The Motor Camp: Surf the wave of more than 240 people in a small space letting loose, laughing and genuinely having a good time

You know him from last year’s Circa One show, The Birthday Boy, as well as those Countdown ads, and now Phil Vaughan is inspiring riotous laughter in The Motor Camp. He takes a moment to tell drama on the waterfront all about playing the crass and vulgar Mike Hislop for the second time at Circa.

DOTW: This is your second time playing Mike Hislop in The Motor Camp at Circa; has the experience of playing this character changed for you at all? Have you learned anything new about him the second time around? What do you think of him?

PV: I think playing Mike Hislop a second time round has allowed me to let go and have a lot more fun exploring the boundaries of how far he as a character can go. From the success of last season, we all know the play works and as crass and vulgar as Mike can be it becomes clear to audiences that his heart is in the right place. So this time round knowing that if I keep him grounded with his heart in the right place people will understand him, accept his flaws and let him get away with quite a lot.

I think Mike is a guy who does the best he can with what he’s got and what he’s dealt. He’s very loyal. Mikes the kind of guy that if you get him for a friend he’ll come round and chop ya winter woods for ya if for some reason you couldn’t. Probably ever year till ya leg got better.

Phil Vaughan in The Motor Camp. Photo by Stephen A'Court.

DOTW: What is it like to return to this play after a year? Has the overall play changed at all? Has the approach of the rest of the cast changed?

PV: The play as a piece hasn’t changed much. We have made a couple of changes that some brain time to let things sink in for a year can bring. We knew what worked so if ‘it’s not broke don’t fix it’, but that gives you the freedom to play a lot more and that ‘play’ can be the most creative and great fun choices come out of that. Our approach last year was let’s do it and make it the best we can which is the same as this year except we know it works so we are privileged as a cast this year being able to just trust and play!!

DOTW: What has been your favourite part of your experience in The Motor Camp?

PV: Without a doubt meeting the hundreds of people who have come to see the show who haven’t been to a play before or don’t normally go to live theatre. It’s been fantastic. I myself got in to theatre later in life and I have fallen in love with the medium. I get a special buzz when I meet people who almost didn’t realize theatre existed but have been told by their friends to come and see our show. They see it and LOVE it and the look on their faces is priceless. They’ll never forget that and neither will I. That’s pretty cool to be a part of.

Phil Vaughan and Olivia Violet Robinson in The Motor Camp. Photo by Stephen A'Court. 

DOTW: You have been working double time for the last few weeks, rehearsing Peninsula during the day and performing The Motor Camp at night; what has that experience been like? Is it difficult to switch from one to the other?

PV: Rehearsing during the day for one show and then performing another at night is a little hard. But really? World War II was hard. This is a joy. Don’t really have a lot of time at the moment for anything else but I don’t mind. For me the tiredness is washed away when you surf the wave of more than 240 people in a small space letting loose, laughing and genuinely having a good time.

DOTW: The Motor Camp is a very funny show that literally sends audiences into hysterics; what has been the most memorable audience reaction to the show, either this season or last?

PV: There is one scene in the show where I show a rather large amount of my body. There was one night when I came out and my mother told me after that the woman sitting next to her exclaimed ‘Oh my God will you look at the state of that!’ Mum said she wasn’t quite up to leaning over and telling her she had given birth to it.

Tim Spite and Phil Vaughan in The Motor Camp. Photo by Stephen A'Court.

DOTW: Aside from your work in theatre, you have become quite recognisable for the Countdown ads; what has that experience been like?

PV: Yes the Countdown ads are quite high profile and I do get recognized a lot for them. I’m very fortunate that that profile can bring other opportunities. And as an actor, it is not often in your life you get to feel a little financial security. The response has been very favourable. A lot of people come up on the street and say they enjoy them, which is nice.


The Motor Camp runs in Circa One until 18 February. All performances in the last week were sold out more than a week in advance, so an extra matinee was added, on 18 February at 4pm. Tickets will sell out, so contact the Circa Box Office or go online right away to book! 801-7992 or www.circa.co.nz.

Meeting Karpovsky: Helen Moulder

Last at Circa as the Churchill family matriarch, Clementine, in Meet the Churchills, Helen Moulder is back at Circa with the return season of Meeting Karpovsky and takes a moment to talk to drama on the waterfront about the play she created with Sir Jon Trimmer and Sue Rider.

Meeting Karpovsky

DOTW: Please tell us a bit about the story of Meeting Karpovsky.

