BY ARTHUR MEEK based on ‘Our Maoris’ the memoirs of Lady Mary Ann Martin PRINCIPAL FUNDERS

CORE FUNDERS PREMIER PARTNER

WELCOME MAJOR PROJECT PARTNERS One of the pleasurable perks of Auckland in the space To condense Mary Ann of making theatre is that each of 25 years: from a few Martin’s memoirs, OUR new production is a fabulous beachside shacks in 1841 to MAORIS, into a manageable voyage of discovery. In the the construction of the Parnell stage work that can pack an last few months Auckland rail tunnel in 1866. And now, emotional punch requires a Theatre Company staff, after working on this play, certain amount of distillation MAJOR SUPPORTERS actors and creative teams the shelly beach at Judges and dramatic licence — have been immersed in Bay takes on a whole new hence the change of title. the political intrigues of 16th meaning. My heartfelt thanks to century Britain, and the 1950s Everyone involved — Arthur everyone involved in the New York City art scene. Meek (playwright), Laurel creation of this work over the Proud to be NZ’s Most Awarded Official caterers of Auckland Winery and Sponsor of Auckland Theatre Company Now with Arthur Meek’s Devenie (actor), Philippa last year. Now I invite you Theatre Company new work Laurel, myself and Campbell (Dramaturg), to engage your imagination our designers have observed our design team — Tony and enjoy Mary Ann Martin’s MEDIA PARTNERS in detail the manufacture of Rabbit, Kirsty Cameron, remarkable story. correction devices for club John Gibson and Jade Turrall feet (thanks to Vaughan (Stage Manager and Google- and Mark of the Auckland Queen) — have enjoyed the Orthotics Centre), learnt opportunity to bring a little bit Colin McColl about Maori herbs and of Auckland’s colonial history medicines and the culinary alive as we’ve explored Mary inventions of colonial settlers, Ann Martin’s place in it — SUPPORTING PARTNERS marvelled over hakari towers and her and her husband's (massive towers erected by effect upon it. She arrived BKA INTERACTIVE / BDO AUCKLAND / CANON some 19th century iwi when here a naïve Eurocentric M.A.C. COSMETICS / MARKETING IMPACT / WAIWERA WATER hosting inter-tribal feasts), Englishwoman and left a MAIDMENT THEATRE / THE EDGE / Q THEATRE taken guided historical Pakeha, with a deep and walks in Parnell and been abiding love for the country gobsmacked at the growth and the tangata whenua. ABOUT THE PLAY ON THE UPSIDE-DOWN OF THE WORLD is a solo play, based on the diaries of Lady Mary Ann Martin, the wife of the first Chief Justice of New Zealand. It traces her life in colonial Auckland: her first impressions of the new land, her growing relationship with the local Maori, and her expanding understanding of herself and her place in the world. BY ARTHUR MEEK based on ‘Our Maoris’ the ABOUT LADY memoirs of Lady Mary Ann Martin MARY ANN MARTIN cast Mary Ann Parker was born in London, England, on 5 July 1817. After a sheltered Laurel Devenie as Lady Mary Ann Martin religious upbringing, in 1841 she married barrister William Martin, who had just been creative made Chief Justice of New Zealand. Director – Colin McColl Dramaturg – Philippa Campbell The pair settled at Taurarua (Judges Bay) in Set & Lighting Design – Tony Rabbit Costume Design – Kirsty Cameron Auckland, and Mary Ann Martin opened a Sound Design & Composition – John Gibson raupo hut hospital on their property to treat Maori patients. She also tutored students from St. Stephen’s School for Native Girls. production Despite having limited mobility, she made Production Manager – Mark Gosling Technical Manager – Paul Nicoll trips to Waimate North, Tauranga and Waikato. When William became ill in 1856, Senior Stage Manager – Fern Christie Stage Manager – Jade Turrall he resigned as chief justice and the couple Technical Operator – Abby Clearwater Properties Master – Diana Kovacs went back to England. They returned to Costume Construction – Kirsty McLay Set Construction – 2 Construct New Zealand in 1858, and continued teaching and missionary work with the Maori Rehearsal Photography – Amber McWilliams community. In 1860, William was knighted, ASB Community Trust Emerging Artist Apprentices – Jessika Verryt & Caitlin Brogan and Mary Ann became Lady Mary Ann Martin. The New Zealand Wars of the 1860s By arrangement with made the couple more isolated; they lost many Maori friends and found themselves at odds with the political views of most Pakeha in their community. However, they continued ON THE UPSIDE-DOWN OF THE WORLD was originally commissioned by Auckland Theatre Company, Auckland, New Zealand. with their work until 1874, when they returned to England. Lady Mary Ann Martin AUCKLAND THEATRE COMPANY WOULD LIKE TO THANK THE FOLLOWING FOR THEIR HELP WITH THIS PRODUCTION: continued her church and teaching work for Tainui Tukiwaho, Revd Dr Warren Limbrick, Christina Cie, Adrian John Te Piki Kotuku Bennett, Rangi Barcham, the rest of her life. She died of a chest Vaughan Sampson and Mark Leonida of Orthotic Centre, Roger Wall, Phillippa Pitcher, Rayna Terziyska infection in Torquay, Devon, in 1884. and Ben Hutton of Parnell Trust, Jan Rivers of Parnell Library, Elspeth Orwin and Keith Giles of Sir George Grey Special Collections (Auckland Libraries), Michael Bennett, Sian Evans, Stephen Marr, Donna Kerridge, Her memoirs, Our Maoris, were published Abigail Greenwood, Chris O' Connor, Alan of Parnell Society. after her death by the Society for Promoting ON THE UPSIDE-DOWN OF THE WORLD is the fifth Auckland Theatre Company production for 2011 and opened on June 30th. Christian Knowledge, as an example of ON THE UPSIDE-DOWN OF THE WORLD is approximately 83 minutes long. the success of the Christian mission in Please remember to switch off all mobile phones, pagers and watch alarms. New Zealand. BEHIND-THE-SCENES

