STILL LIFE WITH CHICKENS: a clinic

The script, post-workshop.
The script, post-workshop.

Last weekend, thanks to the administrations of the indefatigable Salesi Le’ota at PlaymarketStill Life With Chickens enjoyed a workshop directed by Andrew Foster, dramaturged by the redoubtable Stuart Hoar, and with the collective acting prowess of Iaheto Ah Hi, Jess Robinson and Louise Tu’u.

Where the last Kingswood workshop generated the words offensiveadolescentpuerile and crass to describe the play, this latest workshop elicited symbolismsurrealist and existentialist.

Believe me, I’m as surprised as you are.

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STILL LIFE WITH CHICKENS: another play

Une poule.
Une poule.

Sharp-eyed (and long-suffering) readers of this blog may have put lua and two together to know that I’m working on a new play called Still Life With Chickens. It’s about an elderly Samoan woman who reluctantly adopts a barnevelder chicken and learns that there’s more to her sunset years than waiting for death.

I don’t usually announce projects in development but since Creative New Zealand has kindly provided a grant (and I’m a week behind on feeding this blog), I thought, What’s the harm in putting pressure on myself by announcing a work-in-progress that I’ll probably be asked about ad nauseum?

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Fill in the Gaps

So I’ve raced ahead with a script but all I have are a beginning and an ending. I’ve avoided and prevaricated but that’s not getting me any closer to meeting a(n admittedly self-imposed) deadline.

Right, then.

Still Life With Chickens is the story of a cranky old woman who reluctantly adopts a barnevelder chicken and learns that there’s more to her sunset years than waiting for death.

I’ve written:

  • the first few scenes where —
    • MAMA tends her GARDEN which is a bit of a haven from caring for her housebound husband;
    • the garden is invaded by CHICKEN who has a taste for silverbeet;
    • Mama catches the chicken, then tries to find its owner to give them a piece of her mind;
    • Mama, unable to find the chicken’s owner, decides to look after it for a few days;
    • CUT TO some time later — like, several weeks later — where Mama and Chicken have come to an arrangement:
      • the old woman has someone to talk to;
      • and the chicken is given parts of the garden to eat and scratch up, as well as kitchen scraps;
  • and the last few scenes where —
    • Mama has mellowed noticeably;
    • Chicken disappears, forcing Mama to interact with her neighbours in search for the chicken;
    • and [A SATISFYING RESOLUTION IS ACHIEVED]*.

Like I said, I’ve tried to launch myself from the tail-end of the first act with no success, while an attempt to work my way backward from that final act has been equally unsuccessful.

I listed some stepping stones:

  1. [OPENING SCENES]
  2. Something Happens
  3. Something Else Happens
  4. Crunch Time!
  5. [CLOSING SCENES]

My stomach tensing with the possibility of knocking this bastard off — and recognising Joe’s 11-Step Programme — I sketched in some more details:

  1. [OPENING SCENES]
  2. Something Happens
    1. Could grandchildren visit? They’d love the chicken! Excellent opportunity for variations on If you really loved me, you would visit more often;
  3. Something Else Happens
    1. Mama attends the funeral of a contemporary, and sees the shrinking circle of peers;
  4. Crunch Time
    1. Mama’s husband is taken to hospital, leaving Mama feeling very alone, maybe?
  5. [CLOSING SCENES]

Mm.

I could be onto something here.

 

* I know this is one of those dry technical posts but I can’t bring myself to spoil the ending.

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KINGSWOOD: post-reading

1971-74 HQ Kingswood Patina Gold==.JPG
By SicbirdOwn work, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=39196356

After a two-day workshop under the direction of Katie Wolfe and Ahi Karunaharan, with dramaturg Jo Smith providing overwatch, Kingswood was read by Jason Te Kare, Louise Tu’u, Joy Vaele, and Jason Wu on a warm Wednesday evening in Balmoral, Auckland.

The audience laughed in the right places, their applause was gratifying, and the Q-and-A that followed was enlightening for all present. Afterwards, it was nice to chat with individual audience members like: Auckland Theatre Company artistic director Colin McColl; Bright Star and Pasefika playwright and Playmarket respresentative Stuart Hoar; the indomitable Webmistresse (retired) and her husband; Luncheon and Officer 27 playwright Aroha Awarau; screenwriter Kathryn Burnett; and Titirangi Theatre stalwart and early supporter of the work Duncan Milne.

During the two-day workshop, these four words  were used to describe "Kingswood" — and upon hearing them I felt inordinately proud.
During the two-day workshop, these four words were used to describe “Kingswood” — and upon hearing them I felt inordinately proud.

