was created. It was a relatively short amount of time to actually write the work.

DOTW: George Nepia’s whanau attended the play during its original season at Circa – what were their reactions to the play?

HK: The reaction for the Nepia whanau who attended the opening night of the original Circa season was excellent, some members called out to the character of George during the performance, most grabbed those involved with the project to give thanks of a wonderful picture of their grandfather, uncle, father. It was a privilege for us also to work so closely with George Nepia III in the development of the work.

DOTW: Finally, I, George Nepia enjoyed a sell out season at Circa in September – what has been the general response from the audience?

HK: The general response has been very positive, a nice surprise for us is that the theatre and rugby community have both responded similarly, both very positive.

To book, call the Circa Box Office at 801-7992 or go online at www.circa.co.nz.