2010 Next Stage Workshop: Laurel Devenie & Colin McColl Visit to St Stephen’s Chapel, Parnell

Rehearsal at Judges Bay, Parnell Research visit to Kinder House, Parnell Rehearsal: Arthur Meek & Laurel Devenie WRITER’S NOTES

to bring to these interactions found myself agreeing with It feels like the most appropriate aspects it. This helped kick off one of Mary Ann of her own background, skills the most fruitful and enjoyable and moral sensibilities. collaborative processes Martin’s By doing so, she helped to that I’ve ever been involved create a country that was with. Laurel, Colin, Tony and experiences (to quote Allen Curnow) I shared our different skills “something different, and theatrical sensibilities of early something nobody counted to discover ways in which New Zealand, on.” And a country that is, in writing, acting, direction and my opinion, all the better for it. design could work together and my to express the spirit of a Before we started remarkable woman and her experience rehearsals, I had some remarkable times. The result strong preconceptions about is something so much richer of the creation how this play should look and more satisfying than on stage. The first draft anything I could have come of this play, involved a giant dress that up with by myself. Best of all, are both could accommodate shadow I think the production you’re puppets and enormous seeing tonight captures the products magic lantern projections. essence of what excited me At one stage I had Laurel about Mary Ann Martin’s life of good riding around on a giant moa. in the first place. It doesn’t compromise Once other people started feel like a story from an coming into the picture, extinct past. It feels like a centred on I began to realise that trying story that has something to to force this initial ‘vision’ tell us about who we are now, engaging onto the production was not and who we might become. going to result in the creation Thank you to the people who with people. of anything worthwhile. worked with me to tell it. A strongly worded email After a short and fruitless Arthur Meek from designer Tony Rabbit attempt to make her new Playwright suggested that a better use home conform to a theory of my time might involve of English civilisation, Mary giving Mary Ann Martin Ann Martin started engaging some decent things to directly with the people say, rather than continuing themselves, both Maori and to indulge my ludicrous settlers. She cared enough ornithological fantasy. to speak to them in their languages and learned to After lowering my eyebrows, understand them on their I decided to try and engage terms. She was then able with Tony’s perspective, and

Top Left: Lady Mary Ann Martin JUDGES BAY, TAURARUA, IN THE TIME OF MARY ANN MARTIN

By Revd Dr Warren Limbrick

On the same ship was Mary Taurarua, Commercial Bay Auckland has Ann Martin, eager to rejoin was a popular venue for had a reputation her husband William who the Maori market-gardeners had come ahead to the new who, having ‘beached their for demolishing colony to take up his position canoes… would bear their its heritage as the first Chief Justice. goods in flax baskets to Selwyn slipped his visiting this favoured market place, buildings, yet card under Martin’s front door and there lay them out for and brought his friend from sale: potatoes, pumpkins, Parnell — its St John’s College days at kumara, maize, watermelon, oldest suburb Cambridge University to the onions, peaches, pork and entrance for an enthusiastic fish.’ The bays adjacent to — boasts many reunion. Judge and Bishop, town settlement, St George’s with their wives Mary Ann Bay, Judge’s Bay and Orakei architectural Martin and Sarah Selwyn, were especially popular for Sir George Grey Special Collections, Auckland Libraries (ID: 1-W1044) formed a partnership of beaching waka. Mary Ann Looking east from Constitution Hill showing premises of Sargent and Littleproud, coach builders (left) Morpeths Iron Shed, Maori Hostelry and Swan Hotel (right) in The Strand delights of the (was Gittos Street, now part of Parnell Rise from Beach Road to Augustus Terrace), Parnell railway bridge, Parnell School (left) Alpha Road (now part of Parnell Rise from friendship, faith and a Martin later described the Augustus Terrace to Parnell Road) and Stanley Street (right) colonial era commitment to social justice. bustling prospect in which take an Their shared ideals were Judge’s Bay in 1842: and converse with the In her later Reminiscences was built of local stone in 1844, expressed in their support tangata whenua regarding she paid tribute to Mary Ann and was a place of worship for “The valley below our house, imaginative and advocacy for the Maori their health issues. Her own Martin as having ‘a great name through which ran a little both resident Ngati Whatua people whenever policies of indifferent health as a semi- among the Maori as a doctor’ stream, was a favourite and transient traders from visitor back to the Colonial Office and the invalid was undoubtedly a (Mary Ann Martin's husband camping-place for Maoris who other tribal groups, especially settler government threatened spur to action. Soon after her had been knighted in 1860). the earliest days came from the neighbouring Ngati Paoa. Mary Ann Martin the welfare of the tangata arrival she began to organise Although the Government islands and mainland to was carried on a litter by of European whenua and the long term a small ‘hospital’, though hospital at Grafton opened in trade in Auckland… Children ‘two good-tempered Maori relationship between the two aware of the incongruity of 1847, their humble hospital settlement. swarmed in and out of the lads’ in the procession for the races. Mary Ann Martin was such a ‘very grand’ title for remained popular because of well-educated and charming, rude tents, babies squalled, its homeliness, the ‘simplicity consecration service on 1st In this regard, the cluster of ‘two or three rough huts and and William Cotton, the pigs bought in for sale of our rules ... and the fact December. Governor FitzRoy Anglican Church buildings a blanket tent’. But very soon bishop’s chaplain, wrote that grunted, shabby-looking that we could talk Maori’. joined others in the gathering at the top of St Stephen’s Ngati Paoa from Waiheke she was ‘very clever indeed curs barked at us, men and Many of the remedies offered singing Psalm 24 in Maori. Avenue cannot be surpassed, erected sawn framing with and never says anything women talked at the top were herbal, naturopathic or However the stone chapel and at Judge’s Bay the raupo cladding and windows which is not worth hearing’. of their voices, but through homeopathic. Also notable had inadequate foundations chapel of St Stephen, built and doors were installed by all this confusion we were was the acceptance of the for Parnell’s clay sub-soil and in 1856, is inseparable from At that time there were only an English carpenter. There sure of friendly faces and nature of whanau, for in its the foundation of Auckland. two households in Judges was, she wrote, ‘no fear of the structure failed. In 1848 welcoming smiles.” role as a hospice the hospital On that bay’s sandy beach Bay — the Martin home, hospital fever clinging to the Selwyn, not usually regarded gave community support to the — known then by the Maori (prefabricated in England), Mary Ann Martin had applied walls: the wind blew freely in as a humourist, wrote wryly dying by providing for extended name of Taurarua — Bishop and that of William Swainson, herself diligently to learning through the open door.’ Sarah of his embarrassment and family to reside in nearby huts. George Selwyn came ashore the Attorney General, on the Te Reo Maori on the voyage Selwyn was both supporter the ‘unenviable distinction’ from the brig Bristolian on western flank of the bay. to New Zealand, which gave and volunteer nurse and Adjacent to the Martin’s house, of presiding over ‘the first 30 May 1842. Around the headlands from her an ability to empathise termed it ‘our whare turoroe’. the first St Stephen’s chapel ruin in New Zealand’! Sir George Grey Special Collections, Auckland Libraries (ID: 1-W970) Showing a view of Judges Bay with yachts LAUREL DEVENIE / hauled up on the beach, boat sheds, St Stephens Church and cemetery and houses in Judge Street (left) and St Stephens Avenue (right), overlooking the bay. ACTOR