HM: Meeting Karpovsky is about a woman, Sylvia, and a famous Russian ballet dancer called Alexander Karpovsky. Years ago, when Sylvia travelled the world, she saw Karpovsky dance. The play is set in an attic room full of Sylvia’s daughter’s unwanted possessions and large photographs of Karpovsky and deals with what happens when Karpovsky and Sylvia finally meet up!

DOTW: What can you tell us about your character?

HM: Sylvia is a lonely woman who works in a bookshop and adores the ballet. She uses it to escape from reality, but ultimately it is through the ballet characters she knows so well that her salvation comes.

DOTW: You helped to create this show; where did the idea come from? How did the

creation process work?

HM: Ever since I met him in a TV series we did together called The Fireraiser, I wanted to work with Sir Jon Trimmer. Eventually, spurred on by Cathy Downes, who was then director of the Court Theatre in Christchurch, I plucked up courage and wrote Jon a letter with the suggestion that we write a play together about a woman and a dancer. I didn’t have a full story in mind but suggested it would be a combination of dance and drama and be about a famous dancer teaching a woman to dance and in so doing, helping her thorough some kind of distress. Jon was delighted with the idea and the Royal NZ Ballet agreed that he could work on the project as part of his contract. I then asked Sue Rider, a director, writer and dramaturg I’d worked with in Brisbane, to help us write the piece and eventually direct it. We applied for funding from Creative NZ and over a period of two years, Jon and I met and improvised, Sue and I talked on the phone and emailed each other and eventually all three of us met for ten days in Wellington. At the end of that workshop, we invited theatre and ballet professionals to a showing of the draft script. They gave us lots of very helpful feedback and over the next few months we worked more on the script, preparing it for the first season in Court Two, Christchurch. 

DOTW: Meeting Karpovsky was produced at the Court in 2002, Circa in 2003 and then toured the country in 2004. What can you tell us about those early productions? What were your highlights?

HM: Having the opportunity to dance with the wonderful Sir Jon Trimmer has been the most exciting thing about this project. I first saw him dance in Petrushka in 1969, and never dreamed I would one day be up there on stage with him. It’s been and still is a truly beautiful experience.

Being able to bring my colleague, director Sue Rider, over from Brisbane to work on the project was another highlight. I worked with Sue in Australia in the early 90’s and loved her innovative and challenging productions, so was thrilled that she was able to come on board.

Then touring around NZ with Jon was great fun. He would point to tumble down old halls in paddocks and say “I’ve performed in there!” It inspired me to create a solo show, Playing Miss Havisham, again with Sue Rider, so I could do the same thing! One of the most rewarding shows we did was in Auckland to an audience mainly of deaf people, with a New Zealand Sign language interpreter.

DOTW: What can audiences expect from the return season at Circa?

HM: Jon and I are having a wonderful time, renewing our onstage relationship. With director Sue Rider’s expert help we have reworked the play with a fine tooth comb, cutting extraneous stuff, refining details, so that it's a richer and more satisfying piece. It's like revisiting an old friend but with fresh eyes. Because we have done the play before and know it works, we can play with confidence and trust and it's a very happy experience. So if you’ve seen it before, do come again, we would love to see you.

DOTW: I understand you will be once again going on tour, can you tell us where/when you will be going?

HM: Yes, we are and here are the details:

Feb 28, 29, March 1 7.30pm St Peter’s Hall, Paekakariki

Bookings: (04) 298 8621

4 March 4pm Aratoi – Wairarapa Museum of Art and History, Masterton

Bookings: 06 370 0001 OR info@aratoi.co.nz

8 & 9 March 7.30pm All Saints Hall, Palmerston North

Bookings: (06)358 2203 OR info@allsaintsnz.com

Fundraiser for Church Activities

23 & 24 March 7.30pm St Andrew’s Hall, Cambridge (Cambridge Autumn Festival)

Bookings: (07) 827 6751 OR standrewcam@xtra.co.nz.

26 & 27 March 7.30pm St Barnabas Church, School Road, Ngongotaha, Rotorua

Bookings: (07)3572107 OR stbarnabasclose@xtra.co.nz

29 March – 1 April Thur – Sat 7.30pm Sun 6pm Howick Little Theatre, Auckland

Bookings: www.iticket.co.nz OR (09) 534 1406

More info on www.willowproductions.co.nz

Meeting Karpovsky opens in Circa Two on 10 February and runs until 25 February. To book, call the Circa Box Office at 801-7992 or go online at www.circa.co.nz.

