Fairy Stories: Absolute Legends on Stage

In a drama on the waterfront first, we sat down with the Lighting and Sound Operator/Stage Manager for Fairy Stories, Anneliese Mudge, to find out what goes on in the booth during this fun and fantastic show.

DOTW: What can you tell us about Fairy Stories?

AM: It’s a fantastic romp – for adults. Retelling fairy tales with dance and music, lashings of humour, some naughty, some just plain beautiful to watch.

Fairy Stories. Photo by Stephen A'Court.

DOTW: What is your role?

AM: I am the Lighting and Sound Operator and do a bit of Stage Management – though the cast are very self sufficient and disciplined so they don’t need much managing!

DOTW: I understand you have worked on Fairy Stories before; what is your history with this show?

AM: I did a heap of different shows with Paul, Louis and Kate: Fairy Stories, 2001 Nights, Dance for Dummies’ and more around the Millennium. We did a cracking show New Years Eve 1999, and then I ran off to help with the waterfront pyrotechnics. I also worked on the show that was at the Opera House where the audience was seated on the stage. All of them were really entertaining and fun to work on.

DOTW: How is it to work with Paul Jenden, Sir Jon Trimmer and the rest of the cast?

AM: Just lovely, they are so professional and a joy to watch on stage. They really bring huge personality to the characters they portray. I reckon I had a definite career highlight during pack in week when I got to tape the dance floor down with Louis Solino and Sir John Trimmer.

I really am constantly blown away by Paul’s costumes and all the effort that goes into the show.

Also I leapt at the chance to work with Lisa Maule and Jennifer Lal as Lighting Designers because they are both hugely creative and talented.

Fairy Stories. Photo by Stephen A'Court.

DOTW: Are there any particular challenges involved in working on this show?

AM: Fitting all the fantastic wigs and costumes back stage! Also I have such fun watching the show I find it hard not to sing along and dance about the operator’s booth.

Plus I feel guilty for sitting down while the cast are “WORKING IT to the MAX!”

DOTW: Finally, what should audiences know about Fairy Stories?

AM: It’s really a great night out – there’s razzle and dazzle and you get to see some absolute legends (not just talking fairy tales here) on stage!

Fairy Stories. Photo by Stephen A'Court.

Fairy Stories runs in Circa Two until 9 April. To buy tickets, call the Circa Box Office at 801-7992 or go online at www.circa.co.nz.

Designing the Set for Our Man in Havana

drama on the waterfront sat down with designer John Hodgkins to talk about the dynamic set for Our Man in Havana.

DOTW: Can you please tell us about your vision for the set for Our Man in Havana? Were you familiar with the original novel before you began working on your design concept?

JH: I had some recollection of the movie, but had not read the book prior to reading the script for the play.

(left to right) Jessica Robinson, Jeff Kingsford-Brown, Simon Vincent. Photo by Stephen A'Court.

DOTW: What is the process involved in developing a set for a show like this? Can you give us a quick description of the process from concept to final build?

JH: Initially there was a lot of discussion with the director, about the overall concept and in particular how we could achieve the multiple locations required. The design went through a number of concept and development stages before arriving at a final design. This design is further modified during rehearsals. As the design required video and still projections, these elements were developed with the AV designer in a style to blend with the set concept. The majority of the set was constructed and finished off site then dismantled and re-assembled in the theatre.

DOTW: Projected images are a big part of the set and provide the means to switch between locations; how did this part of the set come to be? Where did the images come from?

JH: Most of the images are location settings for various scenes in the play. These are indicated in the script, a large number of possible images were then sourced by the AV designer, and through discussion a short list drawn up. The images where then processed by the AV design team to achieve the look required. The majority of images were sourced via the internet.

(left to right) John Wraight and Jeff Kingsford-Brown. Photo by Stephen A'Court.

DOTW: Were there any particular challenges in realizing your overall vision for the set?

JH: The main challenge for this show was achieving quick scene changes to multiple different locations while still keeping a unified feel to the set as a whole. This was achieved in part by use of AV projections, but also by the overall set giving a sense of place (Havana / Cuba) rather than trying to create multiple specific locations.

DOTW: Our Man in Havana is very strong visually and really succeeds in evoking the seedy world of 1950s Havana; what was your favourite part of designing the set for this show?

JH: The most satisfying part of designing the set was blending the different architectural elements, surface textures and colours of Cuba, into a few set elements. To give a feel for the setting of the play without overwhelming the audience with lots of detail.

DOTW: Finally, what should audiences know about Our Man in Havana?