“Unpacking this intricate piece I’ve been constantly reminded of Pakeha history and getting of my wonderful grandmother acquainted with Mary Ann Ray, another pragmatic woman Martin’s vigorous curiosity whose joy in people and sense and explicit perspective, of humour seem so close to re-imagined through Arthur’s that of Mary Ann Martin’s.” delicate lens has provided me Margaret-Mary Hollins as Laurel Devenie graduated with an endless pallet chorus director for THE from Toi Whakaari: The New of contradictions to tug at HOUSE OF BERNADA ALBA Zealand Drama School, in and climb into. at Tapac, mentored the chorus Wellington in 2006 (alongside work for Auckland’s Indian It's been a winding process Arthur Meek). Since then community theatre company of eclectic research and she has worked as an actor, PRAYAS and co-directed wondering ­— the chase of teacher, director and theatre– and devised ATC Education's our own curiosity. Every day maker in various parts of production of 1001 MIRRORS we’ve found ourselves in the country, performing in the Spiegeltent. She just various corners of Mary Ann with Downstage Theatre finished directing Northland Martin’s world or what we (FLAGONS AND FOXTROTS, Youth Theatre’s senior show in imagine it to be… singing THE GRADUATE and Whangarei. After this she will Anglican hymns, searching OTHELLO), Auckland Theatre go on to training, four months for old Maori boat songs, Company (THE IMPORTANCE of performance and devising pacing Parnell ground, in OF BEING EARNEST), Capital at The John Bolton Theatre buildings she inhabited. It E: National Theatre For School in Auckland. is a rare opportunity as an Children (STEALING GAMES), actor to be privy to this kind Peripeteia (THE TEMPEST of intense collaboration with and THREE SISTERS) and writer, subject, director, and many other site specific and designers, especially on These background notes by Warren independent productions. The second timbered chapel end of the 20th century. a piece located so closely — completed late in 1856 Aside from that constitutional Limbrick draw on his publication Over the last two years ‘St Stephen’s, Taurarua’ (2007). to where we are making and still admired today by synod meeting, this chapel Guided heritage walks at it and layered with all the she has been heavily visitors —­ was the venue for would serve contemporary St Stephen’s Chapel and churchyard complexities of our current involved in professional and a conference convened by the and future residents, even are organised by the Parnell Trust. sense of identity. In the face community theatre projects bishop, which forged the first through to the weekly To find out more about the Heritage in the Auckland, Hamilton, Walks, visit www.parnell.org.nz of so many ‘isms’ which can Constitution of the Anglican services today. Its humble define my notions of history Wanaka and Northland Church in New Zealand. That colonial simplicity ­— Gothic and the past, it is a relief to regions and hopes to be part document, dated 13th June revival architecture in explore the realities of an of more creative initiatives 1857, was signed on the table kauri and matai timbers — individual’s story of encounter and group processes which which is now the altar. It gave is greatly admired. and survival — a 24 year old encourage diversity and closer representative structure to arriving on the other side of the communities. Last year she the young colonial church well world in a place that, though directed Eli Kent's THINNING ahead of the ‘mother Church vastly different from her own for Auckland Theatre of England’ and was not beginnings, so quickly had to Company’s Young & Hungry substantially revised until the become home. season, worked alongside (2011), the Young and Hungry- International Arts Festival 2004), sense of arrival in a strange and CREATIVE commissioned play YOLK LA BOHEME (Wellington City unfamiliar place, both for Mary (2008), and several short films. Opera), THE ITALIAN GIRL IN Ann Martin as she arrives in Meek is the co-creator, co- ALGIERS, THE MARRIAGE OF New Zealand, and the audience as TEAM writer and anchor of the TVNZ FIGARO and THE PRODIGAL they arrive in the theatre. satirical newscast FEEDBACK. CHILD for the NBR New Zealand Opera. The set as a whole is really an installation. In one sense it is totally In November 2007, Colin devoid of mystery, even banal, was honoured for his artistic but in another it is a dream waiting achievements and excellence to be dreamed – (or as John at the eighth annual Arts Gibson has put it, “an invitation to Foundation of New Zealand imagine”) — it is simply awaiting Laureate Awards and was made an actor to inhabit it, to discover an Officer of the New Zealand and interact with it, to give it a life ARTHUR MEEK Order of Merit in June 2010. TONY RABBIT / and dream the dream… / PLAYWRIGHT SET & LIGHTING A more concrete inspiration for the set was that of 'hakari Arthur Meek is a graduate DESIGNER towers' – huge wooden of Toi Whakaari: The New structures erected by some “My first, and indeed, lasting Zealand Drama School and North Island tribes when reaction on reading 'Our The University of Otago. hosting a feast – made out of Maoris' by Mary Ann Martin He has written for stage, COLIN MCCOLL common 'banal' materials at was “Wow — I would so liked screen and radio over the hand; once the feast was done / DIRECTOR to have met you!” What a last ten years. In 2009 the they were simply dismantled Colin has directed for the thoroughly modern, articulate, Downstage Theatre season of for any salvageable wood, cut Norwegian National Theatre compassionate, intelligent and his play CHARLES DARWIN: up as firewood, or, apparently and the Dutch National Theatre, courageous woman! Arthur COLLAPSING CREATION in some cases, (my favourite!) Scottish Opera and most leading Meek’s stage adaptation of this won four Chapman Tripp simply set alight… New Zealand and Australian work is masterful; the bar has Theatre Awards, including theatre companies. Previous been set high and arriving at a