Meeting Karpovsky: Sir Jon Trimmer

The extremely talented long-term mainstay of the Royal New Zealand Ballet, Sir Jon Trimmer, talks to drama on the waterfront about the return season of Meeting Karpovsky with Helen Moulder.

Helen Moulder and Sir Jon Trimmer rehearsing Meeting Karpovsky in a Paekakariki garden.

DOTW: Please tell us a bit about the story of Meeting Karpovsky.

JT: Sylvia is a Balletomane who has seen the great dancer Alexander Karpovsky perform 127 times. Her collection of Karpovsky photos is one of her joys. One day Karpovsky appears in her house and slowly he brings her out of her present state of mind with the help of dance, a little trauma and some kindness. The play has a bitter sweet side to it, but it ends well.

DOTW: What can you tell us about your character?

JT: My character I find is kind, tough and helpful. Karpovsky could be imaginary in Sylvia’s life – we are not sure. He is a pleasure to play.

DOTW: You helped to create this show; where did the idea come from? How did the creation process work?

JT: It was a very enjoyable creation for me. Working with two brilliant artistes brought home to me once again why I enjoy being part of Theatre. I was able to create my own Karpovsky, which was then moulded into a richer character by Sue Rider, a marvellous director. I enjoy the way the three of us threw ideas around.

DOTW: What can you tell us about the early productions?

JT: The earlier production had a sterner Karpovsky – he was not so nice to Sylvia. It was almost a case of tough love.

DOTW: What can audiences expect from the return season at Circa?

JT: Our reworking is very interesting. Being almost ten years older we all have a different feel, a different way of approaching these characters. There is as much humour as before. Sylvia is not quite such a lost person as in the last production and Karpovsky is showing a slightly gentler side. It makes for an interesting story.

DOTW: I understand you will be once again going on tour with Meeting Karpovsky, can you tell us where/when you will be going?

JT: After the Circa season, we take Karpovsky on the road, opening first in my home village, Paekakariki. St Peters Church Hall is a beautifully kept turn of the century building, roughly 1905. While not large, it has a wonderful atmosphere for smaller pieces such as Karpovsky. We move on to Masterton, Palmerston North, Cambridge, Rotorua and Howick in Auckland. I’ve always found audiences in smaller towns very rewarding.

Meeting Karpovsky opens in Circa Two on 10 February and runs until 25 February. to book, call the Circa Box Office at 801-7992 or go online at www.circa.co.nz. 

Esencia del Flamenco

Jill Tanner-Lloyd, Artistic Director of the Desde Sevilla Flemenco Dance Company talks to drama on the waterfront about Esencia del Flamenco, opening tomorrow in Circa Two. Paul Bosauder and Cristina Lopez Gomes, both of whom are visiting from Barcelona in order to perform in Esencia del Flamenco, also tell us a little bit about themselves and their experiences.

DOTW: Please tell us a little bit about the Desde Sevilla Flamenco Dance Company; how long has it been around, who is involved, etc?

JTL: DSFDC began in Wellington back in 1999 and has been entertaining enthusiastic audiences locally and around New Zealand ever since, with flamenco dance and music shows that really appeal to the Southern Hemisphere audiences.  The group has been in various forms: with Jessica Garland and Jamie King dancing in the early 2000's, Mark Edwards on guitar and Alan Burden joining Helene Garland and me. More recently we have incorporated other upcloming dancers - Kathryn Taylor, Pilar Villamor and Stephanie Howard.  Raymond Biggs has joined the group to add to that percussive strength and we have worked with other guitarists Paul Knight and Richard Lucy. We have worked with other artists over the years too, but for this new show feel very excited and honoured to have the opportunity to work with international  flamencos of such high calibre. I also feel very proud that we have secured support again from the Spanish Embassy in New Zealand. It is great that the embassy recognises how flamenco draws New Zealand audiences towards Spanish culture, and our shows often weave interesting stories that enhance audiences' understanding of that culture.

DOTW: What can you tell us about Esencia del Flamenco? What can audiences expect?


JTL: They should expect an enormous variety of high quality flamenco dance, guitar, rhythm and the most soulful, captivating singing (cante). The show is in two very different parts. The first is our tribute to the Spanish Civil War - with driving rhythms, explosive dance and the most haunting singing.  It is varied, emotional and I am personally very proud of what we have achieved with this work - which is woven together with intricate guitar, percussion and beautiful narration.