JH: It a great night's entertainment with lots of humor, but the story will keep you on your toes with some unexpected twists.

John Wraight. Photo by Stephen A'Court.

Our Man in Havana runs in Circa One until 26 March. To book, call the Circa Box Office at 801-7992 or go online at www.circa.co.nz.

Fairy Stories: Sheer escapism!

Taking a moment from rehearsing the magical tales that make up Fairy Stories, Kate O’ Rourke tells drama on the waterfront all about working on the show that puts a 'skip in her step'.

DOTW: Please tell us about Fairy Stories; what can audiences expect?

KOR: Nothing I say can prepare you for Fairy Stories. There is no other show like it, and I really, really mean that! We have chosen some well loved fairytales to share with you all but please DO NOT expect the Little Golden Book version – we are retelling them in a very unique way! It is a totally spell binding experience, jam packed with belly aching humor, heart stopping drama, glorious movement, costumes fit for the Wearable Arts Supreme Award and music that, after four weeks of rehearsal, still gives me goose bumps. What more could you ask for? Fairy Stories is enchanting and one of those rare shows that everyone can enjoy, and will continue to do so long after you have left the theatre. Sheer escapism!

DOTW: What is your role in this production?

KOR: What isn’t my role would be an easier question to answer! I play nine different characters, six of which appear in the first Act. Busy busy….!

DOTW: What sort of challenges come with working on a show like this?

KOR: Remembering which costume to put on when and quite often having to achieve this in 45 seconds. Oh, and did I mention the wigs ...?

DOTW: I understand that Fairy Stories has been staged at Circa before; how does this show compare to one of its earlier incarnations?

KOR: When Fairy Stories first hit Wellington it instantly became the talk of the town, a show that bewitched its audience and put that magic back into live performance. We are now in the 21^st Century. Everyone has moved forward, as has Fairy Stories. We’ve been given the wonderful opportunity to polish the jewel. 

DOTW: What has it been like working with Sir Jon Trimmer? What can you tell us about the rest of the cast?

KOR: The last time I shared the stage with Sir Jon (and no, we don’t call him Sir in the rehearsal room!) I was 11 years old and was one of the children lucky enough to be chosen for the RNZB production of Coppelia. I never thought I’d be fortunate enough to work with him again!

Jon is one of the most gracious, generous and authentic people I have ever had the pleasure of working with. His presence on stage is truly inspiring and the twinkle in his eye impossible to ignore!

Paul Jenden, choreographer, performer, designer, writer. A constant in my performing life and the light behind Fairy Stories. Words cannot begin to describe Paul’s brilliance.  Watching Fairy Stories gives you a small glimpse into the mind of a wonderful creator.

Louis Solino and Jenny Beech complete our amazing cast. It is an honour to work with such talented, inspiring artists.

DOTW: What has been your favourite part of working on Fairy Stories thus far?

KOR: Leaving the house for work with a skip in my step. How many people can say they look forward to Mondays? I love what I do. I love it all. And I simply cannot wait for opening night!!


Fairy Stories opens in Circa Two on 12 March, and runs until 9 April. There will be a $25 Preview performance on 11 March, and a $25 Special performance on 13 March. To buy tickets, call the Circa Box Office at 04-801-7992 or go online at www.circa.co.nz. 

flect-Re-flect: An appreciation of the genius of Alan Brunton and Sally Rodwell

Just before opening her New Zealand Fringe Festival show in Circa Two, Michelle Scullion sits down to tell drama on the waterfront all about flect-Re-flect.

DOTW: Please tell us a bit about  flect-Re-flect. What can audiences expect?

MS: flect-Re-flect is a show full of vibrancy, wit and pathos based from the writings of the late Sally Rodwell and Alan Brunton of Red Mole Theatre Company. The show is being performed by an eclectic group of people from a wide range of artistic disciplines in a semi cabaret style.

flect-Re-flect is totally music driven from a wide range of styles – ethereal to country, blues to rock, elements of torch song, classical and funk, and features a five piece band, two singing dancers and three singing actors.

I have gathered many of Alan’s poems and scripts from a variety of their published books and have included monologues of characters created by Sally Rodwell. In a Dadaistic way, I have woven these works together, like a mosaic tapestry and found there were some recurring themes evolving throughout the work. At times it is very Goon Show-ish, with a blend of song, monologues, dance, and with fast moving silly dialogue sequences by a group called The Twits.

I have written music to Alan’s poems turning them into songs, and the band supports the monologues being presented by the actors. All throughout the work, two male dancers interpret visually the thoughts and feelings of the words, which are very powerful, political and at times just plain silly.