Best Production, Best This production is no documentary achievements include Best design that does justice to the — not only the set, but also the New Play and Best New Director for Auckland Theatre work, whilst supporting Laurel lighting (and sound) exist in a Playwright. His 2008 show, Company's 2001 production in allowing an essence of this rarefied, interdependent web, ON THE CONDITIONS AND of ROSENCRANTZ AND fabulous woman to essentially woven solely and deliberately to POSSIBILITIES OF HELEN GUILDENSTERN ARE DEAD. live once again has been a allow Laurel the space to bring CLARK TAKING ME AS HER Colin has also won Best Director challenge, and, wearing Mary Ann Martin home…” YOUNG LOVER, co-written at the Chapman Tripp Theatre a lighting designer's hat as I with Geoff Pinfield and Awards several times - including write this some two weeks Tony Rabbit has designed sets Richard Meros, played to for his 2002 production of before the production opens, and/or lighting for theatre, opera, packed houses on its national WHO'S AFRAID OF is still far from resolved. television and film and even, tour, garnering a 'Production VIRGINIA WOOLF?. Somewhat like Laurie Lee’s according to one reporter, the of the Year' nomination at 'As I Walked Out One Morning', radio. His work was last seen His many productions for The Chapman Tripp Theatre Mary Ann Martin wrote the by Auckland Theatre Company Auckland Theatre Company Awards. Meek was a founding book back in England some audiences in THE IMPORTANCE include MARY STUART, member of musical comedy 30 - 40 years after many of the OF BEING EARNEST, THE AUGUST: OSAGE COUNTY, band THE LONESOME events had taken place - the POHUTUKAWA TREE, CAT THE POHUTUKAWA TREE, BUCKWHIPS and was chief story is a construct in which ON A HOT TIN ROOF, WHERE CAT ON A HOT TIN ROOF, THE writer on LIVE AT THE GOLD she essentially time-travels to a WE ONCE BELONGED, END FEMALE OF THE SPECIES and GUITARS, their series for 'remembered present'. Thus the OF THE RAINBOW, HATCH WHERE WE ONCE BELONGED. Radio New Zealand. Other set, of every-day real objects, OR THE PLIGHT OF THE writing includes SHEEP for Opera directing credits include but used in a totally un-natural PENGUINS, DISGRACE and THE Long Cloud Youth Theatre QUARTET (New Zealand way, initially tries to address the DUCHESS OF MALFI. IN MY FATHER'S DEN, which were used as musical SLEEP, CAT ON A HOT THE PRICE OF MILK, NO. 2, instruments. I wanted to TIN ROOF, WHO NEEDS THE STRENGTH OF WATER, capture the different tempos SLEEP ANYWAY?, WHERE PIECE OF MY HEART and of her experiences here and WE ONCE BELONGED,THE LOVEBIRDS. Kirsty is also a something of the vividness and BLONDE THE BRUNETTE moving image maker herself. sensuality of her impressions. AND THE VENGEFUL In the last five years she has REDHEAD, EQUUS, THE The rules of the game were made two short films, CROSS DUCHESS OF MALFI and the simple where the sounds had MY HEART and THE LETHAL to be real and organic but they arrangements and musical INNOCENTS and in 2009 had to be delicate enough not direction of SWEET CHARITY. she directed a short film, to overwhelm a solo voice. TURNCOATS for the fashion label NOM*D. Musically it is hard to appreciate the difference in culture over so many years. KIRSTY JOHN GIBSON Mary Ann Martin’s was a CAMERON / SOUND culture of players not listeners. The first sound recording / COSTUME DESIGNER wasn’t till the early 1900 or so, even the folk songs that we “It is impossible to know what DESIGNER think of as old music weren’t it must have been like coming “I wanted to create a costume to New Zealand in 1841. collected and known till the late that Laurel could really inhabit, This production invites you 1800’s. The songs she would not to be tied to the time, but to imagine. The new smells, have brought here would have to be true to Mary Ann Martin’s sounds acoustic, spaces and been those of the Anglican journey, physically, emotionally her new independent status Church played on domestic and intellectually, a dress that in New Zealand must have instruments of violin, viola and both Laurel and the audience seemed to her like the very the piano. could find new secrets in. nectars of freedom. I hope these sounds speak of The costume designed in the extraordinary place we live layers speaks symbolically of The sound design seeks to in and will help to open up the the shedding of old ideas and emulate the deep listening her adaptation and growing one has when trying to world of Mary Ann Martin for love for the landscape and life make meaning out of new you and evoke the feelings of a in New Zealand. The design surroundings. It invites you long time ago.” needed to be strong and the audience to play the same John has been composing stylised, and yet also earthy game she would have done original music for New Zealand and textured, as a response to trying to make sense of the theatre, film, dance and Rabbit’s wonderful set design." unfamiliar. The sounds are television since 1980. Since designed not to illustrate as that time he has composed Kirsty combines her love of in a radio play but to suggest storytelling, textiles and the over 100 scores and sound some of the sounds we hear designs for theatre. In 2008 moving image in her work as in New Zealand. a costume designer on many he received a Qantas Film of our best New Zealand To parallel independently the and Television award for his feature films. She has always world of the play and the score for Vincent Ward's film been committed to telling abstraction of the set I invited RAIN OF THE CHILDREN. locally originated stories with the unique and brilliant Chris Previous works for Auckland New Zealand writer/directors O’Connor to play the natural Theatre Company include such as Niki Caro, Brad sounds of leaves, stones, POOR BOY, HORSEPLAY, McGann, Fiona Samuel and water and domestic sounds OLIVER!, THE POHUTUKAWA Toa Fraser on films including of tea cups, Victorian solid TREE, THE WIFE WHO WHALE RIDER, RAIN, pots and kitchen utensils all of SPOKE JAPANESE IN HER

