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Home , Christopher Hampton, God of Carnage, Yasmina Reza

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By Translated by principAL funders welcome regional funding

In 2000 Auckland Theatre her ability to drill down through entertainment and provocation. core funders Premier partners presented Yasmina the sophisticated veneer of Metro Magazine stood out from Reza’s first internationally her middle class characters to the start and we’re delighted successful play, . The reveal to us the pain, the anger, to have them on board as a winner of multiple awards in the fear or the disinterest they Premier Partner for the first France, Britain and the USA, spend their time disguising. time this year. ART was translated into 30 Like Chekhov, she is a Thanks to my sterling design languages and is estimated compassionate satirist, allowing team Rachael Walker and Nik to have grossed $US300 million us to see her characters Janiurek — and to our Senior at box offices around the world. strengths and weaknesses Stage Manager Fern Christie major supporters , Reza’s through a comic lens. “I’m and our Trainee Assistant latest play looks set to press interested in the banal, Director Pip Smith for their the same buttons. Theatre unguarded moments and the support and contribution to the companies around the world hairline fractures in a character process. are scrambling to present this that let the light through,” said play. What’s the attraction? Reza in a recent New Yorker Enjoy! Proud to be NZ’s Most Official caterers of Certainly the small cast and interview. Awarded Winery and Auckland Theatre Sponsor of Auckland Company the single set makes it very It's been a great pleasure to Theatre Company attractive to managements realise this production of in these straightened times. GOD OF CARNAGE with such Colin McColl MEDIA partners Of course, the subject matter an enquiring and talented team; of schoolyard bullying is Miranda Harcourt, Peter Elliott, something that concerns Hera Dunleavy and Dave Fane all responsible parents. But — all parents and all prepared that’s merely the catalyst for to draw on their own parenting an exploration of attitudes to experience to bring this work politics, work, money, social to life! conscience and hamsters in I’d like to thank Metro Magazine the home. for their support of this season supporting partners What Reza has written is an and the Company. When we AUCKLAND ART GALLERY TOI O TAMAKI / BDO SPICERS / CANON existential comedy as much decided to programme GOD OF akin to Beckett and Sartre as it CARNAGE, it became apparent INFLIGHT PRODUCTIONS / THE LANGHAM / MARKETING IMPACT / PERRY FOUNDATION is to her contemporaries such that it was a play for a partner BRUCE MASON CENTRE / MAIDMENT THEATRE / SKYCITY THEATRE as Stoppard. Her great skill is who understood the value of season of Metro magazine is proud of our record of covering Auckland’s cultural scene and we’re delighted to be the premier sponsor of GOD OF CARNAGE

Metro magazine is a stimulating package: delighted to be the hard-nosed current By Yasmina Reza premier sponsor of affairs but also revealing Translated by Christopher Hampton GOD OF CARNAGE, a profiles, irreverent Presented by arrangement with David Pugh and Dafydd Rogers play that sets out to be humour, reliable both entertaining and restaurant reviews and thought-provoking. That’s meaty coverage of books, cast a mix Metro also aims to film and the arts.

