{"pageProps":{"article":{"authors":[{"description":[{"style":"normal","_key":"168da2c7873c","markDefs":[],"children":[{"text":"Dr Erin Harrington is a lecturer in English and Cultural Studies at the University of Canterbury. Her work focuses on horror, embodiment, popular and visual culture, and sex and gender, and she also has a particular interest in theatre, criticism and dramaturgy. She has written for a range of literary and academic publications, art catalogues, and popular outlets, and she regularly appears as a speaker and panelist. 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2020.\n","_key":"0002"}],"_type":"block","style":"normal","_key":"0001","markDefs":[]}],"isFeatured":true,"videoUrl":"","_createdAt":"2022-09-08T01:57:25Z","authors":[{"_type":"author","_key":"129","_weak":true,"_ref":"author-129"}],"image":{"alt":null,"_key":"d38725c3f9d1","asset":{"_type":"reference","_weak":true,"_ref":"image-ab119161f011734318a9ccd37ef78e5cc7ae06a8-2000x1333-jpg"},"railsData":{"metadata":{"size":2806808,"mime_type":"image/jpeg","width":6000,"height":4000,"filename":null},"id":"image/7935/attachment/e290fc46da93b4189a7ebca49f495886","storage":"store"},"_type":"image"},"handle":{"current":"with-a-little-help"},"content":[{"_type":"articleText","description":[{"children":[{"_type":"span","marks":[],"text":"“I remember there was probably about three or four days where we literally just sat. I felt like I just sat watching my screen, completely frozen, almost debilitated in this limbo state where I just did not know what to do.” Jess Smith, Silo Theatre’s Executive Director, recalls what it was like to run a theatre company when, in late March, live performance was outlawed overnight. “I didn't know what the right decision was. I didn't know how we were going to even approach the idea of having to postpone a bunch of stuff or cancel shows, and how audiences were going to react.”","_key":"a35684f237190"}],"_type":"block","style":"normal","_key":"a35684f23719","markDefs":[]},{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"It’s now November, and here you are, together with a bunch of strangers, sitting in Samoa House in Tāmaki Makaurau, about to watch a show. After the year we’ve had, it’s a wee bit of a miracle. So here’s a small glimpse into running a theatre during a pandemic, and the story of how Silo Theatre’s ","_key":"7d6c33cf10300"},{"_type":"span","marks":["em"],"text":"Every Brilliant Thing","_key":"7d6c33cf10301"},{"marks":[],"text":" finally made it to the stage, after all.","_key":"7d6c33cf10302","_type":"span"}],"_type":"block","style":"normal","_key":"7d6c33cf1030"},{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"Like every theatre and performance festival, not only in Aotearoa, but across the world, once the reality of Covid settled, Silo began the painful, prosaic work of unproducing. Theatre seasons are planned up to 18 months out from launch, and often there may be shows that have been in the pipeline for several years. Marketing timelines, casting timelines, venue timelines, they all have substantial lead-ins, work that is chipped away at on a day-to-day basis. For theatres, whose work lies in turning the imaginary into the concrete, unproducing en masse – unpicking all of these elements, dismantling before anything sees the light of day – is a somewhat unnatural state.","_key":"241029f0ba440"}],"_type":"block","style":"normal","_key":"241029f0ba44"}],"_key":"row-3467"},{"_type":"articleShortquote","description":[{"_type":"block","style":"normal","_key":"04b8e1cc2a70","markDefs":[],"children":[{"_type":"span","marks":[],"text":"\"It's a piece of live performance that really requires togetherness\"","_key":"04b8e1cc2a700"}]}],"_key":"row-3468"},{"_type":"articleText","description":[{"style":"normal","_key":"a91c01fd90ef","markDefs":[],"children":[{"_key":"a91c01fd90ef0","_type":"span","marks":[],"text":"The first decision was what to do with "},{"_type":"span","marks":["em"],"text":"The Writer","_key":"a91c01fd90ef1"},{"_type":"span","marks":[],"text":", the play that was due to begin rehearsals only five weeks after Silo’s Auckland Arts Festival offering ","_key":"a91c01fd90ef2"},{"_type":"span","marks":["em"],"text":"UPU","_key":"a91c01fd90ef3"},{"_type":"span","marks":[],"text":" had closed. If the team was to launch a marketing campaign without knowing if the season dates for that show could remain, the company would start hemorrhaging money with no guarantee of recoupment. It swiftly became clear that ","_key":"a91c01fd90ef4"},{"_type":"span","marks":["em"],"text":"The Writer ","_key":"a91c01fd90ef5"},{"text":"would need to be postponed. Silo’s Artistic Director Sophie Roberts remembers, “Everyone was in that panic cancel mode.”","_key":"a91c01fd90ef6","_type":"span","marks":[]}],"_type":"block"},{"style":"normal","_key":"cd5e22e6b842","markDefs":[],"children":[{"_type":"span","marks":[],"text":"Then there was the waiting. That kind of waiting we’re all so familiar with now; making as many firm decisions as possible while trying to remain open to any eventuality. “After a month, then after another month, it started to feel increasingly like getting anything up this year was going to be impossible,” says Sophie. ","_key":"cd5e22e6b8420"},{"_type":"span","marks":["em"],"text":"Break Bread","_key":"cd5e22e6b8421"},{"_type":"span","marks":[],"text":", Silo’s devised show, was the next possibility to decide on, and it had to be struck from the 2020 programme too. “We had a whole timeline there for getting that team together, getting the work developed, created and then on stage by the end of the year,” Jess explains, “And again, we were just like, if people can't be in a room together, working together, there's just no way.”","_key":"cd5e22e6b8422"}],"_type":"block"},{"_key":"e9158dde5872","markDefs":[],"children":[{"text":"A few months after Aotearoa emerged from Level 4 lockdown, the possibility of offering up a show to audiences sometime later in the year looked a squeak more possible. At that point it became clear that ","_key":"e9158dde58720","_type":"span","marks":[]},{"_key":"e9158dde58721","_type":"span","marks":["em"],"text":"Every Brilliant Thing"},{"_type":"span","marks":[],"text":" was a gift of a show to have in Silo’s programming arsenal for many reasons. “Logistically, it's a great little flexible piece of theatre. But also just thematically, it feels like the perfect kind of tonic to the year that we've had as well. And it's a piece of live performance that really requires togetherness”, Sophie says.","_key":"e9158dde58722"}],"_type":"block","style":"normal"},{"markDefs":[{"href":"https://www.theguardian.com/stage/2014/aug/08/edinburgh-festival-2014-every-brilliant-thing-review-depression","_key":"a4b7cf952c9a","target":"","_type":"link","rel":"noopener noreferrer nofollow"}],"children":[{"_type":"span","marks":[],"text":"Described by UK theatre critic Lyn Gardner as ","_key":"a5c68a3c53600"},{"_type":"span","marks":["a4b7cf952c9a"],"text":"the funniest play you’ll ever see about depression","_key":"a5c68a3c53601"},{"_key":"a5c68a3c53602","_type":"span","marks":[],"text":", Duncan Macmillan’s "},{"_type":"span","marks":["em"],"text":"Every Brilliant Thing","_key":"a5c68a3c53603"},{"_type":"span","marks":[],"text":" is a one-person show which, through collaboration with its audience, is partly created afresh each night. The play was first commissioned by Pentabus Theatre Company and Paines Plough, two leading UK touring theatres dedicated to new writing. Its touring roots have made it a small and nimble saving grace for 2020 programming. “It was the one we knew we would if we could,” Sophie notes. Which in 2020 is as close as anything gets to concrete.","_key":"a5c68a3c53604"}],"_type":"block","style":"normal","_key":"a5c68a3c5360"}],"_key":"row-3469"},{"_key":"row-3470","mode":"default","image":{"asset":{"_type":"reference","_weak":true,"_ref":"image-e0184bf72dcad188a019e6937abda6ca1934c4a2-2000x1333-jpg"},"railsData":{"id":"image/7936/attachment/e0af973a85c5a09c1cf5bab61fb6a0b2","storage":"store","metadata":{"width":6000,"height":4000,"filename":null,"size":1892890,"mime_type":"image/jpeg"}},"_type":"image","alt":null,"_key":"2f089ae44a93"},"_type":"articleImage","description":[{"children":[{"_type":"span","marks":[],"text":"Performer