HAKARI — FEASTING

By Adrian John Te Piki Kotuku Bennett The meal or feast at the submerged in the boiling covered in cabbage leaves. conclusion of the powhiri is waters. In fact Te Arawa, the More sacks are applied, water symbolic in a number of ways. local iwi, were recognisable is added to allow steaming It signifies the return from in the nineteenth century and the whole is covered by the spiritual and tapu world by their blackened teeth, the earth previously removed of the powhiri to the regular the result of sulphur in the from the fire-pit. The hangi non-tapu world; in part this cooking water. The tourist may remain underground is accomplished due to the hangi continues to use for several hours. There is profane nature of kai (food) steaming as a quick, easy much variation on the same which lowers tapu. As well, method to prepare large theme in the Pacific and I it further signifies the joining quantities of food for visitors, have seen a number of styles of the two groups as one. especially as a simulacrum of of umu, some much the The traditional form of food traditional foods is important same as the New Zealand would be the hangi, a meal to the representation of hui. hangi, others above-ground cooked in an earth oven The results however can be and requiring often less than or umu. One of the central very bland and lack the smoky an hour of cooking time. buildings of a marae, at least flavour so characteristic of In which instances it must since the 1930s has been hangi food. The variety of be said however, that the the Whare kai, a building native foods when travelling food is clearly not perfectly specifically for the eating of is after all one of the defining tender. The result is a unique European favourites that Lastly, there is and has been basic meaning of feast has food, for performances and aspects of tourism. combination of smoky, have been integrated into the a special importance to the become a common word for usually with kitchens attached Regular hangi require some extremely tender food. It does cultural vocabulary of Maori hakari. Food, ever valuable in food at powhiri, the older directly alongside. Thus, much hours of preparation. however require experience cooks. The food may include Maori society, has throughout form was often on a different food is now prepared in the A (small) fire-pit is first to gauge many of the factors such simple dishes such as the period since European scale entirely, as William kitchen, although a hangi cleared, followed by the correctly — wood required, marinated raw fish (usually contact and almost certainly Wade, travelling in the 1840s may be laid down behind the mounding of wood on top heat, water and length — prepared Pacific Island style, long before then been utilised makes clear: kitchen area. In the past there of which are stacked heat- and the results may be to enhance mana. There are were at least occasionally with lemon and coconut I may here mention the proof stones. Traditionally elements of the potlatch; and Whare umu, cooking houses, disastrous in the hands of the cream), kina (sea-urchins) and hakari, or native feast these are rounded volcanic conspicuous consumption, or nearby the main houses of the inexperienced. As traditional mussels (shellfish), smoked of entertainment on stones, which may be more specifically conspicuous marae and used specifically hangi are often labour eel and other kai moana extraordinary occasions. passed down within a family. intensive, they have been hospitality have enhanced for food preparation and these (seafood) — particularly in The hakari is a business When searching for them, the mana of the hosts. As may be referred to as kauta. replaced in many instances coastal areas — hangi pork, the stones themselves are with hui, the main reasons for of great importance in its by simpler cooking methods, lamb and chicken, kumara, Hangi preparation is partly apparently discernable in river hakari were births, deaths and preparation, and, in the roasting for instance,or by potato, pumpkin and cabbage. variable by region. In Rotorua beds at night, due to the glints marriages – obviously most giving, rudely magnificent... commercial smoker-steamers. Dessert is often trifle or for instance, hangi often of light they reflect. After importantly those of ariki or In June 1835, I was present (even usually) refers to food these have been fired for The food is prepared by steamed pudding. As with so rangatira — or the opening at a hakari, which... was that has been steamed, or some time and have reached cooks and assistants who many other cultural aspects of special whare, but other to be the last held among sometimes boiled, using an appropriate temperature, then present the food and of modern Maori life, the reasons which have no little the Ngapuhis... The guests, thermal vents, or a facsimile ashes are cleared away, wet feed both the manuhiri actuality is a melange of both or no modern usage might at this time, were the of these. There continue to sacks may be placed over the and the tangata whenua European influences absorbed include the disinterment natives of Hokianga. be natural hot-pools where stones, followed by carefully together. Foods that are over the preceding two or reinterment of bones The food consisted of this is demonstrated, food wrapped bundles of food. served are usually a mix of hundred years, and traditional (hahunga) and special rites for about two thousand bushel gathered in baskets and then These bundles are often both traditional dishes and practices and values. ariki. While hakari, with the baskets of kumaras, and LAUREL DEVENIE, INSIDE OUT Amber McWilliams talks to Laurel Devenie

