Whitirea Students in The Mystery of Edwin Drood

This week on drama on the waterfront, Lyndee-Jane Rutherford and a selection of the students from Whitireia School of Performing Arts spill the beans on their experience rehearsing the joyfully boisterous murder mystery musical, The Mystery of Edwin Drood.

Q: What is it like working on a professional show for Circa? 
Charli Gatrell (Ensemble): It’s intense! I’ve done a lot of theatre, but this is six days of rehearsal a week, it’s not like anything I’ve done before. It’s a full time job, and I love it! 
Auburn Crombie (Ensemble): It’s incredible. I didn’t expect to work on a professional show as a first year. Coming in, I didn’t think it would start straight away, it’s honestly like nothing I’ve done before! 
Vanessa Immink (Ensemble): Well, it’s full-time. All the other shows we’ve done apart from school shows, have been part-time. This is pretty much nine to five every single day. Sometimes we’re needed and sometimes we’re not, but it’s just so cool being in the Circa environment, working alongside professionals and having the Box Office just downstairs. It’s very… real!

Q: What do you love about Musical Theatre? 

Ben Patterson (Neville Landless): For me, it sounds silly, but it’s what I love doing. It’s good, because I don’t think I could do anything else, but it’s lucky I got forced to audition for Musical Theatre in high school, which has lead me down this crazy path that I love. 

Q: Is this something you expected you would get the chance to do during your time training at Whitireia? 

Flora Lloyd (Helena Landless): When they announced they were doing The Mystery of Edwin Drood, and they were getting the students to be involved I was super excited! It’s my third year studying musical theatre, and it’s just a great opportunity. I am getting to put on my “Body of Work” and be in a professional Circa show. It’s a great experience! 

Q: What’s the best part about rehearsals? 

Flora Lloyd (Helena Landless): I’m a huge observer of the professionals working. It’s thrilling to see them in their element and learn from them. 
Bronte Fitzgibbon (Ensemble): It has to be getting to know everyone. Usually the third year students are a little segregated due to their work load and timetable, but now we are right there with everyone working and bonding together on The Mystery Of Edwin Drood. 
Auburn Crombie (Ensemble): I couldn’t pick who was second year or third year. They were all so welcoming to us first years and it felt like a big family from day one. It has only been a few weeks and we’re all very close friends! 

Q: What’s it like to work with Lyndee-Jane? 

Vanessa Immink (Ensemble): She is so expressive and enthusiastic! She is like an ever-ready battery that just keeps going, it’s amazing! She is incredibly invested and is making sure everyone is having a good time and is involved.  She is so detailed about her work but she makes it so fun, you forget you’ve been working for hours!

Q: How did this project come about? 

Lyndee-Jane Rutherford (Director): I’ve worked at Whitireia before with our amazing Musical Director, Michael Nicholas Williams, and our stunning Choreographer, Leigh Evans. We decided to pitch The Mystery Of Edwin Drood to Circa, never for a second thinking they would take it. Michael threw the comment away that we could use the students for the ensemble. Next minute, Circa has said yes and we have the entire three years of performing arts students in the show! 

Q: How do you feel to be directing this massive show at Circa? 

Lyndee-Jane Rutherford (Director): This is possibly one of the biggest productions Circa has ever done. I have moments of absolute terror, times of sheer joy and that grateful feeling - “how lucky am I” -  that I have all these people supporting me. Everyone has been hugely positive, energized and excited by this massive undertaking!

C - A Musical: not a traditional musical

In this week's post, composer Gareth Farr talks to drama on the waterfront about the music in C and working with Jackie Clarke.

This is the fifth musical that Paul and I have written – and strangely enough it’s the one that is least like a traditional musical. It falls into a nameless genre of “play with songs and poems” – and without a doubt it’s my favourite stage project to date. Paul made it clear to me that this would be a very different type of work at the beginning of our creative process – and that I would be able to write music that is more akin to the music I write for classical ensembles, such as orchestra, string quartet – and most importantly operatic voice and solo piano.