Jason Te Kare","_key":"19259b9bfe5b0"}],"_type":"block","style":"normal","_key":"19259b9bfe5b","markDefs":[]}]},{"_type":"articleText","description":null,"_key":"row-3471"},{"mode":"default","image":{"_key":"d569a63c0240","asset":{"_weak":true,"_ref":"image-8da90624843d10b7ceb973d3e7008bdfe072a001-2000x1333-jpg","_type":"reference"},"railsData":{"metadata":{"size":3101345,"mime_type":"image/jpeg","width":8256,"height":5504,"filename":null},"id":"image/7937/attachment/6cf4fba8756e9cfc820f2f28a45d057f","storage":"store"},"_type":"image","alt":null},"_type":"articleImage","description":[{"_key":"df8fc2014c09","markDefs":[],"children":[{"marks":[],"text":"Zoom rehearsal with director Danielle Cormack","_key":"df8fc2014c090","_type":"span"}],"_type":"block","style":"normal"}],"_key":"row-3472"},{"_type":"articleText","description":[{"style":"normal","_key":"a9c60481cd00","markDefs":[],"children":[{"_type":"span","marks":["em"],"text":"In Every Brilliant Thing,","_key":"a9c60481cd000"},{"_type":"span","marks":[],"text":" a single storyteller tells us how, as a seven year old, they tried to make sense of their mum’s depression and suicide attempt. Back then, they began a list of everything in the world there was to live for, and the list grew and grew into the thousands as they moved into adulthood. The play manages to navigate mental illness, loss and the realisation that you can’t always make someone happy, with levity and a confiding honesty.","_key":"a9c60481cd001"}],"_type":"block"},{"markDefs":[],"children":[{"_key":"12c3c42a66930","_type":"span","marks":[],"text":"Macmillan’s text is a deceptively simple piece of playwriting. It takes the form of unadorned storytelling, but a basic principle is that, as the audience, we’re all very much involved. Before the show begins, a random selection of audience members are each given one line of text (one ‘brilliant thing’) that will be used at some point, and at various stages members of the audience play roles in our narrator’s story. I know, it sounds pat or terrifying, but there’s a soft everydayness at the heart of the writing that puts you at ease. The play demands a familiarity and informality from its performer; they feel like our friend. At the show’s conclusion there’s a rare sense of truly having helped create a little thing together, guided by our mate on stage."}],"_type":"block","style":"normal","_key":"12c3c42a6693"},{"markDefs":[],"children":[{"text":"The original production was scripted by playwright Macmillan in collaboration with its first performer, Jonny Donahoe, who is himself a well-known UK stand-up comedian and musician. The script was iterated through performance and informed by Donahoe’s countless live encounters, and that generosity to the live moment that stand-ups inherently possess is woven through the fabric of the play.","_key":"b08ebe405e260","_type":"span","marks":[]}],"_type":"block","style":"normal","_key":"b08ebe405e26"},{"_type":"block","style":"normal","_key":"9e568d10caa7","markDefs":[],"children":[{"_type":"span","marks":[],"text":"It’s this human intimacy – the performer’s acknowledgement and openness to the live audience – that gave Silo reassurance that even if the show had to go ahead with a socially distanced audience at a range of alert levels, this particular show wouldn’t feel diminished by a smaller gathering. “I think we knew with ","_key":"9e568d10caa70"},{"marks":["em"],"text":"Every Brilliant Thing","_key":"9e568d10caa71","_type":"span"},{"_type":"span","marks":[],"text":" that we would be able to do it with those sorts of requirements in place and that the work wouldn't suffer,” says Jess. “The experience wouldn't be any less for the audience or the performer or the team that were making it.”","_key":"9e568d10caa72"}]}],"_key":"row-3473"},{"_type":"articleShortquote","description":[{"children":[{"_type":"span","marks":[],"text":"There’s a soft everydayness at the heart of the writing that puts you at ease","_key":"7fd8991fb3540"}],"_type":"block","style":"normal","_key":"7fd8991fb354","markDefs":[]}],"_key":"row-3474"},{"_type":"articleText","description":[{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"When it came to Silo’s production, however, there was another pressing pandemic decision to be made, and that was the small problem of both the originally slated performer Robbie Magasiva and director Danielle Cormack being based in Australia, and due to fly over to rehearse. There was no way that Robbie could leave locked-down Melbourne, or that Sydney-based Danielle would be able to quarantine in New Zealand with enough time to spare for rehearsals. A solution was found in seasoned actor and director Anapela Polata’ivao stepping into the solo role, and the equally experienced actor and director Jason Te Kare, who would share the role alongside her, performing on alternate nights. Danielle would direct the actors from Sydney via Zoom, and Jason would also support with direction in the room. Just as that was decided, Auckland’s second lockdown crashed in, and it looked like Silo’s plans might have to shift again. But lockdown fortunately lifted just as rehearsals were scheduled to begin.","_key":"dbc2074f2a3d0"}],"_type":"block","style":"normal","_key":"dbc2074f2a3d"},{"children":[{"_type":"span","marks":[],"text":"There’s no denying it, the dynamic of the rehearsal room has been an unfamiliar one for all involved, with a director Zooming in on a laptop and working with two different actors on the floor. But theatre people are pretty comfortable with the unfamiliar, and Anapela, Jason and Danielle work with a focus, fire and huge aroha for the story they’re about to tell. As Danielle says, despite the necessary setup, “I still feel like I’m at home by being in the room with Ana and Jase, and [stage manager] Lucie, even though I’m across the ditch.”","_key":"53da4648d4a10"}],"_type":"block","style":"normal","_key":"53da4648d4a1","markDefs":[]},{"markDefs":[],"children":[{"marks":[],"text":"The live performance industry is in for a long road ahead. But there have been upsides to such a tumultuous year. For one, the state of inertia Jess found herself in didn’t last too long. After that debilitating sense of paralysis, she picked up the phone one day and started to ring some colleagues. “[Those] I really don't talk to that often, and people who I would see as tuakana in terms of their dynamic or relationship with me. And was like, ‘I don't know what to do. What are you doing?’” As a result of those calls, good conversations have begun.","_key":"b1ae75a80e640","_type":"span"}],"_type":"block","style":"normal","_key":"b1ae75a80e64"},{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"“It's funny, isn't it?” she reflects, “I feel like it's galvanised us in a certain way, the industry. I feel like it's pushed some of those weird barriers a bit out of the way and made us all realise that we're actually a lot more connected and a part of the same mission than perhaps we thought before. 