KEY POINTS:
The behind-the-scenes business of theatre looms larger in my mind than scenes from the stage when I think about Auckland theatre over the past year. The global recession, Silo Theatre's move to The Edge, Q Theatre hitting the funding jackpot and the Pumphouse Theatre on the North Shore
upping the ante on its professional theatre content seem more important milestones than the actual shows.
Auckland's theatre history can seem like a roll call of fallen heroes (Theatre Corporate, Mercury and Watershed) but this year, despite the recession, it seems a rebuilding cycle is under way. Here's hoping the old favourites stay strong and the new kids prosper.
Worries that the Silo Theatre's move to the Herald Theatre would see some of the grungy magic lost were unfounded and the dynamic company had another strong year with some magic moments on the stage. We got the cutting-edge drama and comedy with bite - but this year it came with air-conditioning and comfy seats. Best of all the move helps set the Silo up for future financial success as more seats sold should result in more profit.
On stage the Silo year ended on a high with The Little Dog Laughed with its perfect cast, great design and laugh-a-minute script. Earlier highlights included Colin Moy and Oliver Driver in Pinter's Betrayal, Jennifer Ward Lealand's singing in Brecht's Threepenny Opera and Claire Chitham and Peter Elliott's touching scenes in Rabbit.
Auckland Theatre Company continued to provide top-quality mainstream entertainment with shows that ranged from feel-good musical The 25th Annual Putnam County Spelling Bee to the controversial child abuse drama Blackbird.
The productions offered very different nights at the theatre but both were memorable for the mixture of design and performance.
Although worthy, the celebration of Plunket's Who Needs Sleep Anyway?, written by Roger and Pip Hall, was a disappointment but the first ATC show of the year, the Noel Coward classic Design for Living, was surprisingly delightful. Other memorable moments included Toni Potter's sexy Maggie in Cat on a Hot Tin Roof, Elizabeth Hawthorne's ballsy feminist in Female of the Species and Ian Hughes' sweet valentine to his parents' romance in Ship Songs. Also enjoyable was Margaret-
Mary Hollins' inventive spectacle of youthful talent in Shrew'd, which was the result of ATC's open call for new talent.
Auckland Theatre Company can be an easy target because of its size and mainstream focus to programming but it is vitally important that a city of Auckland's size has a company to match. A company that not only produces the best work for audiences but also provides a framework for actors and designers to work and train.
On the fringes there were some exciting developments. The Silo move to the Herald Theatre left its former Lower Greys Ave venue empty but it was not quiet for long. Led by an enthusiastic young team including Charlie McDermott, the now-named Basement has seen an interesting mix of new and experimental theatre from a range of young and experienced practitioners.
Some of the shows can be hit and miss but it is always exciting and the fact that many theatre heavyweights are appearing in The Reindeer Monologues for free (until December 19) speaks volumes about the importance of this venue to the local scene.
Some memorable moments on the fringes included the youthful enthusiasm of the City of Souls cast and the physical theatre of Dan Musgrove and Natalie Medlock in A Horse Story. Away from the Basement other interesting independents included John Watson's affectionate portrayal of Quentin Crisp in Resident Alien and Trygve Wakenshaw's outstanding turn as Ariel in the Peripeteia theatre group's boatshed show of The Tempest.
Back on the main stage, The Edge brought mega-musical Priscilla Queen of the Desert to the Civic - one time when it was acceptable to comment on the costumes over the performances. The Edge also continued its international season, bringing dancers, musicians and actors to Auckland who wouldn't normally perform here. It will be interesting to see what happens next year with the Auckland Festival returning and The Edge's new international programme including rock star director Sam Mendes and actor Ethan Hawke.