deliver every issue, so this We’re proud of our record Dave Fane — Michel Vallon Miranda Harcourt — Veronique Vallon sponsorship is a fitting of covering Auckland’s Peter Elliott — Alain Reille Hera Dunleavy — Annette Reille partnership. Look out for cultural scene. The the full page photo of the chance to see a play GOD OF CARNAGE cast in like GOD OF CARNAGE CREATIVE our annual ’Best Schools’ performed by a brilliant issue, on sale now. local cast is one of the real You should watch out delights of living in New Direction — Colin McColl Set & Costume Design — Rachael Walker too for the next issue of Zealand’s cultural capital. Lighting Design — Nik Janiurek Metro, in a new reader- We wish every success to friendly format, on sale all those involved in the at the end of August. production. PRODUCTION Along with a new size and classic perfect- Production Manager — Mark Gosling Technical Manager — Bonnie Burrill bound look we’re also Senior Stage Manager — Fern Christie Operator — Brodie Quinn sharpening the content to Properties Master — Bec Ehlers Wardrobe Supervisor — Sophie Ham provide even more of the Set Construction — 2 Construct Trainee Assistant Director — Pip Smith Bevan Rapson, Editor, great journalism, brilliant Metro Magazine writing and compelling photography with which GOD OF CARNAGE is the fifth Auckland Theatre Company production for 2009 and opened on July 23rd. GOD OF CARNAGE is approximately our magazine’s always 75 minutes long. Please remember to switch off all mobile phones, pagers and watch alarms. been associated. It’ll be The success of Art wasn’t, long as she makes people please her. those precious years, he be- however, achieved by chance. laugh? Strangely, she does In France, amusement is came her best friend, whose It was the result of a care- care. Reza even resents see- regarded almost as badly as dry wit she inherited. fully orchestrated plan. And ing what she considers trag- commercial success, and be- Whether a moralist, trickster all Reza’s ensuing plays have edies and dramas turned into cause of this Reza has never or great artist, Reza certainly kept to the same pattern with comedies by English speaking played well with French critics. knows how to treat her char- impeccable discipline. audiences. After attending the The French elite doesn’t mind acters ruthlessly, as God of première of Art in London First rule: get the best transla- if the public doesn’t come to Carnage shows. The prem- in October 1996, she turned tor, whatever the cost — see your plays, as long as you ise is simple, but the devil is in to her translator Christopher somebody who understands have been endorsed by the details. Hampton, half-amused, the words, culture la profession. half-furious: “What have and humour. you done?” she asked him. Citizen Reza has yet to be Yasmina Second rule: know your In France, audiences hadn’t elevated by her peers to the milieu. Reza, who turned to laughed nearly as much. (imaginary) rank of chevalier Reza writing after an unsuccess- du théâtre français. And she ful bout of acting, knows the has always been in two minds theatre world inside-out. She about it: choosing either to writes first of all for actors. “My plays have flaunt the freedom success Her plays are so chewy for always been has brought her in the face playwright actors. She serves them great of her detractors, or loudly parts, saucy lines and crunchy described as resenting her exclusion from monologues on a platter. a pantheon where she insists comedy but I she belongs. Like the French president and sex between the jokes. Third rule: never forget think they’re , whose every But what they liked best was theatre directors and manag- Fed up with critics and her step she followed for a year, her wit. Across the Channel ers; they too need help from tragedy. They public whom, at times, she as detailed in her bestseller and the Atlantic, theatre crit- a playwright. Reza always clearly despised, she turned to published in France last ics had seen nothing like it resolves to make their job are funny the figure of Sarkozy who, like September under the rather since Molière. easier — use no more than tragedy, but most of her characters, is self- grand title L’aube le Soir ou four characters and confine obsessed and pathologically Back in 1997, and aged only la Nuit (“Dawn Evening or the action to a single set, a they are ambitious. She followed him 37 — an abnormally young Night”), Reza has become an godsend for anybody running for a year during his presiden- age for a successful French tragedy. Maybe internationally recognisable a theatre. tial campaign and produced playwright — Reza spoke of personality. it’s a new a portrait, both cruel and living “a dream” following the The fourth rule has less to genre.” flattering, of an egotist child British and American theatre success of Art. Not only was do with craftsmanship and of a president. The book was critics have saluted her her play performed in London, more to do with an intangible a bestseller even before it hit bravado and skill. At last, they it went on to become a critical quality: talent. For all those For all the universal force of the bookshops, yet she re- sighed, a French author who and commercial success, who would like to see Reza ceived no literary awards for it. isn’t boring, doesn’t ramble and what is often called a shredded to pieces and pil- her wit, Reza remains deeply on, deploys a clear Cartesian “cultural phenomenon”. There loried on the altar of Theatre, grounded in French culture, Again like Sarkozy, she hardly plot and can keep to a 90-min- were soon talks of a transfer her success didn’t happen by where seriousness is more knew her father, at least as a ute performance. Moreover, to Broadway, thanks to Sean miracle alone. Her talent is highly regarded than laughter. child. A Moscow-born Persian here is a French author who Connery who, after his French simple, and she can achieve And the real tragedy for Reza Jew, he was an engineer isn’t too pompous, yet with wife Michèle saw the play in one of the most difficult is that she isn’t at peace with with a for piano who just enough pretentiousness French in , snapped up things: making people laugh her success. She had hoped married a Hungarian Jewish to remind the audience that the rights. The awards flooded at themselves. to be seen as a Gallic Pinter, violinist. Reza said that the action takes place in Paris, in: Reza scooped up a Molière, as a female Pirandello or a she got to know her father well Why would she care about and who can also squeeze an Olivier and a Tony. Beckett and to be compared only in her twenties until his being attacked by critics, as elevated thoughts about death with Alan Ayckbourn didn’t death 10 years later. During “Yasmina Reza’s staging rachAel direction of ‘No realism. Nothing superfluous.’ walker challenged the creation of a living room in a modern Parisian loft apartment. The artistic literature, African set & antiques and fresh Dutch tulips provide Spartan naturalism in costume a perforated surreal space. A playground of sorts, designer minimally pretentious, tense, angular, confining and fun. It provides a slippery slope down which the relations in the room rapidly descend. Our hosts Veronique and Michel wear earthy, autumnal tones of chic Boho fashion, in contrast with their guests Annette and Alain, suitably structured in the Designer armour of their professions.” tulips

symbolic of DESIGN TECHNOLOGY ACTING ARTS MANAGEMENT perfect COSTUME DIRECTING love (and fame).