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Something about their energy makes me feel the same wave of intimidation that would crash over me as I crossed the field of the all-boys school to get to mine when I was 17. I’m 37. It’s not just me that’s strangely, stupidly affected by this; when my boyfriend passes them to go to the counter, it’s almost imperceptible, but I’m sure he squares his shoulders a bit.","_key":"7f9403fccf8f0"}],"_type":"block","style":"normal","_key":"7f9403fccf8f"},{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"At the start of the script of Sarah DeLappe’s debut play ","_key":"0065e92794ac0"},{"_type":"span","marks":["em"],"text":"The Wolves","_key":"0065e92794ac1"},{"marks":[],"text":", there’s an epigraph from Gertrude Stein: “We are always the same age inside.” DeLappe’s play focuses on a group of teenage girls, but watching a rehearsal I was struck once again by that feeling of sameness, of time compressing, of being 17 at 37. This time it’s different though. Rather than a feeling of reflexive repulsion, it’s like a group of nine teenage girls speaking their truth in their own space has its own orbital pull. “There are ways in which looking back at that time in your life feels really far away, and ways in which these women just feel exactly like us,” says director Sophie Roberts.","_key":"0065e92794ac2","_type":"span"}],"_type":"block","style":"normal","_key":"0065e92794ac"},{"markDefs":[],"children":[{"marks":[],"text":" ","_key":"f68219ad0eac0","_type":"span"}],"_type":"block","style":"aside","_key":"f68219ad0eac"},{"markDefs":[],"children":[{"_type":"span","marks":["em"],"text":"The Wolves ","_key":"dc6e16f224111"},{"_type":"span","marks":[],"text":"cast. Top: Miriana McGechie, Alex King, Tatum Warren-Ngata, Siana Vagana, Akinehi Munroe, Maia Baillie, Aisling Baker, Theo Keane","_key":"6774bde3de2d"}],"_type":"block","style":"aside","_key":"dc6e16f22411"},{"children":[{"_type":"span","marks":[],"text":"","_key":"b5e638b8324e0"}],"_type":"block","style":"aside","_key":"b5e638b8324e","markDefs":[]},{"mode":"default","image":{"asset":{"_ref":"image-b14d03db2a14f5c3cc0fe82b830f594916ec87e6-1600x1065-jpg","_type":"reference"},"_type":"image"},"_type":"articleImage","_key":"de34c908155a"},{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"Below: Maia Baillie, Miriana McGechie, Tatum Warren-Ngata, Theo Keane, Aisling Baker, Akinehi Munroe. Photos: David St George","_key":"48db342e1d29"}],"_type":"block","style":"aside","_key":"4077a2c677a5"},{"image":{"_type":"image","asset":{"_ref":"image-62cc69f09e6ad37011413e8a780cc5407f584eb0-1600x1067-jpg","_type":"reference"}},"_type":"articleImage","_key":"c3d86d289f86","mode":"default"},{"children":[{"marks":[],"text":"\nThe pre-game rituals and conversations of a soccer team of young women as they negotiate the world, their team and themselves – this is the astroturf terrain of ","_key":"f738a821bfb90","_type":"span"},{"_type":"span","marks":["em"],"text":"The Wolves","_key":"f738a821bfb91"},{"_type":"span","marks":[],"text":". Each scene takes place in the 15 minutes before the girls head onto the field for a new game, and as they twist, jump and warm up as a group, their conversations curve and bounce from genocide to hot mums to Amnesty International.","_key":"f738a821bfb92"}],"_type":"block","style":"normal","_key":"f738a821bfb9","markDefs":[]},{"markDefs":[],"children":[{"text":"For Silo Theatre’s artistic director Sophie Roberts, who has a background working with young people, the decision to programme ","_key":"473ac7e793ac0","_type":"span","marks":[]},{"_key":"473ac7e793ac1","_type":"span","marks":["em"],"text":"The Wolves"},{"marks":[],"text":" came from a desire to produce something youth focused, but not necessarily only for a young audience. Putting the play in a mainstage context was important to Roberts, “treating it the same as we would treat anything else in the season, to legitimise young voices”. This is not theatre as part of a box-ticking exercise of ‘youth programming’, but main-bill curation, platforming voices that don’t often get that space. When searching for the right play in a contemporary canon where autonomous young women’s perspectives are rare, Sophie found the voices in ","_key":"473ac7e793ac2","_type":"span"},{"_type":"span","marks":["em"],"text":"The Wolves","_key":"473ac7e793ac3"},{"_type":"span","marks":[],"text":", drawn with such honesty and accuracy, to be hugely refreshing. “It ","_key":"473ac7e793ac4"},{"_type":"span","marks":["em"],"text":"sounded","_key":"473ac7e793ac5"},{"_type":"span","marks":[],"text":" like young women, which I loved,” Roberts says. “The women in ","_key":"473ac7e793ac6"},{"_key":"473ac7e793ac7","_type":"span","marks":["em"],"text":"The Wolves"},{"_key":"473ac7e793ac8","_type":"span","marks":[],"text":" exist beyond cliché in a way I don’t often come across in the scripts I read. We get to discover them on their own terms and observe them at the centre of their own experience.”"}],"_type":"block","style":"normal","_key":"473ac7e793ac"},{"_key":"c6bff52e3ac5","markDefs":[],"children":[{"_type":"span","marks":[],"text":"Director Sophie Roberts. Photo: David St George","_key":"c6bff52e3ac50"}],"_type":"block","style":"aside"},{"mode":"default","image":{"_type":"image","asset":{"_ref":"image-19e59510f95d1f070de4b2570820767704389e28-1600x1067-jpg","_type":"reference"}},"_type":"articleImage","_key":"0809892c4d28"},{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"\nApart from wry takes on dickhead older guys in the young women’s conversations, a joyous form of collective self-protection, what is notably missing from the chatter is romance and boy talk. Working out your place in the world involves a range of shifting tectonic plates, and in DeLappe’s nuanced script, none of those easy stereotypical markers of young women’s conversations exist. DeLappe’s characters are in the process of defining themselves through their relationships with each other. In a world that infantilises or smirks at girls for being vapid and vain, ","_key":"e3db9ac7857f0"},{"marks":["em"],"text":"The Wolves","_key":"e3db9ac7857f1","_type":"span"},{"text":" deigns to take young women seriously.\n","_key":"e3db9ac7857f2","_type":"span","marks":[]}],"_type":"block","style":"normal","_key":"e3db9ac7857f"},{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"Alex King is #7. Photo: David St George","_key":"b20af8544aa10"}],"_type":"block","style":"aside","_key":"b20af8544aa1"},{"mode":"default","image":{"_type":"image","asset":{"_ref":"image-b62b4abb4cbbb5685491635eccdcbb66fa3f0a02-1600x1067-jpg","_type":"reference"}},"_type":"articleImage","_key":"db20e0a8058e"},{"style":"normal","_key":"0b5282b5b829","markDefs":[],"children":[{"_key":"0b5282b5b8290","_type":"span","marks":[],"text":"\n\nThe constant pressure in the world of "},{"_type":"span","marks":["em"],"text":"The Wolves","_key":"0b5282b5b8291"},{"_type":"span","marks":[],"text":", more than anything else, comes from being inside or outside the group. As part of the audition process, Sophie asked actors to share a story about a moment of inclusion or exclusion. It hit a real nerve for all of them, and was something that the group has been really keen to talk about. “Teenage girls want to have that conversation more than, I think, people who are older who just want to pretend that those insecurities have gone away.” We are all the same age inside.","_key":"0b5282b5b8292"}],"_type":"block"},{"_key":"9c0a48c7a452","markDefs":[],"children":[{"_type":"span","marks":[],"text":"The drive, pace and rhythm of the language is what first struck Sophie when she read the script. “I loved that it was so much about the language and the rhythm and less about plot or really fixed character.” By stretching that language across a structure of pre-game scenes that are filled with pragmatic yet ritualistic movement, there’s a visual poetry too. “The physical ritual is like a steady heartbeat, but then the conversation can be chaotic over it, so you’ve got counter-rhythms happening,” Sophie observes.","_key":"9c0a48c7a4520"}],"_type":"block","style":"normal"},{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"There’s a simple power in watching young women in control of their bodies, owning their space.","_key":"e5a3bab81b380"}],"_type":"block","style":"blockquote","_key":"e5a3bab81b38"},{"children":[{"text":"Body autonomy is at the centre of ","_key":"b67bb3f0eef60","_type":"span","marks":[]},{"_type":"span","marks":["em"],"text":"The Wolves","_key":"b67bb3f0eef61"},{"_key":"b67bb3f0eef62","_type":"span","marks":[],"text":". There’s a simple power in watching young women in control of their bodies, owning their space. Roberts recalls, “I remember the feeling of being conscious of my body all the time as a young woman, of feeling looked at or observed. I remember feeling like the world was trying to teach me that my body was both vulnerable and dangerous. "},{"marks":["em"],"text":"The