The second half is light-hearted, fun, fiesta and full of colour! We particularly take time in this section to showcase Paul and Cristina - they have formed a tremendous partnership and this is really highlighted in some of the pieces they have prepared for this half. We end with Tangos (flamenco, not Argentinian) and the dancers return to the stage to set the audience on fire.

DOTW: Is there much of a flamenco community in Wellington? How do Wellington audiences respond to performances of the DSFDC?


JTL: Flamenco has always been a part of the diverse cultural and artistic palette that makes Wellington special. Other forms of dance and music attract greater numbers of participants, but I have been teaching for many years here and love the interesting range of people who come to explore what flamenco might mean to them. It is not an easy artform to learn - dance or guitar - and there are no flamenco singers to be found - they are a very rare breed. I think we do incredibly well bearing in mind we are so far away from its heart.

DOTW: Is this the first time you will be performing with a flamenco singer and guitarist? How has it been to work with them?


JTL: We have been lucky to have good guitarists in Wellington, but this is the first time the group has collaborated with Spanish-based artists, and certainly the first time we have done such a complex collaboration with a singer.  I worked in Auckland in 2010 with Paul and Cristina on a small "coming home" show for the flamenco community and family, and right from the first rehearsal we knew we could easily work together again. We have very quickly developed a strong connection and that does not always happen, even in Spain. I adore dancing for Cristina - she is truly inspirational and now my other dancers and musicians get to experience that too - it has been a dream of mine since last March.

DOTW: You have performed at Circa before; what can you tell us about your partnership with Circa Theatre and the response you receive from Circa audiences?


JTL: Circa Theatre is the perfect partner for us - we love the small, intimate atmosphere that Circa Two provides and the theatre's  professional organisation and support. I truly believe that audiences should be 'close to the action' to feel the energy from flamenco - huge theatres are good for the pocket but not for the performance I think.

DOTW: What should audiences know about flamenco dance before coming to Esencia del Flamenco?


JTL: I think Paul and Cristina's comments below really provide an excellent insight to what flamenco means to them and to audiences - maybe that's enough to know before coming to the show.  We look forward to sharing this with them.

Jill Tanner-Lloyd
Director and Artistic Director


Paul Bosauder (guitarist)

I was raised as a Lebanese Kiwi, I arrived to New Zealand before I knew how to walk and grew up in a cultural mosaic of Lebanese and New Zealand culture. Later, I returned to Lebanon to seek out my roots and understand better the culture of my parents. I found work in singing in a club called the Music Hall where musicians from Palestine, Romania, Lebanon, Spain, Cuba and New Zealand (me) were working together three nights a week in a fusion of music of their respective parts of the world. When I heard the Spanish guitarist playing backstage before the show I was mesmerized the power of the rhythm and the cante (song) which seemed so close to arabic song I had listened to as a child. I left the gig and decided to head to Spain and began what has been an incredible journey.

Flamenco for me has a magical quality and a pureness that is difficult to describe. It is a music that is demanding and inspiring. The first few years in Spain were so challenging and at first it seemed almost impossible to understand the language of flamenco. But with time it has become something that is now almost second nature. It has been a journey filled with challenges and doubts but also many moments of euphoria. But one thing was clear, I was infatuated with flamenco and whenever I heard the cante (flamenco song) I knew I had to be a part of those moments. Flamenco is more than a music - it is a journey, a journey that is best shared.

Cristina Lopez Gomes (cantaora/singer)

I want to say first of all that flamenco is a way of life and mode of expression. It is the language that I have found to best express myself and in the most sincere manner. I don´t have a single story or moment that I can say that I discovered that I want to sing flamenco. In a way it has always formed a part of my life and so it was something that I have been discovering naturally over the course of my life. I love the social part of flamenco and it is a music that is to be played in a group and shared. This for me is one of the greatest pleasures to be able to share this art with people. I feel very lucky that the culture of my country is loved all over the world and this makes it even more special to be able to share this with people in New Zealand. Now flamenco is becoming something universal - it is a language that people all over the world begin to understand and share.

We would also like to give thanks to all of the people who have helped bring this show to Wellington. Thank you to Jill Tanner-Lloyd, Ann Edge, Alan Burden and Annabel Hensley for looking after us so well during our stay.

Esencia del Flamenco opens in Circa Two on Tuesday, 31 January and runs until Sunday, 5 February. To book, call the Circa Box Office at 801-7992 or go online at www.circa.co.nz.