The episode opens with a story about the Maxim Institute, an international think tank that has been linked to anti-gay fundamentalist groups. The main feature focuses on Marilyn Waring, an MP from 1975 until 84. She talks candidly about the personal cost of being in parliament — especially when she was outed as a lesbian. Waring also shares her opinions about the Civil Unions Bill and why she is opposed to it. The show finishes with a gay literature review and an interview with James Hadley, the incoming programme manager of Wellington's Bats Theatre.
This film records the devising of a “work in progress” by theatre director Ashley Thorndyke (Jason Hoyte). The concept — by Duncan Sarkies (Two Little Boys, Scarfies) — mocks the gamut of thesp and drama school cliches: from ‘wanky’ director to wacky warm-up exercises (animal impersonations, primal screams, Love Boat theme song). Peter Burger, fresh out of Broadcasting School, co-directs, and the willing cast is drawn from the 90s Wellington theatre scene orbiting around Bats and Victoria University. Future Conchord Jemaine Clement memorably learns to get loose.
This final episode from series two of the arts series is presented by Taika Cohen (aka Taika Waititi) and his alter ego, silly German Gunter Schliemann. Taika makes short film Tama Tū, performs as vampire Diego (later reborn in What We Do in the Shadows) and performs Taika’s Incredible Show at Bats Theatre. Included are scenes from his early, little-seen short film John & Pogo. Also featured are artist Siren Maclaine (aka Siren Deluxe) and her feminist erotica; Caroline Robinson’s large-scale Auckland motorway sculptures; and comics artist Colin Wilson (Judge Dredd, Blueberry).
Saving Grace sees spiky street kid Grace (Kirsty Hamilton) get taken in by enigmatic carpenter, Gerald (Jim Moriarty). As Grace falls under (much older) Gerald's spell, she's flummoxed by his claim that he is the messiah. Could Gerald be Jesus of Cuba Street or is he a delusional dole bludger? The screenplay was adapted by Duncan Sarkies (Scarfies) from his stage play. Botes' dramatic feature debut converted fewer viewers than his earlier work, the classic hoodwinker Forgotten Silver; although critic Nicholas Reid welcomed an NZ film that offered "style and brains".
Pip Hall has written for TV's Skitz, Newsflash, Shortland Street and Jonah, penned a string of successful stage plays, and found the time to perform too. The daughter of playwright Roger Hall muses on many topics, including: Getting her first big laugh on stage at three-years-old, and the formative year she later spent watching "maybe 50, 60 shows in London" The talent that came out of the Allen Hall Theatre at Otago University Getting the chance to write for TV, when producer Dave Gibson shoulder-tapped her after a university show Learning from the impressive writing team on Skitz — which included Cal Wilson, Hori Ahipene, Jemaine Clement and David Fane The influence the Me Too movement is having on theatre
The Manawatu has provided fertile ground for New Zealand comedic talent, including producing six-person comedy group Facial DBX.
Jackie van Beek's CV is as impressive as it is long — she's a respected actor, writer, and director across comedy and drama, for stage, television and film.
Fly My Pretties is a musical collaboration put together by Barnaby Weir of the Black Seeds. The all-star outfit - who come together for live performances - has included members of the Phoenix Foundation, Fat Freddys Drop and Paselode. The group began as a one-off project - a sellout multimedia show performed, filmed and recorded over four nights at Bats Theatre in Wellington in 2004, which was released as a live album and DVD. The one-off nature of the project has expanded nationwide to equally well-received shows.
This black and white performance music video is taken from debut album Live at Bats (2004), back when the plan was for the Fly My Pretties ensemble to be a one-off project. Written and sung by Age Pryor — with vocal help from Tessa Rain — the gentle folk song is enhanced by simple but effective shooting, and attentive use of split-screen editing. The track was recorded in Wellington's Bats Theatre.
After starting out in stand-up comedy as a university student in Wellington, Guy Williams won a contest to become Dai Henwood’s protege in 2009. He has been working in TV and radio ever since.