Wolves","_key":"b67bb3f0eef63","_type":"span"},{"_type":"span","marks":[],"text":" is physical, but it demands that you look at female bodies beyond the male gaze.”","_key":"b67bb3f0eef64"}],"_type":"block","style":"normal","_key":"b67bb3f0eef6","markDefs":[]},{"style":"normal","_key":"32ed6203cf88","markDefs":[],"children":[{"_type":"span","marks":[],"text":"It’s a sentiment the playwright also echoes. DeLappe talks about reading Lewis Hyde’s ","_key":"32ed6203cf880"},{"_type":"span","marks":["em"],"text":"The Gift","_key":"32ed6203cf881"},{"text":", in which there is a section on women as ‘gifts’. “I was reading that and I thought about ","_key":"32ed6203cf882","_type":"span","marks":[]},{"text":"The Wolves","_key":"32ed6203cf883","_type":"span","marks":["em"]},{"_type":"span","marks":[],"text":",” DeLappe says. “It made me think that maybe what ","_key":"32ed6203cf884"},{"text":"The Wolves","_key":"32ed6203cf885","_type":"span","marks":["em"]},{"_type":"span","marks":[],"text":" is doing is giving girls the space to own their bodies and not be gifts to anybody. Not to be gifts to their parents or to their boyfriends or to the male gaze or whatever. But they’re just given their turf in which they can define themselves and have some sense of autonomy through these conversations with each other just as people.”","_key":"32ed6203cf886"}],"_type":"block"},{"_type":"block","style":"normal","_key":"dc9d396082ad","markDefs":[],"children":[{"_type":"span","marks":[],"text":"I was struck by another feeling when watching a rehearsal for ","_key":"dc9d396082ad0"},{"_type":"span","marks":["em"],"text":"The Wolves","_key":"dc9d396082ad1"},{"_type":"span","marks":[],"text":". When you’re 17 there’s such a pervasive sense of being ‘on the brink’, of 17 just being a stepping stone, of better-sort-it-out-now before adulthood comes crashing in. It can feel claustrophobic. Before leaving rehearsal I glanced down at one of the scripts lying on the floor. An actor had written a note to themselves in capital letters: TAKE YOUR TIME. A practical nudge about pacing, it was also a reminder that what we’re watching in ","_key":"dc9d396082ad2"},{"_type":"span","marks":["em"],"text":"The Wolves","_key":"dc9d396082ad3"},{"_type":"span","marks":[],"text":" are discussions which aren’t precursors to anything, but rather important exchanges in and of themselves, and in and of their own time. Across seemingly innocuous yet significant conversations, the characters in the play are doing the important mahi of working it all out, which is graft that happens at 17, 37 or 67. “They’re people trying to figure out who they want to be and how to move through the world” Sophie says, “just like all of us, no matter how old we are.”","_key":"dc9d396082ad4"}]},{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"","_key":"f9073bc09a330"}],"_type":"block","style":"normal","_key":"f9073bc09a33"},{"mode":"default","_type":"articleBreak","_key":"6a061e6ae7b1"},{"markDefs":[{"target":"","_type":"link","rel":"","href":"https://nz.patronbase.com/_QTheatre/Productions/9412/Performances","_key":"608ba3985400"}],"children":[{"_key":"cc71fe95f98f0","_type":"span","marks":[],"text":"\nSilo Theatre’s "},{"_type":"span","marks":["em"],"text":"The Wolves","_key":"cc71fe95f98f1"},{"_type":"span","marks":[],"text":" runs from 20 June (Preview) – 13 July 2019 at the Q Theatre – Loft. Tickets available ","_key":"cc71fe95f98f2"},{"marks":["608ba3985400"],"text":"here","_key":"cc71fe95f98f3","_type":"span"},{"_type":"span","marks":[],"text":".\n","_key":"cc71fe95f98f4"}],"_type":"block","style":"normal","_key":"cc71fe95f98f"},{"mode":"default","_type":"articleBreak","_key":"9b17b712848a"},{"style":"normal","_key":"a5a1b1ed4054","markDefs":[],"children":[{"_type":"span","marks":["strong"],"text":"This piece is presented as part of a partnership with Silo Theatre and appears in the show programme. Silo covers the costs of paying our writers while we retain all editorial control.","_key":"a5a1b1ed40540"}],"_type":"block"},{"_key":"2bff30090c55","mode":"central","image":{"_type":"image","asset":{"_ref":"image-828935da63d72245ae7ea032fee4754592bea6ff-2386x2936-jpg","_type":"reference"}},"_type":"articleImage"},{"mode":"default","_type":"articleBreak","_key":"3654ab75d100"},{"markDefs":[],"children":[{"_type":"span","marks":["em"],"text":"\n\nRehearsal images: David St George","_key":"cb438e950a820"}],"_type":"block","style":"center","_key":"cb438e950a82"}],"_key":"row-1377","_type":"articleLegacy"}],"tags":["silo"],"seo":{"title":"The Wolves: New Voices In The Locker Room","image":{"_type":"image","asset":{"_ref":"image-96075bff93df2df85e150f50579dc541dd43ba7a-1800x1200-jpg","_type":"reference"}},"description":"What do teenage girls really talk about in the locker room? Kate Prior on Silo Theatre’s latest production, The Wolves."},"excerpt":[{"_type":"block","style":"normal","_key":"0001","markDefs":[],"children":[{"_type":"span","marks":[],"text":"What do teenage girls really talk about in the locker room? Kate Prior on Silo Theatre’s latest production, The Wolves.","_key":"70df7fc485b0"}]}],"publishedAt":"2019-06-16T18:00:00.000Z","categories":[{"_id":"category-16","_type":"category","name":"Performance","handle":{"current":"performance"}}],"viewCount":2195,"isFeatured":true,"_rev":"FNbL69Gq6vK3n3rT48DFO5"},{"publishedAt":"2017-09-16T20:00:00.000Z","name":"Body Double: A Review of The Things Between Us","isFeatured":true,"image":{"railsData":{"metadata":{"size":1643851,"mime_type":"image/jpeg","width":4961,"height":3508,"filename":"TTBU-image.jpg"},"id":"image/1533/attachment/a340f81f0049033e2e49dd10f446b2d4.jpg","storage":"store"},"_type":"image","alt":null,"_key":"5597bbbf7eee","asset":{"_weak":true,"_ref":"image-d6ba000391cadd36843b0722fda166bb1d9b4148-2000x1414-jpg","_type":"reference"}},"excerpt":[{"_key":"0001","markDefs":[],"children":[{"_type":"span","marks":[],"text":"Erin Harrington reviews Christchurch Arts Festival's premiere season of a new musical by Luke di Somma","_key":"0002"}],"_type":"block","style":"normal"}],"categories":[{"_id":"category-12","_type":"category","name":"Reviews","handle":{"current":"reviews"}}],"_createdAt":"2022-09-08T02:16:48Z","videoUrl":"","content":[{"_type":"articleLegacy","description":[{"children":[{"text":"After the resounding success of suffragette musical ","_key":"abb66490f45b0","_type":"span","marks":["strong"]},{"text":"That Bloody Woman","_key":"abb66490f45b1","_type":"span","marks":["strong","em"]},{"text":", Christchurch Arts Festival has commissioned a new show from writer and composer Luke Di Somma. As Erin Harrington discovers, it's one that establishes an interesting premise, but seems to avoid the implications of its central conceit.","_key":"abb66490f45b2","_type":"span","marks":["strong"]}],"_type":"block","style":"normal","_key":"abb66490f45b","markDefs":[]},{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"London-based New Zealand composer Luke Di Somma’s new musical","_key":"86fc2c718c560"},{"_type":"span","marks":["em"],"text":" The Things Between Us","_key":"86fc2c718c561"},{"_type":"span","marks":[],"text":" charts the life cycle of the relationship between mid-twenties journo Dom, whose responsible exterior hides some psychological wreckage, and flaky but emotionally resolute musician Sam. Over seventy minutes, sixteen songs and minimal incidental dialogue, we follow the two through their first meeting and tentative courtship to – spoiler – the relationship’s eventual dissolution and the duo’s first steps towards the next phase of their lives.","_key":"86fc2c718c562"}],"_type":"block","style":"normal","_key":"86fc2c718c56"},{"children":[{"marks":[],"text":"The show, which was commissioned by the ","_key":"460cb365bb650","_type":"span"},{"marks":["d42ad3578cd0"],"text":"Christchurch Arts Festival","_key":"460cb365bb651","_type":"span"},{"text":", has a warm and well-meaning heart. It’s still a real delight to hear musical theatre in a kiwi accent, and it charmingly embraces the quotidian details of contemporary courtship (more Facebook stalking and ‘Netflix