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Hi. My name is Ahi Kaha. I'm one of the Co-produced for mates and lovers. Um, Ronald Treo Nelson, the, uh, the other producer and playwright and director, um, mates and lovers. The the play has, uh, has, you know, has enjoyed a a season that ended about a year ago. A year ago yesterday, in fact. So, um, this is a year afterwards, and we are about to go into rehearsal with [00:00:30] a new cast, a new script, uh, a new producer, new score, new choreography, new venues, new funding. So, uh, it's funny because somebody in the community said, Oh, who would ever want to see this show downstage after they've seen it at bats, you know, which was pretty funny and and and really, In other words, they thought we exhausted the audience at bats. And part of the reason I think the interesting bit [00:01:00] is why are we doing it? Because there's there's I think there's a real demand. And, um so we're looking forward to a season in Auckland in November and then during the out games it was just confirmed last week. We are ready to sign that contract as soon as we dig up $350 for a deposit, which we don't have. I mean, I think I have I have $4 of that. But anyway, as soon as we, uh, we dig up that that 3 50 [00:01:30] we are guaranteed a really quite lovely season during during games. And, uh, it's in March, and right after that, uh, we're in Nelson. So the show sort of because it's two guys because it's based on a Montana Award winning book because it's, um, as something that's never been done before in terms of gay history of New Zealand. Uh, and [00:02:00] I think it's a pretty good show. I think it sort of books itself. What do you What do you think? Well, I mean, I mean, one of the reasons why I jumped on project because I, you know, I graduated from drama school a couple of years ago, and, um, there's very little New Zealand new New Zealand work that's happening. So I'm very passionate about supporting work. That's, um, you know, from from A and, um and secondly, it's a gay play. I mean, it's a gay story. I mean, it's a celebration of our history, so It's like, you know, two ticks in one go. And I saw the season in bats and, um, you know, the the houses were fantastic, you know, ridiculously awesome. Um, [00:02:30] reviews And, um, the community really supported that. And we just knew that there was a a needed demand. And there's so many people asking for the show up in Auckland, and now I'll be performing up in basement, and that's got a very similar vibe to bats. So it's a very community based, not community based, but a very, um, urban kind of eclectic bunch of audience that come to come to that venue. And so the idea of being able to take our shop there was really, really cool, and I just wanted to be part of that, um journey, Ronald said. I say the word journey so there. But we would love to see things [00:03:00] like, You know, we love to go this journey as the process and, um but no, it it it is a really, um I mean I. I I've read a couple of the draughts now that Ronald has reworked and I mean it's a lot more clear. It's a lot more crisper There's beautiful links from each of the stories. And, um and and and most importantly, it just it has such a beautiful heart to the whole production. So, like, you know, as as a gay practitioners as well to be able to sit down and and and listen to these people's stories, um, you know, celebrate our our our ancestors and and their journeys and and and and their trials and tribulations, [00:03:30] it's it's just a really beautiful thing to witness and be part of yeah, in in that it was it was the The casting has has been tough because, uh uh, first of all, uh, Kent, uh uh from the last show decided he didn't want to do the show. He had, uh, gone off to to Europe to be with his new boyfriend. And so I I went up to Auckland on somebody's recommendation to to cast a new actor and and met with Paula, and and he, uh uh is [00:04:00] a dancer, a professional dancer and has been touring professionally for 10 odd years now and has done some TV work as an actor and but so primarily a dancer. But, uh, he and I interviewed him and auditioned him in a burger joint on K Road, which is really funny. And, um, you know, and and and tucked away into, like, the back room or something. And he was able to pull this off and and he he he had remarkable [00:04:30] abilities to sight read, uh, lines and and and we immediately noticed there were sort of, like brains coming out of his ears. In other words, he's a very smart guy and intuitive and and it was just great. The the the big problem. You may be able to relate to this. Gareth is that he was 61. He was 100 and 