Laurel Devenie has been busy since she graduated from drama school four and half years ago. At the age of 28, she’s already built a reputation as a deviser, director and actor. So what else is in her repertoire? She responds with a self-deprecating laugh and says “I’m a really good waitress, and I’m a really good babysitter. I have cleaned many bathrooms in my time. I’m also an aspiring seamstress (very aspiring!) Still figuring the answer to that question out!” fifty or sixty cooked pigs. Preparation for these or better at some future time; Due to a combination of good According to native custom, large-scale hakari might I do not, but Mauss would luck and good managwement, this compliment would be many months in the have probably perceived in Laurel hasn’t had to waitress have been returned by the making, for obvious reasons. that, the action of the hau. for at least two years; she’s been making a living as a receiving tribe the next year As with other aspects of the Adrian John Te Piki Kotuku Bennett or the year after... Much powhiri, whether regular, or is the grandson of Bishop Frederick theatre practitioner. Her most recent project was a particular more spirited and more on vast scale, the process Bennett of Te Arawa, the first Maori Bishop. To read his full thesis on pleasure: “I just got to direct splendid than either of of reciprocation, the utu, is these, was a feast prepared “Marae: A Whakapapa of the Maori Eli Kent’s THINNING for the clear in the passages above. Marae”, visit http://ir.canterbury. by Waharoa, at Matamata, second time, up in Whangarei The hakari was returned, or ac.nz/handle/10092/1027 for the Tauranga people, in for Northland Youth Theatre. expected to be. The scale It was a joy. Eli is such a Laurel Devenie as Cecily Cardew in the 2010 ATC production of 1837, thus noticed by Rev. THE IMPORTANCE OF BEING EARNEST however concerns us little A. N. Brown. — “They have discerning, generous writer. here, what is important to It’s a fantastic play. Great Laurel first directed THINNING was good to go in with that collected for the feast, note is the ideal of the hakari to work on a piece of New for ATC’s YOUNG AND faith. The thing we figured six large albatrosses, Zealand writing that teenagers HUNGRY festival in 2010. out last time was that the nineteen calabashes of as a feast of large proportions, with elements of gifting loved to perform and to watch. She says approaching the rhythm is everything. To earn shark oil, several tons the beautiful pauses, to earn and of utu, which in most And I was home ­— Whangarei play a second time was “very of fish, principally young interesting, because I thought the pathos and the comedy, cases these days has been is home. I love working with sharks, which are esteemed ‘oh, I might be cheating by you need to crack on with the emended really to koha. 17 and 18 year olds. They’re by the natives as a great so present and full on — doing this again’ but it still pace. That knowledge gave me There remains however, even delicacy, upwards of twenty unpredictable and inspiring. posed the same challenges. something to hold on to. But after the koha, some sense of thousand dried eels, a We had a great time, and I I enjoyed knowing that the play you get a whole bunch of new great quantity of hogs, and future obligation, if you have think that’s something that’s worked ­— trusting the writing actors and you begin a whole baskets of potatoes almost been hosted then you will be really feeding me now, coming after having the performance new journey. Who you have in without number.” expected to host equally well off the back of that.” experience of it last time. It the room is everything.” Directing THINNING for the 2010 ATC Young & Hungry Festival Laurel Devenie as Cecily Cardew in the 2010 ATC production of THE IMPORTANCE OF BEING EARNEST

Her journey ON THE UPSIDE- clown and vaudeville. John really and leave it clear for I’m on Facebook, but I don’t DOWN OF THE WORLD Bolton is a mentor to lots of more important things like really use it. In terms of online will likewise rely on careful amazing theatre-makers, and rehearsing this play. I relate to technology being part of my pacing. Laurel draws a parallel he’s an incredible teacher. Mary Ann Martin and Cecily, devising or creative practice, between the two plays in I’m really excited to dive into but I don’t think that my that hasn’t really entered my terms of the subtle rhythms of a training environment for a diary would be quite as consciousness (though I wish the ‘ordinary’ language and the while. Encounter the clown interesting as Mary Ann Martin it would). I’m not ready for it.” everyday events described. again! It’s scary. You are so or worth publishing. It’s not The contrast between colonial Like THINNING, with ON naked as the clown. I’m sure it even for own my consumption and modern worlds has been THE UPSIDE-DOWN OF THE will be wonderful fuel. Though — I’ll probably just pile my a common point of discussion WORLD “our challenge is to the focus is on performance journals up and eventually in rehearsals for this play. For find the dynamic of it; Colin is it is essentially about throw them away!” instance, a preoccupation helping to guide me through becoming stronger theatre- However, the leisurely pace of with food features in ON THE that. It’s something I’m makers which is something pen and paper seems to suit UPSIDE-DOWN OF THE learning a lot at the moment I think is really important.” Laurel better than the flurry of WORLD, given the effort it — listening (or trying to listen Laurel’s last two ATC modern technology. She says took to obtain and prepare to the rhythm of a piece — performances have been “I’m so behind in terms of the meals in colonial New Zealand. either from inside or from about women who diarise ­— online media movement, but And as Laurel puts it, “We just outside). Dynamics are Cecily in THE IMPORTANCE I’m getting there, slowly! I’ve don’t have a sense of what’s everything in the theatre.” OF BEING EARNEST, and got an iPhone now, and when seasonal anymore. We can everything comes so easily.” So what’s next on Laurel’s now Mary Ann Martin. Laurel people see me with it they get anything we want, all the That said, Laurel is hardly own dynamic personal and says “I’ve kept a diary for kind of gasp because it’s not time. There’s really no such dependent on such luxuries. professional journey? about two years, but I don’t something that goes with their thing as luxury items any more When she’s hungry, she “I’m going to be training with read it; I just write it in the concept of me. But I love it! — coffee and chocolate ­— “boils rice. And adds tamari.” John Bolton for four months, mornings, when I can just to Music at your fingertips all the studying neutral mask, boufon, get rid of rubbish in my head time! I suppose that’s really it. LACED IN