and chill’ than fortuitous meet-cute and grand gesture). It’s also at times indistinct and undercooked – a first showing rather than a finished product.","_key":"460cb365bb652","_type":"span","marks":[]}],"_type":"block","style":"normal","_key":"460cb365bb65","markDefs":[{"rel":"","href":"http://www.artsfestival.co.nz/","_key":"d42ad3578cd0","target":"","_type":"link"}]},{"markDefs":[],"children":[{"marks":[],"text":"This premiere season is gifted with a terrific cast.","_key":"6c45f6da43230","_type":"span"}],"_type":"block","style":"blockquote","_key":"6c45f6da4323"},{"style":"normal","_key":"7137912f4cab","markDefs":[],"children":[{"_type":"span","marks":[],"text":"The core conceit of this show is that we have two Sams and two Doms, one male and one female, so that we see three contemporaneous iterations of the Sam-Dom relationship (male-male, female-female, and male Dom with female Sam). This premiere season is gifted with a terrific cast – Colleen Davis and Jack Buchanan as Sam, and Jack Barry and Kerrie Anne Greenland as Dom – although portions of the show are obviously under-rehearsed, and I wonder a couple of times if the foldback speakers aren’t working properly. The performers are also in a challenging position, and one that’s not entirely clear to me as an audience member: they each appear to be trying to build coherent characters (ideal Sams and Doms) while also constructing arcs out of multiple relationships (or the facets of multiple relationships), each of which, in turn, seems to have its own dynamic. It’s tricky business. Buchanan’s take on Sam is the most well-rounded; the character’s seeming recklessness and flippancy soon develops into something more emotionally complex, and I come away with a real affection for him.","_key":"7137912f4cab0"}],"_type":"block"},{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"Shane Bosher’s direction places the four on a raised black square platform and within clean, white domestic spaces: a bedroom, a dining room, a lounge. This effective and simple set is augmented greatly by the use of suspended spherical lights, which change colour throughout the show and texture the space beautifully. Outside of the naturalistic one-on-one scenes, the four move with a well-choreographed deliberation that provides narrative coherence.","_key":"5938cb3406590"}],"_type":"block","style":"normal","_key":"5938cb340659"},{"children":[{"_type":"span","marks":[],"text":"The actors are supported by a tight four-piece ensemble of piano, percussion, bass and cello, led by MD Robin Kelly. I am particularly taken with the score’s use of the mellow, yearning cello. It's intermittently offset by more funk-and groove-inspired basslines and percussion, the two creating a counterpoint that, like Dom and Sam’s relationship, moves between the tight-knit and the incompatible.","_key":"66414bf8a67b0"}],"_type":"block","style":"normal","_key":"66414bf8a67b","markDefs":[]},{"_key":"613fcc43b7f8","markDefs":[],"children":[{"marks":[],"text":"It's presented (and priced!) as a final product, but I felt as though I came away from a well-produced, slightly seat-of-the-pants workshop of a promising but nascent work-in-development.","_key":"613fcc43b7f80","_type":"span"}],"_type":"block","style":"blockquote"},{"children":[{"_type":"span","marks":[],"text":"Unlike Di Somma’s last work, hit suffragette musical ","_key":"b56abfa9d76e0"},{"_key":"b56abfa9d76e1","_type":"span","marks":["em"],"text":"That Bloody Woman"},{"_type":"span","marks":[],"text":", most of the songs don’t stand strongly on their own, and at times the libretto veers wildly in terms of quality. Nonetheless, the songs mostly interlock to paint a hopeful, uncertain and deeply personal aural picture that ranges from the potentially triumphant; a moving, anthemic group ballad about the way our emotional houses open up or wall us in, to the wryly prickly; female Sam sings her appreciation of solo Netflix and red wine, and male Sam staccato-swears his way through a personal revelation that arises from some revealing, online ex-stalking.","_key":"b56abfa9d76e2"}],"_type":"block","style":"normal","_key":"b56abfa9d76e","markDefs":[]},{"_type":"block","style":"normal","_key":"dda3d023734f","markDefs":[],"children":[{"text":"This show is presented (and priced!) as a final product, but I felt as though I came away from a well-produced, slightly seat-of-the-pants workshop of a promising but nascent work-in-development. Unfortunately, some of the plot points feel forced or generic, and I emerged with a list of questions as long as my arm: where are we exactly, and what’s our time frame? Are these characters really in their mid-twenties? Is this supposed to be a song cycle? Are there musical themes, or intertwining motifs, that are missing? Is this one relationship, three braided strands of the same, or three relationships with similar attributes? Why don’t we see the fourth Dom-Sam combination? Would Dom really act that way to a failed proposal, or Sam to their separation? When does Sam stop caring about Dom’s past life? How am I supposed to feel at the end? What should I be taking home with me?","_key":"dda3d023734f0","_type":"span","marks":[]}]},{"_key":"2472b081649e","markDefs":[],"children":[{"_type":"span","marks":[],"text":"There's also a terrible paradox at the heart of this musical: its equal-opportunity focus makes gender and sexuality meaningless.","_key":"2472b081649e0"}],"_type":"block","style":"blockquote"},{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"The most powerful moments, be they comic or dramatic, are the intermittent occasions when detailed emotional, character-driven pictures emerge organically from the ephemera. The show’s opening is particularly successful: the male Sam and Dom individually prepare for their first Tinder date, and they find themselves flirtatiously connecting and sparring over everything from correct grammar to Winnie the Pooh. It’s a gorgeously witty and playful sequence that balances adept wordplay, strong character work, nimble orchestration and a rewarding contrast between Dom’s self-professed uptight, old-fashioned outlook and Sam’s charismatic, pot-smoking looseness. Later, the Doms and Sams movingly outline their love for one another in a devotional litany of idiosyncrasies: the perverse affection for one’s disorganisation and the other’s rubbish stir fries, for snores and tics and tiny gestures, and arguments over whose crappy couch makes the co-habitational cull.","_key":"050c858a8ba80"}],"_type":"block","style":"normal","_key":"050c858a8ba8"},{"_key":"eda35db23786","markDefs":[],"children":[{"_type":"span","marks":[],"text":"But there's also a terrible paradox at the heart of this musical: its equal-opportunity focus makes gender and sexuality meaningless. The double casting means that it dances awkwardly between the universal and the specific in a way that truly honours neither. On one hand, the gentle rhythms of domestic normalcy makes me wish that anti-gay Australians, who are currently debating and voting for (and against) same-sex marriage, could be sitting in the audience and seeing that queer relationships are just as ordinary and loving and exciting and boring as straight ones. However, this formal gimmick, for want of a kinder word, elides the specificity of experiences with and expectations about gendered roles in society, so much so that in places the show feels quite naïve – a parody of rom com emotional beats and vulnerabilities with as few implications as those in the movies. The gender-swap is a neat trick, but it’s really baffling that this doesn’t then meaningfully inform character, relationships and identity.","_key":"eda35db237860"}],"_type":"block","style":"normal"},{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"There's some significant blind spots. It can do so much more with its intriguing and original premise.","_key":"c552602d6eda0"}],"_type":"block","style":"blockquote","_key":"c552602d6eda"},{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"Most notably, klaxons sound around Dom’s secret: they are a self-described ‘shitty parent’. They have a seven-year-old child, from an unexpected teen pregnancy, who they walked away from five years earlier. They choose not to see the child, and queasily offer bullshit excuse after bullshit excuse down the phone. I admire that a key emotional pivot of the show is about the tension between parental ambivalence and the visceral, sometimes unexpected desire to have kids, but this is treated as just another plot point, a convenient source of conflict with Sam, even though the implications for such actions vary wildly.","_key":"7045a3d0f75d0"}],"_type":"block","style":"normal","_key":"7045a3d0f75d"},{"children":[{"_type":"span","marks":[],"text":"This reveals the show’s weirdly idealistic blind spot. We do not live in an equitable society when it comes to gender and sexuality. For all that unites us, difference is important – socially, politically, in terms of identity. This is particularly the case with child-bearing and rearing – gay, bi, straight, male and female. A woman who walks away from her partner and toddler and refuses to see them is framed, culturally, as very different from a man who does the same thing. 