Tulipa, commonly called tulip, is a genus of about 150 species of bulbous flowering plants in the family Liliaceae. The native range of species includes southern Europe, north Africa, and Asia, from Anatolia and Iran in the west to the northeast of China. The centre of diversity of the genus is in the Pamir and Hindu Kush mountains and the CREATING steppe of Kazakhstan. A number of species and many INNOVATIVE hybrid cultivars are grown in gardens, used as pot plants AND EXCELLENT or as fresh cut flowers. Most cultivars of tulip are derived STAGE AND SCREEN from Tulipa gesneriana. PROFESSIONALS_ Tulip Mania was a period in the Dutch Golden Age during which contract prices for bulbs DO YOU WANT TO BE PART OF IT? of the recently introduced tulip reached extraordinarily high levels and then suddenly collapsed, crippling the Dutch OPEN DAY 29 AUGUST_ _Visit: www.toiwhakaari.ac.nz economy. At the peak of Tulip Mania in February 1637, tulip contracts sold for more than ten times the annual income of a skilled craftsman. It is generally considered the first recorded speculative bubble. The term “tulip mania” is often used metaphorically to refer to any large economic bubble. Other television work includes PARADISE CAFÉ. She dave fane OUTRAGEOUS FORTUNE, miranda starred in the feature film FOR CAST Dave Fane has performed a THE MARKET, JANDALS GOOD and has appeared in wide range of roles on stage AWAY and THE STRIP. David harcourt award-winning short films and screen since his gradua- has also appeared on the big Miranda has worked through- and a number of other local tion from Toi Whakaari: screen in THE TATTOOIST, out New Zealand on stage and features including FRACTURE, New Zealand Drama School EAGLE VS SHARK and on screen for many years. Her TOPLESS WOMEN TALK 16 years ago. SIONE’S WEDDING. most recent collaboration with ABOUT THEIR LIVES and Colin McColl and Auckland Stage credits include NIU David juggles his acting BAD BLOOD, directed by Theatre Company was David SILA, FRESH OFF THE commitments with his role as Mike Newell. An accomplished Hare’s SKYLIGHT. BOAT, LADIES NIGHT, breakfast host on hip hop and screen acting coach, Miranda A STREETCAR NAMED R&B station FLAVA FM. Miranda’s theatre work has has recently worked with DESIRE, SERIAL KILLERS, also toured internationally directors Jane Campion, Peter SONS and A FRIGATE BIRD and she has been involved Jackson, Jonathan King, Gabor SINGS (co-writer). in two of the New Zealand Csupo and Gaylene Preston. For the past ten years David International Festival of the A recipient of a Media has also been kept busy as Arts’ most successful commis- Peace Award (for ACT OF a founding member of the sions: FLOWERS FROM MY MURDER, a documentary NAKED SAMOANS, who have MOTHER’S GARDEN as an ac- about her original show created and performed four tor, and THE WORLD’S WIFE VERBATIM) and the 1993 NZ highly successful stage shows. as director. She has won Best Suffrage Centennial Medal, Actress and Best Production in 2004 Miranda received In addition, David and his accolades at the Chapman an ONZM for services to fellow Nakeds have recently Tripp Theatre Awards in Theatre and the Community. completed work on the fourth Wellington and until recently, She lives in Wellington with season of the multi-award- was the long-standing Head her husband and frequent winning animated series of Acting at Toi Whakaari: NZ collaborator writer/director BRO’TOWN. Drama School. Stuart McKenzie and their Television audiences will be four children. After GOD OF familiar with Miranda from CARNAGE she will work on the her numerous roles in local solo show THE BIOGRAPHY television series, including OF MY SKIN. GLOSS, COVER STORY, THE STRIP and most recently, Highlights for other theatres peter elliotT hera dunleavy include the original cast Peter has appeared in more than A graduate of Toi Whakaari: production of NGA TANGATA 50 theatre productions in a ca- New Zealand Drama School, TOA, THE MASTER BUILDER, reer spanning twenty years, and Hera has worked at all of , THE CHERRY is no stranger to the Auckland New Zealand’s profes- ORCHARD, CAT ON A HOT Theatre Company stage. sional theatres. Auckland TIN ROOF, TOP GIRLS, In the last few years Peter has Theatre Company produc- Victor Rodger’s plays SONS appeared in THE TUTOR, tions include THE FEMALE and RANTERSTANTRUM, , THE GRADUATE, OF THE SPECIES, UNCLE DOUBLE BEAT, THREE DAYS , TAKE A CHANCE VANYA, SERIAL KILLERS, OF RAIN and BEAUTIFUL ON ME, ROSENCRANTZ AND WHO’S AFRAID OF THING (for which Hera won GUILDENSTERN ARE DEAD VIRGINIA WOOLF?, EQUUS, the Chapman Tripp Award for and ART. DISGRACE, Best Female Newcomer). and HONOUR. Other theatre credits include Amongst her radio work numerous productions at The she played the lead role in Court Theatre, The Mercury Ben Storey's THE OUTSIDERS Theatre, Downstage, Fortune, which won most outstanding and Melbourne Theatre drama in the Media Peace Companies. Award. Peter has also appeared in more Film and television appear- than 30 television shows includ- ances include A SMALL ing long stints on GLOSS and LIFE, BLESSED, FOR SHORTLAND STREET. Recent GOOD, FOREVER, RUDE projects include being director AWAKENINGS, KORERO MAI for THE SCENE (Silo Theatre), and AROHA. host, writer and associate pro- ducer on the documentary se- ries EXPLORERS, and present- ing CAPTAIN’S LOG, INTREPID JOURNEYS and