By Christina Cie If you wanted ‘Down below’ came the It’s no wonder that the later petticoats. Several petticoats. hoop or cage petticoat, made to dress like a lady ‘Crinoline’ originally referred with successive hoops of in the 1840s, there to a stiff fabric of horsehair steel or cane was originally (‘crin’) and linen (‘lin’) that hailed as liberating for was one thing was used to make a stiff women. Now most commonly in particular that petticoat or shaping to hold known as the crinoline, it also the skirts of the dress out into popularised the wearing of you needed. a shape much like a bell. As ‘drawers’. Like thin trousers, this petticoat was probably these added a layer of warmth A maid. Assistance for those used to the multiple scratchy, there would be layers of petticoats. Although was vital in an another, softer petticoat worn not joined at the crotch, to underneath. Another petticoat era when the look allow for the convenience or two or three or even more of using ‘conveniences’, presented to the might also be worn, perhaps they nevertheless managed world was only with ruffles on the bottom to cover the source of or cords sewn in as well, to embarrassment should the achieved with a create the desired shape and wearer trip and the hoop lot of work going to add yet more volume, and inadvertently ‘fly up’! bulk, and weight. on underneath. The ‘natives’ may have gone Spare a thought for that maid. barefoot, but Mary Ann Martin To begin, dressing started with It’s possible that, on top of her and her contemporaries a ‘chemise’ or ‘shift’. With other duties, she would have would not have left off the the advent of the Industrial been expected to take care of stockings nor the gloves nor Revolution and the slave trade, the clothes too. Dirt would be the bonnet, regardless of the cotton had become much brushed off the outer layers weather. Fashions may slip a more available and affordable. and hems but, if not shipped little behind the times due to This layer, hanging mostly out to a laundress, only the the distance, and for some, straight to around mid calf chemise and the petticoats you might think, standards too and a bit like a nightdress, worn closest to the skin would be allowed to slip, out went under a corset. Stiffened would be washed. Sounds here in the Colonies. Instead, by whalebone or thick cord, easy so far? Carrying and for many, the way they and laced at the back, the then heating the water before dressed defined who they corset defined the look from were, personally and socially even beginning to soak, boil the waist up. Often without when so far away from the and scrub was physically shoulder straps for a smooth beating heart of the Empire. demanding work. Petticoats line under the main dress, this Standards, after all, were made from several metres allowed for the early Victorian what made the Empire. feminine ideal of the ‘sloping’ of cotton or linen, could also shoulder. Depending on how be starched and ironed for With a background in fashion, tightly she was laced in to stiffness. If you couldn’t buy textile design and the media, ready-made starch, you would Christina Cie is an author focusing the corset, that slope or even on both contemporary and historical slump could become very real have to know how to make fashion and textiles as well as for the wearer. that too! related issues. SILO THEATRE CENTREPOINT CIRCA DOWNSTAGE FORTUNE WHAT’S ON I LOVE YOU, BRO THEATRE THEATRE THEATRE THEATRE By Adam J.A. Class Palmerston North Wellington Wellington Dunedin Herald Theatre LE SUD MEET THE CHURCHILLS AWHI TAPU THE TUTOR 29 Jul – 20 Aug IN THEATRES By Dave Armstrong By Paul Baker By Albert Belz By Dave Armstrong Never underestimate the 16 Jul – 27 Aug 17 Jun – 16 Jul 13 – 30 Jul 8 – 30 Jul power of a teenage mind. This provocative new Randolph Churchill is holding John Sellars is a self-made This is the true story of Produced by Taki Rua, comedy pokes fun at three a party to celebrate the millionaire who figures AROUND THE a boy who conspired to New Zealand’s national cultures, two islands and 88th birthday of his admired that if money can’t buy murder himself. A chatroom Maori theatre company, one country. Imagine a but estranged father, Sir happiness, at least it can junkie, remarkably clever but AWHI TAPU is a story of French speaking, socialist Winston. Dr Jenkins, keep his kid in line. Nathan desperately lonely and longing loss, belonging and most COUNTRY? South Island where people assistant to Randolph, of all friendship. When the is a smart-mouthed fifteen- for connection. He wants to only work 30 hours a week jumps on the opportunity to year-old who’s just been be someone and online he forestry industry leaves and enjoy long wine-fuelled pursue his own agenda and expelled from his third can be anyone he wants. All their small town, Wendyl, lunches. Neighbouring North forms a surprising bond with school this year. When AUCKLAND for the glory of love — he’ll Sonny, Casper and Girl Girl Zealand, where the people the wily Winston. Secrets John hires a washed-out, spin a web of deceit that will only have each other and THEATRE speak English, is debt are revealed, resentments Daihatsu driving hippy ultimately destroy two lives. their fertile imaginations to COMPANY ridden, starved of electricity released and new rely on. The story heralds a to save Nathan’s Maths and floundering under an understandings formed, new wave of writing around grades, three opposing THE TELSTRACLEAR ATC YOUNG & HUNGRY awkward coalition. With a in this fresh and funny Maori issues and characters; mindsets go head-to-head SEASON OF FESTIVAL OF NEW THEATRE crisis looming North Zealand perspective on an iconic and direct, unsentimental and in a comedy of (bad) CALENDAR GIRLS sends a delegation south to larger-than-life family. challenging. manners, modern IN ASSOCIATION WITH THE get the goodwill - and the education and parenthood. By Tim Firth YOUNG & HUNGRY ARTS TRUST electricity — flowing north. 10 – 20 Aug (The Civic, THE BASEMENT COURT Auckland) 23 Jul – 6 Aug THEATRE 26 – 27 Aug (Founders BATS THEATRE To find out what else is going Book: 09 309 3395 Christchurch Theatre, Hamilton) Wellington on in Auckland be sure to read A girl and her dream face 1 – 3 Sep (Baycourt HAMLET DIES AT THE END FIVE WOMEN WEARING the latest copy of Theatre, Tauranga) opposition from an unlikely THE SAME DRESS mob in the absurdist By Gavin McGibbon A group of extraordinary By Alan Ball women, members of a black comedy COW by 28 Jun – 9 Jul Aurora Centre very ordinary Yorkshire Jo Randerson; a slacker "To be or not to be, that Women's Institute, spark flat is torn apart by the is the question." This wry, 14 – 23 Jul a global phenomenon by wild animals within in the satirical poke at the acting From the writer of persuading one another to thriller TIGERPLAY by Gary profession is a play about plays AMERICAN BEAUTY, SIX pose for a charity calendar Henderson; and Auckland is and a humorous confession of FEET UNDER and TRUE with a difference! As interest under threat by the undead humanity’s foibles. Award- BLOOD, comes this superb snowballs, the CALENDAR in the apocalyptic zombie winning playwright Gavin comedy that never loses GIRLS find themselves adventure DISORDER by McGibbon pens this new its charming spirit. Five revealing more than they'd Thomas Sainsbury. satirical comedy about a group bridesmaids hide out during ever planned. A very British of would-be actors turning the reception of an overblown story, with a very British heart, Shakespeare’s finest into its Southern wedding to discover CALENDAR GIRLS is based absolute worst. Where that they have more in on an inspiring true story that is there's community theatre, common than just a quirky, poignant and hilarious. there's drama. hideous dress. PRODUCTION SUPPLIERS: AUCKLAND THEATRE COMPANY ARTISTIC DIRECTOR — Colin McColl GENERAL MANAGER — Lester McGrath CREATIVE DEVELOPMENT & EDUCATION MANAGER — Lynne Cardy LITERARY MANAGER— Philippa Campbell YOUTH ARTS CO-ORDINATOR — Amber McWilliams PARTICIPATION CO-ORDINATOR — Amo Ieriko ASSOCIATE DIRECTOR PRODUCTION — Mark Gosling SENIOR STAGE MANAGER — Fern Christie TECHNICAL MANAGER — Paul Nicoll From design services and construction to delivery MARKETING & COMMUNICATIONS MANAGER — Michael Adams and installation, 2 Construct is an excellent choice for the PARTNERSHIPS MANAGER — Anna Connell TICKETING & SALES MANAGER — Anna Nuria Francino specialised needs of television, trade shows and theatre. MARKETING ASSISTANT — Rachel Chin Xytech Lighting provides lighting equipment and Visit: www.2construct.co.nz services to the wider entertainment industry. TICKETING & SALES REPRESENTATIVE — Lisa Sorensen They have rental stock that covers the film, BUSINESS MANAGER — Kathy Russell television, stage, corporate and dance party FINANCE OFFICER — Kerry Tomlin areas. Visit: www.xytech.co.nz RECEPTIONIST — Sue East