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"}],"_type":"block","style":"normal","_key":"4de3b7b44740"}],"isFeatured":true,"image":{"_type":"image","asset":{"sha1hash":"b8c74930fb9922bd4cd1a460a92b44ff38ac27b9","size":1153946,"originalFilename":"FullSizeRender_VSCO.jpeg","extension":"jpg","_rev":"KRtfhywPjSIblzd6yOf1Vk","_createdAt":"2024-02-24T23:47:17Z","path":"images/wcs514e0/production/b8c74930fb9922bd4cd1a460a92b44ff38ac27b9-4032x3024.jpg","_updatedAt":"2024-02-24T23:47:17Z","metadata":{"_type":"sanity.imageMetadata","palette":{"lightVibrant":{"title":"#fff","population":4.67,"background":"#d0b786","_type":"sanity.imagePaletteSwatch","foreground":"#000"},"darkVibrant":{"background":"#70681b","_type":"sanity.imagePaletteSwatch","foreground":"#fff","title":"#fff","population":0.06},"lightMuted":{"population":3.82,"background":"#d8d0b0","_type":"sanity.imagePaletteSwatch","foreground":"#000","title":"#000"},"vibrant":{"_type":"sanity.imagePaletteSwatch","foreground":"#fff","title":"#fff","population":0.04,"background":"#c1674b"},"dominant":{"background":"#61482a","_type":"sanity.imagePaletteSwatch","foreground":"#fff","title":"#fff","population":8.3},"_type":"sanity.imagePalette","darkMuted":{"background":"#61482a","_type":"sanity.imagePaletteSwatch","foreground":"#fff","title":"#fff","population":8.3},"muted":{"title":"#fff","population":6.94,"background":"#928653","_type":"sanity.imagePaletteSwatch","foreground":"#fff"}},"hasAlpha":false,"lqip":"data:image/jpeg;base64,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","dimensions":{"_type":"sanity.imageDimensions","width":4032,"aspectRatio":1.3333333333333333,"height":3024},"isOpaque":true,"blurHash":"VcGS79yEWBV?V?~px^t6M{Rjx]o#jbj=RjRlogkCj?a#"},"uploadId":"Qah33xZ9cWVodadIkYqpCYoBLeUWfjY4","url":"https://cdn.sanity.io/images/wcs514e0/production/b8c74930fb9922bd4cd1a460a92b44ff38ac27b9-4032x3024.jpg","_id":"image-b8c74930fb9922bd4cd1a460a92b44ff38ac27b9-4032x3024-jpg","_type":"sanity.imageAsset","mimeType":"image/jpeg","assetId":"b8c74930fb9922bd4cd1a460a92b44ff38ac27b9"}},"articles":[{"_weak":true,"_ref":"article-1755","_type":"article","_key":"cab1fd4bf769"},{"_weak":true,"_ref":"article-2016","_type":"article","_key":"cf540fc5f644"},{"_weak":true,"_ref":"5aaf9605-1b60-48a9-947f-7e340d3bb409","_type":"article","_key":"42e90320e9ed"}],"handle":{"_type":"slug","current":"flesh-as-i-yau"}}],"handle":{"current":"coming-back-from-the-grave","_type":"slug"},"_id":"9be5da97-418c-4fc2-9c65-67eced35210f","_createdAt":"2023-08-17T23:31:38Z","name":"It Keeps Coming Back from the Grave","tags":["silotheatre","pijf"],"content":[{"_type":"articleText","description":[{"markDefs":[{"_key":"887a437963ff","_type":"link","href":"https://livelivecinema.co.nz/"},{"href":"https://silotheatre.co.nz/show/night-of-the-living-dead","_key":"8e2fe4d314e6","_type":"link"}],"children":[{"_type":"span","marks":[],"text":"For the last decade,","_key":"263a9571fde40"},{"_key":"263a9571fde41","_type":"span","marks":["em"],"text":" "},{"_type":"span","marks":["887a437963ff"],"text":"Live Live Cinema","_key":"263a9571fde42"},{"_type":"span","marks":[],"text":" has been breathing new life into forgotten classics of independent and cult film. Their dynamic, breakneck productions marry projected film with music, Foley effects and dialogue, all performed live by actors who are stretched to their limits. This year's production, ","_key":"67aa850adabc"},{"_key":"343b169f529d","_type":"span","marks":["8e2fe4d314e6"],"text":"which runs 2 – 12 Nov"},{"_type":"span","marks":[],"text":", sees Silo Theatre reanimate seminal horror film ","_key":"bdfd20236ba2"},{"_key":"263a9571fde43","_type":"span","marks":["em"],"text":"Night of the Living Dead"},{"marks":[],"text":", one of the most influential independent films in the history of cinema. The film’s shocking exploration of social and political dread makes for provocative and pertinent viewing in a time of crisis. \n\nErin Harrington, an arts critic and academic whose work focuses on horror, and Leon Radojkovic, the show’s creator and composer, sit down to discuss the film, its legacy, and its extraordinary adaptability.","_key":"263a9571fde44","_type":"span"}],"_type":"block","style":"normal","_key":"3afc55094e1a"}],"_key":"b4a7ed648088"},{"mode":"default","_type":"articleRule","_key":"d53ab050d40a5777ca169a4ac7f700ac"},{"image":{"asset":{"_ref":"image-b2f5585bd758a505202cfc78934398e75fdc8c6b-1200x900-jpg","_type":"reference"},"_type":"image"},"_type":"articleImage","description":[{"markDefs":[],"children":[{"_type":"span","marks":[],"text":"Sam Snedden, Sophie Roberts and Leon Radjokovic in production. Photo credit: David St George","_key":"61743003a286"}],"_type":"block","style":"normal","_key":"e6219248f341"}],"_key":"fbe69920d070"},{"_type":"articleText","description":[{"markDefs":[],"children":[{"_type":"span","marks":["strong"],"text":"Erin Harrington:","_key":"38390f8c29450"},{"_type":"span","marks":[],"text":" George A Romero’s horror classic ","_key":"38390f8c29451"},{"_type":"span","marks":["em"],"text":"Night of the Living Dead","_key":"38390f8c29452"},{"_type":"span","marks":[],"text":" (1968) is a gritty, disturbing film. It placed its rotting hands right onto the third rail of American social fears and anxieties, not least the domestic paranoia of the Cold War, the horrors of the Vietnam War, and the racist violence accompanying the Civil Rights Movement. It also has significant cultural clout; it set the rules for contemporary zombie cinema and marked a significant shift in the horror genre itself. More than 50 years on, much like its uncanny reanimated ghouls, it keeps coming back from the grave. What appeal does this seminal film have for you as a theatre maker in Aotearoa?\n\n","_key":"38390f8c29453"},{"_type":"span","marks":["strong"],"text":"Leon Radojkovic:","_key":"0187da9eb3b40"},{"_type":"span","marks":[],"text":" I love it on so many levels – that it's an independent film that's gone on to have such a lasting legacy, that it was shot on such a tiny budget within such a tight timeframe, and most of all that despite all the challenges facing the filmmakers, they created something that, on a purely aesthetic level, is incredibly effective. It’s shot with a kind of gritty realism, but also balances that with moments of genuinely haunting and ghoulish beauty. There is a real artistry to it.","_key":"0187da9eb3b41"}],"_type":"block","style":"normal","_key":"6cdd8e62def3"},{"markDefs":[],"children":[{"_key":"2707354474e5","_type":"span","marks":[],"text":"The other main attraction of the film is that once you get past the zombies and gore, it's an extraordinarily potent piece of oppositional pop culture, and one that still resonates today. To run through the list, you mention the Vietnam War. We have recently witnessed scenes of America's withdrawal from Afghanistan recalling iconic images of Vietnam War reportage, such as the fall of Saigon, with similar political and economic dynamics at play. We are also still contending with a deadly yet witless virus that operates by infecting and, in the worst-case scenario, killing its host. We have also seen increasing attention paid to ongoing racial or ethnic injustices, and other forms of social hierarchies, which is one of the main threads of the movie. The film speaks incredibly strongly to our current circumstances.