91. So he's massive guy and and, you know, in theatre and everything else you want to sort of balance things off. And he could be We could have a guy. [00:05:00] It would have worked if we had another actor who was maybe 5 ft two. You know, because there's there's that's interesting, but, uh, a guy, uh, a a an off the shelf guy 5 10 or 59 just wouldn't have been power would always look like he's towering. So, uh, we came back and in that point, I decided to to upscale the show and and and get somebody who had, uh uh a real good, solid training to replace [00:05:30] Sam. Sam did a beautiful job. Uh, in a lot of ways, Kent and sam are directly responsible for this. You know, the ability, the fact that we got the show at, uh, at downstage Uh, it was their performances that that did that. So So we had to find a Pocky guy tall, kind of skinny, Hopefully who could not only act very, very well and play a multiple tonnes of different kinds of roles, but also, uh, be [00:06:00] able to dance. Because, of course, we have Ty Royal doing the new choreography. So giving, giving someone like me to Ty Royal and say here choreograph this guy would be like, I don't know, giving somebody lard and telling him to, you know, make a sculpture. So So in other words. So in other words, I you know, poor tie. You know, you just can't give him somebody who so anyway, uh, Simon Leary, uh, had just, uh, has [00:06:30] not even graduated from drama school. And I saw his, uh, his solo, uh, called the election about, uh uh, uh, a boy running for head boy at a boys college in much like Simon's experience. And, um, he played them all different kinds of roles. He was tall, He was skinny, he was pac. He could move, and, uh, he definitely can act. So, uh, it [00:07:00] was it was these were it was imperative that we have, uh, a Maori guy in the show because we we just had to sort of try to tell that part of of, um, New Zealand gay history and and to bring that sort of power and and man to to to the stage. So anyway, those are the guys, and, um, we're happy as clams with them. Uh, we just saw shot signature photography just yesterday and got into [00:07:30] a little trouble. I love her. You just land right over there. Um, so, no, we we we were doing publicity photo shoot. Um, so we've been using, um a certain that I'm not gonna name Anyhow, the actors are passionately kissing, you know, undressing. And, you know, apparently last time they did the photo shoot, the actors got completely naked, but it was on a Sunday afternoon, but This was lunchtime passion, kissing men on knees doing funky stuff and stomp, stomp outcome angry staff member who was not happy. [00:08:00] And, you know, it was really interesting for me to witness. I know you hear about things like that in television or you hear about things in news where people are still hold on to their homophobic or I. I thought it was a bit of a homophobic kind of job that she had that that's what really triggered it off. But it was really interesting to witness that to see I mean, I mean nothing. It was nothing out of the ordinary, just two fellas, just snogging. And yet this woman felt so uncomfortable about it, it was dirty. Somehow she the expression on her face is like she was in an elevator and somebody farted. [00:08:30] But what I really loved was like the the the the amount of people that were just gathering by the plazas, all these girls, they were They were mostly girls who were just really fascinated because these boys are, you know, these boys are hot boys, you know, with their shirts off. And they had their shirts off their pants off and they were embracing and kissing. That was it. So, uh, they had a lot more clothing on than what they would have on if they were swimming, right? But it was the fact that they it was the same sex situation. [00:09:00] Uh, so the funny bit she goes over there, and she's starting to rant to the poor photographer. You can relate to this. He's just a guy with a bloody camera. Meanwhile, I'm someplace else. I'm dealing with the actors and I just sort of see this all going on. I'm hiding behind the plot because I don't want to be beaten up by him. But it was It was, you know, but it to me bringing it all back home. I mean, and it's like homosexuality is like an intellectual thing. Yeah, they deserve equal rights. Yeah, they deserve to have civil unions, [00:09:30] and they deserve that. But if just keep it out of our face, we don't want to see that stuff like it's dirty or just do that in your bedroom kind of stuff, you know, And and so hence the And it was more than just the 15 year old girls that were watching I mean, there were lots of the men wouldn't watch because that kind