The music is in the form of two simultaneous song cycles – the moody and dark journey to an imagined and metaphorical Venice, in which I am the most experimental with my musical language; and the ‘voice inside my head’ songs – where I am a little closer to the fun bouncy music Paul and I have reveled in in the past.

Working with a superstar like Jackie Clarke has been an utter privilege and joy – she is one of those incredible artists who can just do ANYTHING – and I have been so bowled over by her interpretation of my music, and her utter dedication to the project. Sue Alexander is the other musical genius on the project – her magic fingers are unstoppable, and I have written music that is about as difficult to play as a Rachmaninov Concerto.

– Gareth Farr

C – A Musical is well-paced, highly entertaining, deeply moving, honest, witty, informative, imaginative and, above all, very, very human. - Theatreview

"Every component of the show – the writing, the music, the professionalism of the performers – is well-honed and pitched just right in order to draw us in to the storyteller's world." - Theatreview

"As the narrator Me (Jenden) Danny Mulheron is excellent, totally engaging, warm and full of humanity towards his subject matter." - The Dominion Post

"Jackie Clarke is The Voice Inside My Head, who expresses all his feeling, both light and dark, through song. Not only is Clarke a great singer but she is also a consummate performer who is able to express both the joy and the pain of the experiences through the lyrics and music." - The Dominon Post

"At times it is very funny and uplifting. At times very sombre and sad. You ride a bit of an emotional roller-coaster, but well worth seeing." - Kiwiblog

Photos by Stephen A'Court.

C - A Musical runs until 10 August. To book, call the Circa Box Office on 801-7992 or visit www.circa.co.nz.

Roger Hall and Peter Skellern always hand them back

You Can Always Hand Them Back playwright Roger Hall talks about his collaboration with Peter Skellern on their new musical about grandparents.

Roger Hall

Peter Skellern

Peter Skellern and his wife Diana come out each summer to see their son and grandchildren who live in Devonport. Mutual friends suggested we meet, and so one day in Takapuna, after a phone call, I was able to approach a man wearing a large hat and say “Peter Skellern, I presume?”

We became almost instant friends, so much so that I asked him if he would be willing  to sing at the concert I put on at The Pump House for my 70th birthday.  (But I still wanted him there even if he didn't want to sing.) When he got up to perform he said "I've known Roger all of four hours now,"  (which was about right). But he was used to performing for the elderly: quite recently he had performed at an old lady's 80th birthday part and "You know it's really nice at Windsor Castle".

That's not the only royal performance he has done, having appeared at several Royal Command performances. He's also filled the London Palladium with a solo show; and packed them in with shows with Richard Stilgoe. 

Peter sang three songs at my party, and then he and I played golf together (he well, me badly) and one day he said he'd be interested in writing songs for the panto I was currently writing. I pointed out that I already had a team (Paul Jenden and Michael Nicholas Williams). We started looking through a back list of my plays to see if there was anything there that could be adapted to a musical, but nothing leapt out at us. Then I remembered a piece I had been working on (and off) for some years intended to add to two plays about Dickie Hart, one-man shows performed by Grant Tilly, C’Mon Black and You Gotta Be Joking.  I never told Grant I had this is mind in case I never delivered, which indeed proved to be the case -- despite several starts I was never able to finish it and, alas, Grant is no longer with us. It was to be called Say Goodbye to Grandpa, taken from a neighbour telling me that those were the words her husband enjoyed hearing most, especially if the grandchildren had stayed for a few days.

Peter agreed that grandparenting was a good theme (he having five of his own), that  of course we'd have to have a grandmother as well, and so I started all over again on the script and Peter wrote the songs. Some of the songs came from ideas or topics in the script, many from his own ideas. But we did do a lot of talking about what the songs should be about. Inevitably there were some casualties along the way with some songs disappearing (and some scenes, for that matter). Read any history of musical shows and there are songs dropped at the last moment, and new songs written overnight.  It’s a very difficult and often tense business. (It’s why I love the TV series “SMASH”.)