\n\n"},{"_type":"span","marks":["strong"],"text":"EH:","_key":"c7dc8580737a"},{"_type":"span","marks":[],"text":" The beauty of the film is that the seeming ‘cause’ of the crisis – radiation on a NASA space probe that’s returned from Venus – is ultimately arbitrary. The point is that it’s a catalyst: a way of ripping back the curtain on a myriad of barely suppressed social and political ills.","_key":"7e8c3e4f1228"}],"_type":"block","style":"normal","_key":"7808e0c01319"}],"_key":"a9ae6c6012c3"},{"description":[{"_type":"block","style":"normal","_key":"e2f529564dd4","markDefs":[],"children":[{"_type":"span","marks":[],"text":"\"The point is that it’s a catalyst: a way of ripping back the curtain on a myriad of barely suppressed social and political ills.\"","_key":"126a151349c50"}]}],"_key":"23b712a4f57a","_type":"articleShortquote"},{"_type":"articleText","description":[{"markDefs":[],"children":[{"marks":["strong"],"text":"LR:","_key":"eb31407bf1160","_type":"span"},{"marks":[],"text":" Exactly. I find the film’s general themes of the fear of the other, and that fear and mistrust thwarting the possibility of communication and co-operation in the face of an overwhelming external threat, to be particularly apropos, whether we are talking about our impotence in the face of the climate catastrophe we are brainlessly staggering on with, or indeed, I would argue, the economic system that is driving it.\n\n","_key":"eb31407bf1161","_type":"span"},{"_type":"span","marks":["strong"],"text":"EH:","_key":"fa2b1602729b0"},{"text":" The allegorical power of the film is also enhanced as, yes, the ghouls or the zombies of the film are inherently ‘other’, but they’re a uniquely horrifying category of creature because they are also us. We’re the threat. Our friends and loved ones, ‘safe’ people, are made suddenly monstrous and have come back to haunt us.\n\n","_key":"fa2b1602729b1","_type":"span","marks":[]},{"marks":["strong"],"text":"LR:","_key":"c8a8b1ac555f","_type":"span"},{"_type":"span","marks":[],"text":" Absolutely. I’ve always liked the zombie as a monstrous figure, in that it is a grotesque, degraded reflection of ourselves and some of our basest drives – to consume, devour and reproduce. Romero has talked about the fact that, originally, he never thought of them as zombies, or even ‘ghouls’, but rather more simply as dead neighbours. I find that to be an unsettling, yet also weirdly poignant, thought.\n\n","_key":"857bf30e0ab0"},{"_type":"span","marks":["strong"],"text":"EH:","_key":"0fe514507c6d0"},{"_key":"0fe514507c6d1","_type":"span","marks":[],"text":" Yes – it’s so intimate! It embodies the fragility and collapse of so many of the distinctions we use to keep ourselves whole and sane: familiar/unfamiliar, living/dead, them/us, human/non-human, rational/irrational…"}],"_type":"block","style":"normal","_key":"0de57ee0794f"}],"_key":"76d42a83b42b"},{"_type":"articleImage","description":[{"markDefs":[],"children":[{"_key":"6b06b917ec38","_type":"span","marks":[],"text":"Rehearsal shots. Photo: David St George"}],"_type":"block","style":"normal","_key":"b077cffb22f3"}],"_key":"b59f6e7e8c94","image":{"asset":{"_ref":"image-6569ab13f2b3c92b02962520c124955e44011d14-1350x900-jpg","_type":"reference"},"_type":"image"}},{"_type":"articleText","description":[{"_type":"block","style":"normal","_key":"42d8fa786dd7","markDefs":[],"children":[{"_key":"51aa754693360","_type":"span","marks":["strong"],"text":"LR:"},{"_key":"51aa754693361","_type":"span","marks":[],"text":" I suppose the main aspect of this sort of ambiguity, or potential for a sudden rupture, that interests me in the film is the fragility of the social order. Civilisation and civility are fragile, and it doesn’t take a lot for things to degenerate into chaos, irrationality, fear and violence.\n\n"},{"_type":"span","marks":["strong"],"text":"EH:","_key":"e79f9f82d6160"},{"_type":"span","marks":[],"text":" This also highlights how useful the zombie figure is as a way of expressing complicated and disturbing tensions that are otherwise hard to articulate. My favourite take on the zombie isn’t that zombies represent this or that, but that they ","_key":"e79f9f82d6161"},{"_key":"e79f9f82d6162","_type":"span","marks":["em"],"text":"are"},{"_type":"span","marks":[],"text":" metaphor incarnate – literally made flesh. That must open up some pretty interesting possibilities for artists and creatives.\n\n","_key":"e79f9f82d6163"},{"_type":"span","marks":["strong"],"text":"LR:","_key":"91e40d4be9570"},{"_type":"span","marks":[],"text":" That’s really interesting. Certainly, when comparing them to some other top-tier cinematic monsters, like vampires or werewolves, for example, zombies have proven to be much more malleable and versatile as a kind of floating signifier that artists can use to speak to a range of issues – Romero did that himself throughout his career.","_key":"91e40d4be9571"}]}],"_key":"b7166c538b53"},{"_type":"articleShortquote","description":[{"markDefs":[],"children":[{"marks":[],"text":"\"Zombies have proven to be much more malleable and versatile as a kind of floating signifier that artists can use to speak to a range of issues – Romero did that himself throughout his career.\"","_key":"ec975982d051","_type":"span"}],"_type":"block","style":"normal","_key":"05f14503d890"}],"_key":"f84fd5877917"},{"_type":"articleText","description":[{"markDefs":[],"children":[{"_type":"span","marks":["strong"],"text":"EH:","_key":"e026bd98890f0"},{"_type":"span","marks":[],"text":" Yeah! It also helps that zombies are inherently cinematic. Early zombie films of the 1930s and 40s played fast and loose with Western accounts of Haitian Vodou and folk practice. Still, unlike most classic monsters, Romero’s ghoul doesn’t have a specific background in folklore or Gothic literature. The zombies just ","_key":"e026bd98890f1"},{"text":"are","_key":"e026bd98890f2","_type":"span","marks":["em"]},{"_type":"span","marks":[],"text":".\n\n","_key":"e026bd98890f3"},{"marks":["strong"],"text":"LR:","_key":"a1bfbf9b77020","_type":"span"},{"text":" Exactly, they're much less lore-bound than other creatures. I think that’s also why ","_key":"a1bfbf9b77021","_type":"span","marks":[]},{"_key":"a1bfbf9b77022","_type":"span","marks":["em"],"text":"Night of the Living Dead"},{"text":", despite being over 50 years old, still packs a real punch. Although it was certainly a snapshot of and comment on the times in which it was made, it still feels vital and rich in its applicability and relevance today.\n\n","_key":"a1bfbf9b77023","_type":"span","marks":[]},{"text":"EH:","_key":"f526e607755e0","_type":"span","marks":["strong"]},{"_type":"span","marks":[],"text":" This rich history means that some audiences will come to the show with a real love for and familiarity with the material. Others will be brand new to it, even if they know the film by its reputation or influence. What challenges and opportunities are there in adapting such a seminal film, and in such an interdisciplinary way?\n\n","_key":"f526e607755e1"},{"_key":"2fe2d125ca11","_type":"span","marks":["strong"],"text":"LR:"},{"_key":"8ceeaff9925e","_type":"span","marks":[],"text":" With Live Live Cinema, we are always seeking to use the languages of theatre, composition and sound design to breathe new life into, or indeed ‘reanimate’, the original text of the film. Sound is an incredibly important and powerful aspect of filmmaking. It can go a long way towards shaping how the audience will interpret the images they are viewing, even though it generally goes largely unnoticed. In using these tools, within the context of a live theatrical performance, the goal is always to, in some way, recontextualise and, ideally, perhaps even improve on the original work.