Where to from here?

I have no idea.

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KINGSWOOD: a reading

By Richard Lewis - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=3977365
Holden Kingswood (1971-1974 HQ series)

What’s the connection between film director Katie Wolfe, writer Jo Smith, Radio New Zealand producer Jason Te Kare, theatre practitioner Louise Tu’u, and thespians Joy Vaele and Jason Wu?

They’re all pitching in for a reading of Kingswood later this month!

If you’re curious, in the neighbourhood, or at a loose end on the (almost) eve of Easter Weekend:

  • Wednesday 23 March 2016 at 6:30pm
  • Auckland Theatre Company
    Mt Eden War Memorial Hall
    Lower Ground Floor
    487 Dominion Road
    Auckland
    .

Chur.

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GOODBYE MY FELENI: Home Cafe, Apia

Closing night audience heads into the theatre.
Closing night audience heads into the theatre.

Gosh it’s warm here.

With many thanks to the Apia High Commission, I was able to attend the last two nights of Goodbye My Feleni‘s season in Samoa. Yep.

It took a village, of course:

  • the actors — Sakura Siaosi Seumanutafa, George Randolph Tuiletufuga, Myka Stanley, Tonumaipe’a J Aiolupotea, Iosefa Enari, Joshua E G Aiono, and Anthony Sileli O’Byrne;
  • the directors Fiona Collins and Gaea Asolelei To’alepai;
  • the production was driven by Sophie Vickers for the Apia High Commission, overseen by High Commissioner Jacqui Frizzell, and supported by Mary Hughes and fellow high commission people;
  • and the awesome people at Home Cafe — Frank the Island’s Most Aws’ BaristaLoia the ChefSetu the BouncerJay the Friendly Taxi Driver, and Marianne the Bar Manager.

I’m chuffed: that Feleni has been shared overseas again; and that the play has enabled me to visit my parents’ birth country.

The cast of the Apia season with local RSA admirers.
The cast of the Apia season with local RSA admirers.
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GOODBYE MY FELENI: toe alu

Reinforcements for the Maori Battalion aboard the HMT Batory, 1940. (Courtesy of Australian War Memorial via Wikipedia.)

Yes, it’s on again: Goodbye My Feleni will be playing at Home Cafe, Malifa, Samoa, Monday 20 – Friday 24 April 2015, 7:30pm each night. This production is directed by Fiona Collins and Gaea Asolelei To’alepai.

Tickets are free — they are available from the New Zealand High Commission, Beach Road, Apia or telephone +68 1 21 711.

This season is part of the 2015 ANZAC Day Programme for Samoa and is courtesy of Hekama Creative and New Zealand Foreign Affairs and Trade.

(Translation of toe alu — Samoan, meaning “go again”.)

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KINGSWOOD: Prelude

Last weekend, I nipped down to my oul’ hometoon and ran into this:

Photo1033

Cuba Street closed to traffic, its footpaths and road filthy with pedestrians, all of it sprinkled with light rain showers and a very family-friendly vibe: a street festival called Cuba Dupa. Nice. I walked past the crowded foodstalls with their mouthwatering aromas and found sanctuary in the cool and quiet Clark’s Cafe (where they still have cheesecake cup cakes, very nice indeedy).

Once fed, watered and rested,  I hop-skip-and-jumped over the unimaginatively named City to Sea Bridge to Circa Theatre where Kingswood won the 2015 Adam Award for Best Play by a Pasifika Playwright. I guess I’ll be revisiting that script sooner than planned.

While at the Adam Awards, I rubbed shoulders with:

  • Hone Kouka, co-winner of the 2015 Adam Award for Best New Zealand Play for Bless the Child, as well as winner of Best Play by a Maori Playwright;
  • runner-up Dean Parker with Polo (though I do prefer his initial title, Fear and Misery in the Third Term);
  • Michelanne Forster, winner of Best Play by a Woman Playwright for The Gift of Tongues;
  • author of the highly commended, SignificanceTom McCrory;
  • the always luminous Miria George;
  • the boundlessly talented Moana Ete;
  • Wellington man-about-town Jonathon Hendry;
  • the irrepressible KC Kelly;
  • David O’Donnell, fresh from directing Victor Rodger’s incendiary My Name is Gary Cooper in Hawaii;
  • and the Playmarket gang of Murray LynchStuart HoarSalesi Leota, and Claire O’Loughlin.

That’s me: an utterly shameless name-dropper.

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