But before a song is launched onto the public, who’s to say whether it is going to work or not. After all, the producers of The Wizard of Oz hated “Somewhere Over the Rainbow” and wanted it removed…

 You Can Always Hand Them Back opens on Saturday, 23 February and runs until Saturday, 30 March. Performances are already selling out! To book, please call the Circa Box Office on 801-7992 or visit www.circa.co.nz.

A Window into He Reo Aroha

Although extremely busy touring He Reo Aroha around the country and all over the world, playwright Miria George takes some time to discuss this moving musical with drama on the waterfront. He Reo Aroha returns to Wellington audiences with performances at Circa Two 16-26 June.

DOTW: What is the story of He Reo Aroha?

MG: He Reo Aroha is a story of two young lovers who get back together! A classic tale of boy meets girl, they fall in love, break up and then overcome an ocean and get back together!

Kali Kopae and Jamie McCaskill in He Reo Aroha.

DOTW: I understand you wrote the play with Jamie McCaskill, what can you tell us about the process of creating this piece? Where did the idea come from?

MG: He Reo Aroha has been created by five Maori artists, Jamie and I wrote the script together, creating the characters and worlds with Hone Kouka and Kali Kopae. We wanted to tell a story of love, of Maori in love, love of family, love of tupuna, love of friends and the love shared by a boy and girl! Jamie, Kali and Hone Hurihanganui composed all of the waiata and songs that feature in He Reo Aroha.

In many ways, He Reo Aroha is a window into te ao Maori (the Maori world) that is not often seen on main-stages in Aotearoa New Zealand. It is a celebration of love shared by passionate people!

DOTW: He Reo Aroha is a musical, what can you tell us about the music in this show?

MG: He Reo Aroha features original music throughout the show, from contemporary love songs in the English language to Maori language duets that will have you humming away to yourself as you drive home from the theatre! The music is beautiful, emotional, hilarious and written by Kali, Jamie and Hone – these are very talented people!

DOTW: This show has toured rather extensively, both in New Zealand and overseas; how have international audiences reacted to the story in comparison with New Zealand audiences?

MG: International audiences have very warmly received us, from Honolulu to Toronto, our audiences have been very open to the bi-lingual nature of the show – as often the cities we are touring to are multi-lingual. Audiences at home are fabulous – they understand the idiosyncrasies of the characters and sing along with the Maori language songs – although the Hawai’ians could too!

DOTW: As a playwright, what is your inspiration? Are there any other writers/playwrights that inspire you?

MG: I’m always inspired by the people around me – my family and friends can recognize elements of themselves in all of my characters from various plays. I’m inspired by the world around me, by current events – my work needs to be connected with the reality of our modern world to ensure that what I have to say as a playwright is always relevant to who we are as people!

Miria George

DOTW: What are you working on next?

MG: My next play, Sunset Road, is on the brink of a rehearsed reading! It is a script that has been very fortunate to be developed at the Weesageechak Begins To Dance Development Festival in Toronto, Canada – a playwrights festival that workshops brand new work! Native Earth Performing Arts are a First Nation professional theater company that have a 23-year history developing scripts – they have been an absolute blessing to work with!

The Nero Show

Deeply immersed in the rehearsal period, the creators of The Nero Show – as well as members of the cast and crew – take some time to share their thoughts on this brand new musical spectacle. The Nero Show opens at Circa on 15 May and runs until 19 June.

PAUL JENDEN, Writer and Director
“Nero is a figure famous for his excess and cruelty, as well as for fiddling while Rome burned. While I was researching ROME I was interested to discover that some of this might not be true. I was particularly struck by the fact that for years people would bring flowers to his tomb and that Nero’s popularity with the general population survived long after his death.

This curious tension between fact and fiction started me thinking about political figures of our own times. Wondering about how Nero would have survived in our modern world led me to other iconic figures, particularly John F. Kennedy.