DOTW: I understand that a personal item of Bob Dylan’s features in this show; what is the story there?

MS: I met Bob Dylan’s guitar “wrangler” during one of their tours of New Zealand years ago. After the concert at Athletic Park, I was invited back stage and Charles said – “Here, have this!!” I could not believe it – he was giving me one of Bob Dylan’s blues harps – in the key of Bb. I have treasured it ever since, and felt it was totally appropriate for me to include this in the show. I only learnt recently that the Blues Harp or Harmonica was Alan’s favorite instrument, so it was totally appropriate for me to use it somewhere within the score to the show. It has its own moment along with a Jew’s Harp.

DOTW: What was your inspiration for the creation of this show?

MS: I had the pleasure and honour of working with both Sally Rodwell and Alan Brunton in their theatre company Red Mole, when they returned from New York in 1989.  The show we were working on was called Comrade Savage, based on the life of Michael J Savage. I had been a firm fan of their work, so it was fantastic when I answered the phone to hear, “Michelle, this is Sally Rodwell. We are performing a show – would you be interested in being the musician of our new work?” I met them pretty much straight away in the Newtown Community Centre, where they were preparing to present the show.

Over the next 15 years, I continued to work with them both on many of their projects, both in Red Mole, and on other individual projects they created.

Last year I was in a show at BATS Theatre, a devised show based on the characters Sally had created – Rhonda Gonne, Stella Strange and Charity Cartwright.  I wrote music to the show, and turned some of their writings into songs, and support music to the monologues.  Jenny Stevenson, producer of the show, and I had discussions about developing some of the material into a full opera.  I decided to make a start by developing the concept and using much more of their text into a 75 minutes show, and to pull together musicians, singers and dancers to help realise my vision.

DOTW: What can you tell us about the other musicians/artists performing in flect-Re-flect with you?

MS: I am very proud of the people who agreed to be in this show. Some I have worked with for years and others are brand new to me. 

Sally Barratt-Boyes has sung on my scores for theatre, dance and film for over 3 decades. I find her classically trained voice rich and inspiring.  It is wonderful to be working with her again.

Grant Sutherland is our bass player, who I met in one of the bands Alan put together for some of his shows, over fifteen years ago. We have been friends ever since, and worked together on several of Alan’s projects including recording an album we created around his voice and poems. He is also our Graphic Designer, and has designed our logo and vibrant poster and flyers.

Scott Simpson is a guitarist who I have known for years, but have never worked with before. I actually rang him up to be my keyboard player – and his answer was, “Michelle, there is one problem – I don’t play piano – I play guitar”. To which I replied “I wanted a guitar player – will you still be in my show?” We have not looked back.

Peter Pritchard is our keyboard player, who I used to play jazz with way back in the ‘70’s.  He self publishes his albums he records in his home-studio. It is wonderful to be working with him again. He also has interest in with the Classical Music genre.

Alé Acevedo and I met about 5 months ago on a band-stand I had been invited to join some musicians from Chile, and there he was, with his beautiful instrument – The Hang.  This is a new instrument invented and released to the world in 2000, from Switzerland. We made an instant connection and I knew I wanted him to be the percussionist of the show. He performs an interesting collection of ethnic percussion instruments.

Mathew Pike is a newcomer to me. Jenny saw Mathew in a production of Cabaret late last year and told me about him. I went and saw his performance and knew I wanted him as part of the show. We found him on Facebook, met, talked and Presto!!! Another member of the company was born.

Jacquie Fee, LéRoi Kippen and Sam McLeod were known entities to Jenny, as recent graduates from the Wellington Performing Arts Centre, but strangers to me.

Jacquie has a passion for music theatre.  We met one lunchtime, and she sang for me in the open foyer of the Old Telecom Building on Cable Street – I instantly loved her voice and she is now part of the show.

Léroi Kippen and Sam McLeod are both superb dancers and have captured the concept immediately. As a person who loves dance, it is a pleasure for me to have these two wonderful artists as part of the show.

DOTW: What do you hope that audiences will take away with them after seeing your show?

MS: A really good fun night out at the theatre, watching original work created especially for the Wellington Fringe Festival 2011, and the want to see it being developed into a contemporary opera, as an appreciation of the genius of Alan Brunton and Sally Rodwell.


flect-Re-clect opens in Circa Two Tuesday, 1 March and runs until 5 March as part of the NZ Fringe Festival. For tickets, please call the Circa Box Office at 801-7992 or go online at www.circa.co.nz.