SECRET NEW ZEALAND, all for TV One. Theatre Awards several times - yasmina reza Colin McColl including for his 2002 produc- tion of WHO’S AFRAID OF playwright Director VIRGINIA WOOLF?. Yasmina Reza’s first play One of New Zealand’s leading His many productions for CONVERSATIONS AFTER theatre directors, Colin co- Auckland Theatre Company A BURIAL, won the Molière founded Taki Rua Theatre in include THE WIFE WHO Award for Best Author, SACD 1983 and was Artistic Director SPOKE JAPANESE IN HER New Talent Award and the of Downstage Theatre in SLEEP, CAT ON A HOT TIN Johnson Foundation Award, Wellington, 1984-1992. He ROOF, THE FEMALE OF THE and was subsequently per- has led Auckland Theatre SPECIES, WHERE WE ONCE formed across Europe and in Company as Artistic Director BELONGED, END OF THE South America. since July 2003. RAINBOW, THE CRUCIBLE, Following this, she translated Colin has directed for the HATCH OR THE PLIGHT OF Kafka’s METAMORPHOSIS Norwegian National Theatre THE PENGUINS, DOUBT, for and was and the Dutch National DISGRACE, THE DUCHESS nominated for a Molière Award Theatre, as well as most OF MALFI, EQUUS, GOLDIE, for Best Fringe Production. In leading New Zealand and WAITING FOR GODOT, 1995, ART premiered in Paris Australian theatre companies. SERIAL KILLERS, THE and went on to win the Molière In November 2007, Colin SEAGULL, , Award for Best Author. was honoured for his artistic DAUGHTERS OF HEAVEN Since then, it has been pro- achievements and excellence and HONOUR. duced worldwide and translat- at the eighth annual Arts Opera directing credits ed into 35 languages, grossing Foundation of New Zealand include QUARTET (New more than $300 million. The Laureate Awards. Zealand International Arts London production received Previous achievements include Festival 2004), LA BOHEME the 1996/97 Olivier Award and Best Director for Auckland (Wellington City Opera), THE Evening Standard Awards. Theatre Company’s 2001 ITALIAN GIRL IN ALGIERS, Her latest play, GOD OF production of ROSENCRANTZ THE MARRIAGE OF FIGARO CARNAGE, opened in Paris in AND GUILDENSTERN ARE and THE PRODIGAL CHILD 2007. This play was immediate- DEAD. for the NBR New Zealand ly translated into English and Colin has also won Best Opera. transferred to the West End. Director at the Chapman Tripp SCENES FROM THE BIG artform at the best of times, WEST (Toast Production), rachael PICTURE, MEASURE FOR NIK JANIUREK but the journey is always a fun VULA (The Conch), TOUCH MEASURE, SONS and THE one, especially when the text COMPASS RETROSPECTOVE walker CRUCIBLE (Unitec) and Lighting is clearly as enjoyable as this (Touch Compass), SPRING set & costume ALADDIN (Auckland Designer one is.” AWAKENINGS and REBEL Festival 03). Nik trained at the Bristol Old RABBLE (CCMT), A NUMBER “When the playwright sanc- designer Vic, and his work for pre- (A Lethal Set), ASHES TO tions ’no realism’ within the ASHES and ONE FOR THE Rachael Walker is the 2008 miere companies in the UK first 5 words of the script, you ROAD (Assembly Point), HIGH URBIS Best Stage Designer. including Traverse Theatre, have to acquiesce in order SCHOOL MUSICAL (NYTC), With a passion for both set and Edinburgh and The Royal to serve the play as written TOMMY— THE MUSICAL costume designs, Rachael has Shakespeare Company has –which presents the dilemma (ACG Senior College), DON’T spent the past years spe- garnered a number of awards. of how to light a comedy on a GET ME STARTED (Deb cialising in Theatre Design. For He was the Head of Electrics boxed set free from naturalistic Filler), DISGRACE (ATC- Auckland Theatre Company, for the pre-West End produc- tendencies, yet still allowing Relights), COMPLETE WORKS her works include tion of JERRY SPRINGER — adequate brightness and OF SHAKESPEARE… WHO NEEDS SLEEP THE OPERA, and has toured texture without recourse to the ABRIDGED (Tim Woods), ANYWAY?, END OF THE internationally to festivals in bizarre or inappropriate! TVNZ’s new season launch- RAINBOW, THE TUTOR, England, Scotland, France, Fortunately, Rachael’s design es, TOI MANA, CARMEN THE BACH, THE VAGINA The Netherlands, Australia (in- and Colin’s direction draw on LINARES and ABDULLAH MONOLOGUES, PLAY 2 and cluding a season at the Sydney ample resources to provoke IBRAHIM (New Zealand PLAY 2.03. Opera House), Guam and Fiji. our traditional sense of real- Festival), THE DAYLIGHT Nik’s other recent work in- Other theatre highlights ism and hint at the ’carnage’ ATHEIST (Tauranga Festival), cludes STATION TO STATION are HOLDING THE MAN, beneath, allowing me to merely DUBLINERS (EUTC) and (Passenger), CAROL & NEV BETRAYAL, THE CUT, LOBBY add lustre to the pandemo- UNDER MILK WOOD (Flaxworks), (HMT & HERO, SOME GIRL(S), THE nium that ensues. In lighting (BOVTS). Amici), GATHERING CLOUDS CASE OF KATHERINE this play, I have attempted to and GRASSROOTS TOUR MANSFIELD, UNDER MILK mimic the slow decline of the (Black Grace), AUCKLAND WOOD and GLIDE TIME (Silo characters morale standpoint FESTIVAL CLUB (AK09), Theatre). Her designs were and their descent to obstreper- THE TEMPEST and A also seen in A NUMBER, ous juvenility through a subtle COMEDY OF ERRORS THE RETURN and PROOF and gradual contrast from the (Summer Shakespeare), TENT (A Lethal Set), TOP GIRLS, first to the last lighting state. (Michael Parmenter), TRUE CLOUD NINE, MACBETH, Lighting can be an absurd paris the city of lights

