In the late 80s Lucy Sheehan was everywhere: throwing tomatoes at naked men in movie Zilch!, fending off a badly injured Harry Sinclair in Front Lawn classic The Lounge Bar, and winning raves after starring in Talkback. The NZ Drama School grad and one-time acting teacher also provided a memorable turn as the forgotten girlfriend in A Fitting Tribute, and has done stints on Shortland Street, and as a Radio NZ voice artist.
On-screen for most of the film, Lucy Sheehan turns in a warm, convincing performance as the newly-nominated talkback host who has her own dramas to live through and her own story to tell. Listener review of Talkback, 11 June 1988
Shortland Street is a fast-paced serial drama set in an inner city Auckland hospital. The long-running South Pacific Pictures production is based around the births, deaths and marriages of the hospital's staff and patients. It screens on TVNZ’s TV2 network five days a week. In 2017 the show was set to celebrate its 25th anniversary, making it New Zealand’s longest running drama by far. Characters and lines from the show have entered the culture — starting with “you’re not in Guatemala now, Dr Ropata!” in the very first episode. Mihi Murray writes about Shortland Street here.
This Richard Riddiford-directed comedic thriller plays out in pre-crash 80s Auckland with the CBD skyline changing daily, brick-sized phones, shadowy corporations on the rise and the share market on everyone's lips. With a second harbour crossing due to be announced, a telephone operator (future events maestro Mike Mizrahi) and a waitress moonlighting as a dominatrix (Lucy Sheehan) become ensnared in a web of corporate greed and blackmail. Chris Knox contributes the soundtrack, and extensive outdoor sequences include a memorable chase scene at Kelly Tarlton’s.
Astronomy-obsessed worrier Richard meets part-Italian Johnny, a man whose idea of a holiday involves breaking into the nearest bach. Pitched at gay and straight alike, the pair's lighthearted but occasionally troubled romance featured extensive footage of central Auckland circa 1988 (courtesy of director Garth Maxwell’s own central Queen Street digs), plus images of space — for Richard a place of both beauty and potential disaster. Beyond Gravity won local theatrical screenings, and a scriptwriting award in France. This excerpt features the opening 10 minutes of the 48 minute film.
The Lounge Bar marks the second film by legendary music/theatre group The Front Lawn, which began as Don McGlashan and Harry Sinclair. The plot: two men and a woman (Lucy Sheehan) meet at a deserted bar. Pivoting on amnesia and woven together by music, two time frames are seamlessly combined and a darkly humorous plot unfolds. The film got wide global release (including Ireland, Germany and the USA). It was a finalist in the first American Film Festival. McGlashan later formed band The Mutton Birds; Sinclair continued as a filmmaker.
The Marching Girls is the seven-part story of a Taita social marching team who decide to have a crack at the North Island Championships. This pioneering series was conceived by actor-writer Fiona Samuel out of frustration over the dearth of challenging female roles: she declared that it was about time the Kiwi "alienated macho dickhead" shared some screen time with women. Synth-rock soundtracks, ghetto blasters, Holden Kingswood taxis and chain-smoking abound in this feminist-Flashdance-in-formation 80s classic.
This collaboration between dancer Douglas Wright and director Gregor Nicholas was one of a series of music and movement-based shorts that established Nicholas’ reputation. A dramatised film noir sequence leads to a cross-dressing dance duel between Wright and Debbie McCulloch, shifting between an Orwellian cityscape and retro nightclub. Wright choreographs the bodies, and Nicholas the bold and sensual visual rhythms (shot by Stuart Dryburgh). Nicholas went on to direct high profile commercials and movie Broken English. Wright passed away in 2018.
A talkback radio operator (Lucy Sheehan) is forced to stand in for the regular host when he walks out because of a personal crisis. In between trying to answer calls, organize a replacement and discuss odd topics with a succession of callers, the flustered operator makes a surprising connection with another lost soul. Auckland's urban soul is captured with distinctive assurance in this neglected 48-minute drama from director Alison Maclean — who wrote the script with Geoff Chapple.
This 38 episode series revolved around the ups and downs of a community house run by Tony Van Der Berg (Frank Whitten). The series was devised by Liddy Holloway to meet a network call for an Eastenders-style drama that might tackle social issue storylines. It was the first drama series to put a Māori whānau (the Mitchells) at its centre. Despite being well-reviewed, it was perhaps the last gasp of Avalon-produced uncompromisingly local drama (satirised as the ‘Wellington style’), before TV production largely shifted to Auckland to face up to commercial pressures.
When people tell the amazing story of Kiwi legend Julian Harp, Nicky doesn't get a mention. Now, in one of the New Zealand screen's classic monologues, Nicky (Lucy Sheehan, from Talkback) takes the opportunity to let us in on what really happened: her relationship with Julian, his plan to destabilize the Government via a letterwriting campaign, and the couple's preparations for the day he achieved engineless flight and rose into the sky from the Auckland Domain. This episode of anthology series About Face is based on the classic story by CK Stead, author of Smith's Dream.
Three friends cruise inner-city Auckland in a 1946 Ford pickup, as they cope with the changing dynamic of their friendship and encroaching demands of the adult world. In the tradition of American Graffiti it captures the hope promised by a night on the town and a reality that struggles to meet expectations — punctuated by hoons, officious cops and dodgy tow truck operators. Queen Street is a fascinating look at Kiwi car and street culture in the pre-boyracer era, and a snapshot of a downtown that has changed markedly since 1981 when the film screened on TV.