AUCKLAND THEATRE COMPANY BOARD OF DIRECTORS CHAIR — Gordon Moller ONZM, Anne Hinton QC, Dayle Mace MNZM, Scott Kerse, Patricia Watson

Oceania is your premium sound, lighting, staging and screen partner in New Zealand for any sized event. Visit: www.oceania-audio.co.nz ATC PATRONS ATC’S 2011 SUPPORTING Margaret Anderson Len and Heather Jury ACTS THUS FAR... BEAUTY & PRODUCT SPONSORS: John Barnett Ross and Paulette Laidlaw Our Standing Ovation Mark and Louise Binns Hillary Liddell and Andrew Supporters Mary Brook MacIntosh Betsy and Michael Benjamin Adrian Burr and Peter Tatham Chris and Dayle Mace Jenny Smith Peter Macky and Michael Best Robin and Erika Congreve Our Curtain Call Supporters Paul and Barbie Cook Laurie Matthews and Koen Boons Rob Nicoll Trevor and Jan Farmer Jackie and Philip Mills Sandy Bulmer Martha’s Furnishing Fabrics imports exclusive Denver and Prue Olde Christine Campbell curtain and upholstery fabric direct from Antonia Fisher and Stuart Grieve top mills in Europe and America. Stephen and Virginia Fisher Maria Renhart Brian Keene Visit: www.marthas.co.nz Brenda Levinsohn Cameron Fleming Geoff and Fran Ricketts Michael Friedlander Mike Smith and Dale D’Rose Our Take A Bow Supporters Dame Jenny Gibbs Philippa Smith-Lambert and Norma Journeaux Michael and Stephanie Gowan Chris Lambert Pip Meadowcroft Lady Tait Heather Simpson Ross and Josephine Green M.A.C. Cosmetics offer a large selection of D’Aguiar:hair.skin.nails Kit Toogood and Pip Muir Rosemary Langham makeup, skin care products and nail care items. 173 Symonds Street, Newton, Auckland John and Sue Haigh Visit Smith & Caughey’s, St Lukes www.daguiar.co.nz Simon Vannini and Anita Killeen Ewan and Jenny Price or The Chancery. Rod and Penny Hansen Ted van Arkel Sir James Wallace Anne and Peter Hinton Sandra Greenfield Evan and Katie Williams Michael and Dame Rosie Horton Jeff Mauk Peter and Sally Jackson John and Barbara Lindsay RESEARCH ASSISTANCE: John Salmon and Susan Adams Richard and Shane Compton

Donna Kerridge (Ora New Zealand) Registered Medical Herbalist & Naturopath, For more information about how Rongoa Maori practitioner, trainer and consultant you can support Auckland Theatre Email: [email protected] Company visit www.atc.co.nz/ Phone: 027 255 9534 Partnerships or call Anna Connell, Address: 10 Commercial Road, Helensville 0800 09 309 0390 ext. 272 THE SEASON OF

STARRING: THERESA HEALEY • ALISON QUIGAN • RIMA TE WIATA • HERA DUNLEAVY JENNIFER LUDLAM • KATE-LOUISE ELLIOTT • CATHERINE DOWNES • ALISON BRUCE

10–20august 26–27august 01–03september The Civic, The Edge Founders Theatre Baycourt Theatre AUCKLAND Leukemia and Blood Foundation HAMILTON TAURANGA Charity Preview, August 11. Book: 0800 BUY TICKETS (0800 289 842) Book: 0800 TICKETEK (0800 842 538) Book: 07 577 7188 www.buytickets.co.nz www.ticketek.co.nz www.ticketdirect.co.nz Groups: 09 309 3395 Groups: 09 307 5058 Groups: 07 577 7188