The structure of Paris we more noble residences and Greek goddesses — the Muses of intellectual and artistic life promoted by art dealers such he met Soutine, Modigliani, see today is a result of a shops were always near the — of the arts and sciences) in Paris. as Daniel-Henry Kahnweiler, Pascin and Leger virtually the nineteenth-century renovation, royal palaces. given to the hilly neighbour- From 1910 to the start of World today works by those artists same night and within a week organizing the city into twenty GOD OF CARNAGE is set in hood in the 17th century by War II, Paris’ artistic circles sell for millions of euros. became friends with Juan administrative districts or an apartment in Montparnasse students who came there to migrated to Montparnasse, an Amongst those who gathered Gris, Pablo Picasso and Henri arrondissement. Each district in the 14th Arrondissement recite poetry. alternative to the bourgeois in Montparnasse were Pablo Matisse. In 1914, when the retains its own unique situated on the left bank. The hill was levelled to Montmartre district which had Picasso, Jean Cocteau, Erik English painter Nina Hamnett culture and quarters built by The Montparnasse district, construct the Boulevard been the intellectual breed- Satie, Marc Chagall, Amedeo arrived in Montparnasse, on centuries of Parisian habit and traditionally home to many Montparnasse in the 18th ing ground for the previous Modigliani, Ford Madox Ford, her first evening the smiling colonisation. artists, is today best-known century. During the French generation of artists. Toño Salazar, Max Ernst, man at the next table at La Rotonde graciously introduced Although Paris’s origins are on for its skyscraper, the Tour Revolution many dance halls Virtually penniless paint- Marcel Duchamp, Henri the left bank of the river Seine, Montparnasse, and its major and cabarets opened their Rousseau, André Breton, himself as “Modigliani, painter ers, sculptors, writers, poets and Jew”. They became good Parisians began to move to railway terminus, the Gare doors in the neighbourhood. and composers came from Pascin, Salvador Dalí, Henry the newly-dried swampland of Montparnasse. The 14th The area is also known for Miller, Samuel Beckett, Joan friends, Hamnett later recount- around the world to thrive in ing how she once borrowed a the right bank around the 10th arrondissement also con- cafés and bars, such as the the creative atmosphere and Miró and, in his declining century, leaving the left bank tains the Cité Internationale Breton restaurants which years, Edgar Degas. jersey and corduroy trousers for the cheap at artist from Modigliani, then went to to ecclesiastical and scholastic Universitaire de Paris, which is specialise in crêpes (thin pan- communes such as La Ruche. Montparnasse was a com- institutions. Commerce was located near Parc Montsouris cakes), located a few blocks La Rotonde and danced in the Living without running water, munity where creativity was street all night. centered around the Châtelet and Stade Charléty. from the Gare Montparnasse. in damp, unheated “studios”, embraced with all its oddities, bridge guardhouse and Place Montparnasse Montparnasse became famous seldom free of rats, many sold each new arrival welcomed Between 1921 and 1924, the de Grève port, a market quarter The name Montparnasse at the beginning of the 20th their works for a few francs unreservedly by its existing number of Americans in that would later become Les stems from the nickname century, referred to as les just to buy food. Jean Cocteau members. When Tsuguharu Paris swelled from 6,000 to Halles. Artisans tended to keep “Mount Parnassus” (in Greek Années Folles (the Crazy once said that poverty was a Foujita arrived from Japan 30,000. While most of the to the east of the city, and the mythology, home to the nine Years), when it was the heart luxury in Montparnasse. First in 1913 not knowing a soul, artistic community gathered “For a Five-Year-Old”