I am old enough to remember the death of JFK and how the shock was felt even in Wellington. I think Kirkcaldies even put up a memorial window display. And I realised that I was remembering another world, before we all became so used to tabloids, TV and political spin.

In the light of later revelations and discoveries, it is clear that things were not necessarily as innocent as we believed, and that the JFK legacy is as much a mix of myth and fact as Nero’s.

So I decided to set Nero’s story in 1963 and to give the characters some striking similarities to people that we might recognise.

As I was researching Kennedy I discovered that his election coincided with the new use of hand held movie cameras. The historical footage was not unlike modern tabloid TV and led to the idea of the show being based on a live TV broadcast, like Edward R. Murrow’s famous “Person to Person” show, on which the Kennedys actually appeared.

To add a further bit of fictitious spice to the mix, I wondered what might have happened had Nero come face to face with his contemporary, Boudicca, the Celtic warrior queen. And of course, in 1963 she would have been the Queen of England...

This mixture of fact and fiction is the perfect script to send to Gareth Farr to set to music. Having three hit shows under our belts, we decided to set out into new territory and to embrace the world of 1963, but with an equal mix of historical fact and silly invention. So this is 1963 of Jenden and Farr, and anything can happen..."

Jason Chasland as Nero and Christine Cusiel as Agrippina.

GARETH FARR, Music
"Having developed three musicals together, Paul and I have developed a fairly streamlined process for creating vocal music - and when we embarked on The Nero Show we thought we would try something a little different. Instead of a chronological approach to writing the music - i.e. write each song one by one, in order of their appearance in the show - we decided to look at the whole show at once, and put down a basic rhythmic skeleton of it all in one big workshop session. It was fascinating for me - in the previous three shows, I have tended to experience it as an audience member would - a slowly developing plot as I work my way through the songs. This time I felt as if I could see it from Paul's point of view from the word go - and had an insight into rhythmic ideas that he had built into the lyrics, which I could either use verbatim, or work against to create new rhythms. After this rhythmic stage was completed, the more solitary process of putting melodies and chord structures on top felt somehow more unified and organic, and I feel the result is possibly our most tightly woven work yet."

MICHAEL VINTEN, Musical Director
“Why did I say ‘yes’ to working with this crazy bunch of performers!? Again!? Because I secretly love it, not that I'd tell them that. I also wouldn't tell them it's because I think they're all incredibly talented, funny and just a little bit mad. What a life! We get paid for doing this?”

Lyndee-Jane Rutherford as Poppea.

JASON CHASLAND, Nero
“The cast amazes me every day with their wit and talents. I believe with this show especially, it takes a lot of research, discipline and intelligence to pull off the particular comedy and dramatic turn of the piece. Paul and the cast have created a wonderfully supportive rehearsal atmosphere, so I think as a cast we all feel safe and excited to try new things, going to extremes in order to create this unique show. There's a fine line between making a fool of yourself and brilliance. Hopefully in the end it's the latter! Ha ha!”

PAUL HARROP, Britannicus
“I am loving working on this production. To work seriously on a musical is a rare opportunity for an actor these days and you couldn't ask for a better or more challenging playground than the one provided by Paul Jenden and Gareth Farr.”

JOANNE HODGSON, Octavia
“To be in this Farr/Jenden production is truly amazing; the rehearsals are supportive, challenging and hilarious.

Every day Paul's script and vision is realised as life is breathed into the rehearsal space with props, set pieces and characters showing their faces more and more.

After just 3 weeks we did a run through with Gareth there for the first time. I was so nervous but it was wonderful hearing him laugh, clap and even shed a few tears as he heard for the first time the actual sounds of what he had imagined while composing for our voices.”

Jason Chasland as Nero and Emma Kinane as Boudicca

LYNDEE-JANE RUTHERFORD, Poppea
“I am in my fourth Jenden/Farr musical and they still blow my mind with their genius. Every song is amazing, beautiful, exquisite and then on top of that is the story: funny, moving and sometimes challenging. I feel privileged to be involved again.”