\n\n"},{"marks":["strong"],"text":"EH:","_key":"4fede93ce072","_type":"span"},{"_type":"span","marks":[],"text":" I love the notion of reanimating the text. One of the film’s idiosyncrasies is that it’s always been in the public domain because of a cock-up with the copyright notice. So it’s been revived, adapted, reimagined, rereleased, over and over again. The film itself is a zombie work!","_key":"83c1e4c42bde"}],"_type":"block","style":"normal","_key":"3913c511ef7f"}],"_key":"9d929f3d2e1a"},{"description":[{"markDefs":[{"_type":"link","href":"https://www.flickr.com/photos/aceofknaves/44887037804","_key":"bfd3f514f4ed"}],"children":[{"_type":"span","marks":[],"text":"Image by Jack Lawrence, source: ","_key":"f5e8d742ff98"},{"text":"Flickr","_key":"ec41ed6201b0","_type":"span","marks":["bfd3f514f4ed"]}],"_type":"block","style":"normal","_key":"c58a389752a2"}],"_key":"bd085fedc7168e44fadd232b941f19e2","image":{"asset":{"_ref":"image-8718302046dd23e51df18fef74309106626215b4-1024x791-jpg","_type":"reference"},"_type":"image"},"_type":"articleImage"},{"_type":"articleText","description":[{"_key":"c67c45d2d1ba","markDefs":[],"children":[{"marks":["strong"],"text":"LR:","_key":"b6a0fc32aa6f0","_type":"span"},{"_key":"b6a0fc32aa6f1","_type":"span","marks":[],"text":" That's really great. I wonder if the fact that it's been in the public domain since its release is part of the reason it was able to so thoroughly infect our pop-culture landscape. Creativity is about borrowing, stealing, repurposing and synthesising. I get the sense that we, as artists, have been convinced that copyright law in its current form protects us and works in our favour. However, as far as I can see, it seems to stifle artistic innovation, and primarily benefit large corporations. Sadly, I don’t have one of those.\n\n"},{"text":"EH:","_key":"575b861fe44d0","_type":"span","marks":["strong"]},{"text":" Yes – there’s an inherent hybridity in public-domain work in general, which strikes me as a key part of your kaupapa, too. Does this inform the decisions you make about what to reanimate, revive, remix?\n\n","_key":"575b861fe44d1","_type":"span","marks":[]},{"_type":"span","marks":["strong"],"text":"LR:","_key":"090f2ef5eee30"},{"_type":"span","marks":[],"text":" Absolutely. We work with low-budget films that are rough diamonds. They have genuine artistry and flashes of brilliance. Still, as a rule, they are also constrained by things like breakneck shooting schedules, clunky scripting or dialogue, awkward performances from day players and, often, very poor or, at best, serviceable soundtracks. Part of the Live Live Cinema ethos is to create new hybrid works that simultaneously honour and champion these pieces of forgotten silver.","_key":"090f2ef5eee31"}],"_type":"block","style":"normal"}],"_key":"38b3caf4b42f"},{"_key":"ab34ccd94e63","_type":"articleShortquote","description":[{"style":"normal","_key":"e999c59b0a29","markDefs":[],"children":[{"marks":[],"text":"Part of the Live Live Cinema ethos is to create new hybrid works that simultaneously honour and champion these pieces of forgotten silver.","_key":"16b0e9b6b25d","_type":"span"}],"_type":"block"},{"_key":"bf94f5a6c0f7","markDefs":[],"children":[{"_type":"span","marks":[],"text":"","_key":"442c34ae0c73"}],"_type":"block","style":"normal"}]},{"_type":"articleText","description":[{"style":"normal","_key":"a97fb7f13b92","markDefs":[],"children":[{"marks":["strong"],"text":"EH:","_key":"a1cb721484370","_type":"span"},{"marks":[],"text":" Adaptation across contexts also offers up new ways of talking about things. The zombie is an inherently absurd creature, so we can manipulate the interplay between humour and horror. There’s a fine line between laughter and screaming, right? Humour can be horrible, and often the abject itself is funny, be it something gross, or an existential reminder of our fallible, meat-sack bodies. My experience of your production of Roger Corman’s ","_key":"a1cb721484371","_type":"span"},{"text":"Little Shop of Horrors","_key":"a1cb721484372","_type":"span","marks":["em"]},{"_type":"span","marks":[],"text":" was that it was dangerously fast and absolutely hilarious – I was more worried for the live actors than for Seymour in the film! That film’s less inherently political, though, so how do you balance the very serious allegorical issues we’re discussing here with the potential for hilarity (comfortable or otherwise) in performance?\n\n","_key":"a1cb721484373"},{"_type":"span","marks":["strong"],"text":"LR:","_key":"029f3a7620230"},{"_key":"029f3a7620231","_type":"span","marks":[],"text":" I'm not a huge fan of comedy films, but I do love horror comedies. I feel that horror and comedy paradoxically co-exist together quite comfortably. They operate with a similar set of principles and logic that’s generally centred on surprise. I think horror and comedy films are the only genres that really live or die by their ability to surprise the audience, whether it’s a great punchline or a gruesome, unexpected moment of violence. Often the best horror is made all the more stark and disturbing by its juxtaposition with levity or humour. One seems to underline or highlight the other.\n\n"},{"_type":"span","marks":["strong"],"text":"EH:","_key":"89086e800f790"},{"text":" Yes – in the simplest of terms, they both rely on a setup and a punchline, tension and release. But with horror–humour hybrids you also have the discomfort of not knowing which way it will go. That opens up considerable affective and expressive possibilities – political ones, too.\n\n","_key":"89086e800f791","_type":"span","marks":[]},{"_type":"span","marks":["strong"],"text":"LR:","_key":"25c5af25ac79"},{"_type":"span","marks":[],"text":" I think this is a potent device that we are exploring with this production. The film itself has moments and themes that are provocative and disturbing, but there is also something inherently funny about performers on stage playing multiple characters and making sound effects. There's a lot of scope for that manipulation of tension and release, and the creation of moments of ambiguity and discomfort, which I find interesting.\n\n","_key":"7e28948aead7"},{"text":"EH:","_key":"c2645bc42d980","_type":"span","marks":["strong"]},{"text":" And this discomfort coheres, I think, in that meeting between film, performance, context and audience. You have the clash between late-1960s American and contemporary New Zealand cultural contexts. Characters played by two people attack one another and try to survive, while the actors are at war with the anarchic nature of the performance challenge. All the while, audiences relish in watching the actors being punished by the demands of the show. There’s a rupture in the way that sound and image and body all relate and cohere as the audience tries to make sense of it… all during a pandemic, in the midst of anthropogenic cataclysm! It’s as if the show – as well as society – is trying to eat itself.\n\n","_key":"c2645bc42d981","_type":"span","marks":[]},{"_type":"span","marks":["strong"],"text":"LR:","_key":"b340192824c70"},{"_type":"span","marks":[],"text":" Yes, we basically set ourselves a monumental challenge, and then have to constantly find ways to avert disaster through creativity. If a film is a swan – graceful and beautiful above the water, and all the furious paddling down below – we show you the whole swan, with two skilled performers and the entire apparatus of filmmaking exploded across the stage.","_key":"b340192824c71"}],"_type":"block"},{"_key":"e9c220c34bfb","markDefs":[{"_type":"link","href":"https://senselogic.wordpress.com/2010/09/01/interview-with-mark-fisher-capitalist-realism/","_key":"6b4db451070d"}],"children":[{"_type":"span","marks":[],"text":"However, the fact that the film still feels absolutely relevant to me today speaks, of course, to the power of the work, but, more disturbingly, it also speaks to a kind of cultural stalling or impasse. 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