by Fleur Adcock

A snail is climbing up the window-sill into your room, after a night of rain. You call me in to see, and I explain that it would be unkind to leave it there; it might crawl to the floor, we must take care here were struggling to eke were, the police were never The poet Max Jacob said he out an existence, well-heeled summoned. If you couldn’t came to Montparnasse to that no one squashes it. You understand, American socialites such pay your bill, people such as “sin disgracefully”, but Marc and carry it outside, with careful hand as Peggy Guggenheim, and La Rotonde’s proprietor, Victor Chagall summed it up differ- to eat a daffodil. Edith Wharton from New York, Libion, would often accept a ently when he explained why Harry Crosby from Boston drawing, holding it until the he had gone to Montparnasse: and Beatrice Wood from San artist could pay. As such, there “I aspired to see with my own I see, then that a kind of faith prevails; Francisco were caught in the were times when the café’s eyes what I had heard of from fever of creativity. walls were littered with a col- so far away: this revolution your gentleness is moulded still by words The cafés and bars of lection of artworks, that today of the eye, this rotation of from me, who have trapped mice and shot wild birds, Montparnasse were a meet- would make the curators of colours, which spontaneously from me, who drowned your kittens, who betrayed ing place where ideas were the world’s greatest museums and astutely merge with one hatched and mulled over. In drool with envy. another in a flow of conceived your closest relatives, and who purveyed Montparnasse’s heyday (from The rue de la Gaité in lines. That could not be seen in the harshest kind of truth to many another. 1910 to 1920), the cafés Le Montparnasse was the site of my town. The sun of Art then Dôme, La Closerie des Lilas, many of the great music-hall shone only on Paris.” But that is how things are. I am your mother, La Rotonde, Le Select, and theatres, in particular the and we are kind to snails. La Coupole — all of which famous “Bobino”. are still in business — were On their stages, using then- the places where starving popular single name pseud- From artists could occupy a table onyms or one birth name Poems 1960-2000 all evening for a few centimes. only, Damia, Kiki, Mayol and Published by Bloodaxe Books, 2000. If they fell asleep, the waiters Georgius, sang and performed were instructed not to wake to packed houses. And here them. Arguments were com- too, Les Six was formed, creat- mon, some fuelled by intellect, ing music based on others by alcohol, and if there the ideas of Erik Satie and were fights, and there often Jean Cocteau. Modigliani igniting stages the world over

