MIKE: Our trip to Auckland to see Shakespeare's Antony and Cleopatra in the Pop-up Globe did not disappoint. Although the materials would have differed from those used in the Bard's time, the theatre's dimensions were precisely those of the original. The outside walls, corrugated iron, were painted white, with three
red turrets overtopping them. Inside the structure was a combination of unpainted timber and scaffolding. Three storeys high, the seats circled a ground space which was divided between the stage and a standing area for spectators. These 'groundlings' were an integral part of a dramatic performance in the 17th century, and they certainly played their part in the production we saw. Consisting chiefly of secondary school students, they delighted in the rougher humour and innuendos which the cast directed towards them, as well as the occasional entries and exits through their midst. When Antony's body was carried down the steps on to ground level, orders were yelled from on stage to 'lift him up here', and, at once, several willing hands dropped their school bags, raised the prostrate Roman aloft and deposited him back on stage.
We had read reviews of one of the plays in the series which were not very complimentary towards the actors. There were no such concerns with Antony and Cleopatra. A young , vigorous, energetic company, recent graduates from Unitec, gave a performance of a professional nature, stirring and stimulating, and one which, I feel sure, will have imbued the 'groundlings' with a sense of the excitement and majesty of live theatre.
JOAN: It was very special, while in Auckland last week, to catch up with Karen Ellett. Many Whanganui people will know Karen from her glass work and theatre performances during her time living here and will have been served by her when she was working at Ambrosia. I treasure the years I spent acting alongside her at all of our local theatres and watching her talents develop as I directed her in several plays. I miss her as a dear friend and wonderful person to be around.
Any doubts as to whether she made the right decision in moving to the big city were totally dispersed when we met again. Karen is one of only 16 students accepted for this year's course at The Actors' Program, affectionately and respectfully known as TAP. Its patrons are Sam Neil and Ian Mune and its Artistic Board includes Sara Wiseman, Michael Hurst and Jennifer Ward-Lealand, leaders in the New Zealand acting field. They have had the vision to realise that no matter how talented an aspiring actor may be or how thirsty to succeed, the 'luck' that is often added to describe success in performing really boils down to having tutors who know this fine craft, work in it and know the 'scene'. As well as giving a great deal of their time to teaching the necessary skills required to understand the craft and be able to present themselves for audition for stage, film and TV work, these inspiring and yet unassuming masters of their craft allow, or indeed force, these future actors to lay themselves open to peer group analysis, self-awareness and hard work. Acting needs total humility, team involvement, utter dedication and courage. Those of us who have mainly learnt from example envy so much these young people who gain 'a step in the door' of their profession through this fantastic opportunity.
Having asked the permission of Michele Hine, actress and main tutor, and the other 15 of her colleagues, Karen offered us a morning at the Studio. Upstairs in 'K' Rd is a large space, not unlike a ballet studio, equipped with all the IT equipment needed. A green room and sitting area share this vibrant space. The students were exciting in their eagerness and enthusiasm. They touched me deeply in their warm welcoming of us and interest in what we meant to Karen and asked about theatre in Whanganui. The icing on the cake was the speaker for the morning. Jennifer Ward-Lealand is at the top of her craft. Very beautiful, with a perfect voice she spoke and answered questions without any ego or self-promotion. She and husband, Michael Hurst are respected and admired by those of us who try to celebrate this age-old craft in the provinces. I was humbled to hear that much of the advice she offered to the students was what I learnt from David Smiles and others over the years and have insisted on from casts I have directed. She spoke of being a team, never upstaging, never presenting oneself to audiences after a show for an ego trip. 'The play IS the thing' and a company works to create the very best presentation possible. There are no late nights or drinking after a show. There must be early nights, good eating and rest and these are as important as knowing lines, creating a character and making every performance well worth the cost of audience entry.
So Karen is in seventh heaven. Every day brings her new wonders and she works so hard. Mingling with the likes of Colin McColl, Miranda Harcourt, the aristocracy of this country's acting best is a privilege she values. She radiates joy and fulfilment. I am thrilled for her and will look forward to saying that I knew her.
Karen is coming down to the city to spend time with her glass mate Katie Brown soon and to see the renovated Chronicle Glass Workshop. I thank the City Council for moving Whanganui forward by wise investment in this, our signature endeavour. Glass is our 'Awa Held Glistening'.
MIKE: Since our matinee at the Globe began at noon, we were able to take advantage of the morning to visit the Art Gallery and spend an hour in an exhibition of Fiona Pardington's works A Beautiful Hesitation, the title referring to the way in which photography can arrest time. This survey of her work over the past 30 years showed how the direction of her art and its concerns had moved during that period.
Four large rooms were dedicated to this exhibition, each representing a different phase or aspect of her progress. The earliest, Flesh, was produced in the mid-80s, when she 'eroticised the male body', reversing the accepted convention. At the same time she was fascinated by medical photographs revealing the human body as a 'site of disease and deformity'. This area I did not find as appealing as Hei Tiki, where her artistic skill in using the play of light on the subjects produced some astonishing results. Strongly influenced by her Ngai Tahu heritage, Pardington regards the tiki as 'living, breathing subjects imbued with consciousness, rather than objects classified according to Western museology'. As she 'coaxes the light and life out of these subjects', she subscribes to the Maori belief that 'light is held within greenstone and is shared with the people who wear it and treasure it'. These items possessed the quality of living, animate entities. In the same room were three powerful images, Portrait of a Life Cast of Matoua Tawai. Although they represented a tattooed chieftain, and dated from c 1840, nothing is recorded about the subject, and it has been suggested that it could well have been a slave decorated in chiefly fashion. The passivity of the sitter, however, evinces both dignity and strength.
The section entitled A Language of Skulls portrays man's existence as temporary, an ephemeral blip on the universe. For me, the most moving piece was her photograph of a death cast, by Alexandre Dumoutier, of his eight-year-old daughter, an emotional act of love and despair which 'echoes emphatically across cultures, epochs and mediums'. My epithets of choice so far would be sensual, sensitive, spiritual and sensational. For her most recent works, all still lifes, rich, lavish and luxuriant would also be applicable. This room was lit only sparingly, thus emphasising the dramatic, almost morbid effect of her chosen subjects. Davis Kea Wings consists of two large frames, each containing an enormous wing, whose subtle shading and blending of colours creates the effect of a collage of silk. It is a stunning piece of art.
The exhibition continues till mid-June, If you happen to be in Auckland in the next couple of months, it's well worth a visit.
JOAN: Without any political bias, may I mention the visit to Whanganui tomorrow of James Shaw, Co-Leader of the Green Party. He will be speaking at 7.30 at Heritage House. Free entry. ¦ mjstreet@xtra.co.nz