God of Carnage (origi- Despite this, the play was A Broadway production nally Le Dieu du Carnage) reviewed positively by most opened at the Bernard B. premiered in Zurich in critics. Dominic Cavendish Jacobs Theatre in March this December 2006 where it in the Daily Telegraph wrote year, starring , became an instant hit. The that, "with no lesser stars than , original production was per- , , and . It formed in German, and won and Janet McTeer received almost universally the Viennese Nestroy-Theatre playing the warring quartet, positive reviews, and won three prize for the best German- parents and non-parents alike , including the language performance of the will surely be elbowing each . season. Following the success other out of the way to get a Unlike all other productions in Zurich a production opened ringside view from the stalls." of GOD OF CARNAGE, Reza in Paris, directed by the author Micheal Billington in The agreed to change the locale herself and starring Isabelle Guardian gave the play four out and the Broadway production Huppert. Reza’s English trans- of five stars saying that, "All is not set in Paris. Rather it is lator, Christopher Hampton, four actors are excellent and, in set in Brooklyn and the two adapted the work for a West 's deft pro- couples are Jewish. End production. duction, show the thin veneer Christopher Hampton’s trans- of bourgeois pretence." lation of God of Carnage Benedict Nightingale writ- opened in the West End at ing in The Times said, "With the on 25 Matthew Warchus directing March 2008. The original these superb performers and cast featured Ralph Fiennes Christopher Hampton translat- as Alain, Tamsin Greig as ing, the effect is tense, edgy Annette, Janet McTeer as and funny. As the title hints, Véronique and Ken Stott as Reza wants us to see her mole- Michel. On the opening night hill as a mountain. Her subjects of the performance, there was come to embrace African a power cut about an hour into genocide, conflict resolution, the show. The show therefore restorative justice and the had to continue in emergency moral nature of us human lighting. animals." ''Oliver! is first-rate SKYCITY Theatre musical entertainment 29 October – 22 November for the entire family” —New York Times Director oliver! Raymond Hawthorne "the atmosphere of Design a London Christmas, Books, music Tracy Grant Lord brimming with life, and lyrics by CAST INCLUDES memorable music and Mark Hadlow, Helen indelible characters… Medlyn a feast for the eyes Orchestral arrange- and ears " ments by William David Brohn — By arrangement with Leonard Australia Pty Ltd, exclusive representative of Cameron Mackintosh and the Southbrook group.

The perfect time to introduce your kids to a life of crime. Oliver! comes to the SKYCITY Theatre, starring Mark Hadlow as Fagin, in a dazzling new production. This much-loved musical vividly brings to life Dickens’ timeless characters with its ever-popular story of the boy who asked for more. The sensational sing- along show is full of Lionel Bart’s irresistible songs including Food Glorious Food, Consider Yourself, You’ve Got to Pick a Pocket or Two, I’d Do Anything, Oom Pah Pah, As Long As He Needs Me and many more. A perfect Christmas treat for the whole family. Be the first to get your tickets – so that you won’t have to pick a pocket or two to get in. WHAT’S ON IN THEATRES AROUND THE COUNTRY?

To find out what else is AUCKLAND SILO THEATRE BATS THEATRE DOWNSTAGE COURT THEATRE going on in Auckland be Auckland Wellington Christchurch sure to pick up the latest THEATRE HOLDING THE MAN VIENNA VERONA THEATRE FOUR FLAT WHITES IN copy of Wellington COMPANY By Tommy Murphy By Three Spoon Theatre ITALY 7 August – 29 August 5 August – 15 August LE SUD By Roger Hall The New Zealand Fumbling from febrile Three Spoon Theatre hits the By Dave Armstrong 29 August – 10 October Post Season of The adolescence through to wide- stage with Vienna Verona 5 August – 22 August Pohutukawa Tree Recent retirees Alison and Adrian eyed young adulthood, Tim – a double-bill season of What if the North and South are taking the trip of a lifetime, but By Bruce Mason and John eventually find a way simultaneously standalone and Island were two separate find unexpected (and unwanted) 3 September – 26 together in this wickedly funny complimentary productions of countries? LE SUD assumes company along for the ride in the September and breathtakingly candid play. Measure for Measure just that. This is the story of a form of Harry and his new wife Maidment Theatre and Romeo and Juliet. delegation from North Zealand Judy. As the quartet navigate Life moves on. But not This radical reworking of led by Prime Minister Jim the big OE for the fifty-plus, their everyone moves with it. CENTREPOINT Shakespeare pushes the Petersen, who travels south to holiday may end up more Dante Rediscover Bruce Mason’s THEATRE boundaries of tragedy and the beautiful chateau at Wanaka than al dente. THE POHUTUKAWA TREE Palmerston North comedy, bringing fresh energy au Lac to persuade their rich with Rena Owen who returns HITS OF ’74 to timeless ideas of love, sex neighbours to provide them with FORTUNE from Hollywood to star in New and authority. By Lucy Schmidt & cheap electricity. Zealand’s greatest play. A Stayci Taylor THEATRE proud and spiritual woman, Dunedin 11 July – 22 August CIRCA THEATRE Aroha attempts to instruct Wellington her children in Pakeha ways. In an attempt to save their LUCKY NUMBERS But the post-war world of the beloved hang-out bar, old FOUR FLAT WHITES IN By Mike Yeaman 1950s has arrived and she friends Tina, Jason, Kathy ITALY 10 July – 1 August and Graeme join voices and is left increasingly isolated By Roger Hall Teetering on the brink of overcome their differences in as everything she loves and 22 August – 3 October senility Nana Connie Patterson this hilarious play of flashbacks stands for comes under siege. has been forced to give up her to 1974. Roger Hall’s latest Kiwi comedy sees retired couples Alison and own home and move in with Adrian, and Harry and new her daughter’s family. All’s wife Judy taking an Italian trip downhill until one day her lucky of a lifetime. Comical calamities Lotto numbers wins her $8.2 befall the intrepid travellers million! as they valiantly negotiate the pitfalls of an Italian OE. auckland theatre company Artistic Director — Colin McColl General Manager — Lester McGrath Literary Manager— Philippa Campbell :\iXd`Z[`ee\inXi\jlggc`\[Yp Creative Development & Education Manager — Lynne Cardy Associate Director Production — Mark Gosling Senior Stage Manager — Fern Christie Technical Manager — Bonnie Burrill Marketing & Communications Manager — Michael Adams Partnerships Manager — Anna Connell Marketing Assistant — Rachel Chin Operations Manager — Brendan Devlin Ticketing & Box Office Supervisor — Anna Nuria Francino Finance Officer — Kerry Tomlin Box Office Assistant — Helen Ross Receptionist — Sue East Young & Hungry Co-ordinator — Charlotte Crone

Quality products ATC BOARD OF DIRECTORS from the heart of italy to your home Chair — Kit Toogood QC, Anne Hinton QC, Dayle Mace MNZM, Gordon Moller, Declan Mordaunt, Patricia Watson MAIDMENT THEATRE Director — Paul Minifie Business Manager — Margo Athy Box Office Manager — Blair Cooper Technical Manager — Rob McDonald nnn%[i\Xdf]`kXcp%Zf%eq Front of House Manager — Will Gaisford Maidment Technician — Aaron Paap G_ '0 /*++(0, AUCKLAND THEATRE COMPANY WOULD LIKE TO THANK THE FOLLOWING FOR THEIR HELP WITH THIS PRODUCTION: Jan and Marieke Teernstra, Film FX

ATC patrons 2009 ATC’s 2009 supporting acts thus far... Margaret Anderson Hillary Liddell and Andrew Our Standing Ovation Adrian Burr and Peter Tatham MacIntosh Supporters John Barnett Chris and Dayle Mace Len Jury Betsy and Mike Benjamin Laurie Matthews and Judith Potter Peter Bolot Koen Boons Jenny Smith John and Stephanie Clark Declan and Geraldine Mordaunt Noel and Kerrin Vautier Robin and Erika Congreve Denver and Prue Olde Our Curtain Call Supporters Paul and Barbie Cook Scott and Yael Perkins Paul and Anne Hargreaves Mike Smith and Dale D’Rose Michael and Maria Renhart Brian and Pam Stevenson Mark and Rosie Dunphy Geoff and Fran Ricketts Lady Tait Trevor and Jan Farmer For more information about K i t To o g o o d a n d P i p M u i r Stephen and Virginia Fisher how you can support Auckland Simon Vannini and Anita Killeen Cameron and Fiona Fleming Theatre Company or advertise Aki and Jane von Roy Michael Friedlander in our programmes call James Wallace Dame Jenny Gibbs Anna Connell, 09 309 0390 ext. 72 Evan and Katie Williams Mike and Steph Gowan Ross and Josephine Green John and Sue Haigh Rod and Penny Hansen Anne and Peter Hinton Peter and Sally Jackson Ross and Paulette Laidlaw Philippa Smith-Lambert and Chris Lambert

SLT4095 HTM ATC A6.indd 1 15/07/09 1:21 AM 6 season of aU ckla nd th the e at re c pohutukawa o m p a n y tree By Bruce Mason Cast Rena Owen Stuart Devenie Catherine Wilkin Peter McCauley Maria Walker Edwin Wright Fern Sutherland Richard Knowles maidment theatre maidment Hera Dunleavy Michael Keir Morrissey Craig Geenty Direction Colin McColl Design Tony Rabbit Nic Smillie

book at 09 308 2383 3 sep – 26 sep or www.atc.co.nz Maidment Theatre