of which I was like, I wonder if they clubs at all, But I don't think they were. I don't think Yeah, but they had this sense of embarrassment on their face, I thought, and that was kind of interesting. [00:10:00] Yeah. It's like, Oh, my God. There, I. I thought of that. Oh, my God. You know, So So that was kind of that was that was really kind of kind of interesting. Uh, had you prearranged doing the photo? Yes, Yes, yes, yes. And it was all done And there was an email sent out. How did it resolve? Uh, we buggered off. I apologised to me, But I did. I apologise to the building facilitator, and she sort of poo pooed the whole thing. [00:10:30] Uh, and just sort of said, Well, you know OK, Yeah, right. But But the, uh, I was going to talk to the woman that I had that was so offended. And then I thought, uh, the administrator suggested I didn't need to do that, and she probably would have been a little confrontational, and I would have reacted. So we just needed that kind of response. Really? Um, just one person, really, isn't it? Hey, but listen to this. There's a new exhibition at Te Papa that just opened 34 days ago, right? It's essentially [00:11:00] I forget what it's called, but it's essentially kind of a culture history in New Zealand, right? So you get up to the to 1986 and law reform, and there's, like two or three metres of law reform stuff, right? Cool. But then right beside it, they have a a little sort of electronic gizmo where you can vote. So there's one about abortion and said, Do you agree with the woman's right to choose an abortion? And 70 odd percent said, Yeah, I really agree with it and then says, Do you agree [00:11:30] with homosexual law reform? And my mate went on opening day or the second day. 51% said they did not. We, you know, you know, we think everybody thinks that we've won the battle. Everything's hunky dory and homo land. Well, it ain't Kids are killing themselves left and right, uh, committing suicide. Kids are getting beat up in school. We face discrimination in ways that we're not even aware of. So anyway, I, I think I think that even empowers [00:12:00] us as who we are and and what what our struggles really are. You know, um, do you think it's harder putting on a gay plate? Oh, yeah. Oh, yeah, sure it is. I mean, it's hard putting a play period, and then, um, you know, to choose a New Zealand play, that's that's just not even harder. And then to, um, yeah, something that's of content. That's just it's just like it's like being a minority within a minority within a minority. Yeah, but look, look like [00:12:30] we have two guys playing 30 or 40 odd roles and there's no sets there, you know, the the the sort of the ensemble way that we do it on and on and on. We've created some pretty wacky sort of rules for ourselves. Plus, you know, contemporary dance thrown in. He was two actors anyway. Well, you know how that happened. It was my first year in the Masters, and when I was in a script writing class and and I stumbled on the book one rainy day at Unity Books and, um, [00:13:00] I went took my thumb through the book and I said, Yeah, I can do a play on this, right? So the story II I tried to figure out how I was gonna frame it, and it was going to be, uh, an amateur theatre company who was going to be performing Four Skins Lament and and I just I created the theatre company in my head and I started writing about it. They were in this old Baptist church in some small town, I think, on the South Island, and they [00:13:30] were all they were all amateur theatre players, and they were doing force against lament. And it was just engineered about the fact that all these plays would happen in the in the changing room of the Amateur Theatre so they'd have access to costumes and things like that, not the most brilliant thing in the world. So But anyway, then I go into auditions and I auditioned. I mean, I advertise for auditions everywhere on the planet, and there's a Wellington is such a small town that it's all done by shoulder tapping here, [00:14:00] and I wanted to leave this wide open to primary of the community. But at the same time specifically for the gay community as well. I was looking for like these 60 year old guys who had done some acting and hadn't done it in 30 years and just really imagine that kind of that kind of guy out there. Well, anyway, I had three guys show turn up and they were all remarkably Underqualified and under experienced and way too young. Probably the funniest one [00:14:30] was this guy who apparently was straight. I will tell you the story. He was really funny. I said, So are there any questions? And I decided before I said, I, I just looked at these guys and I said, Oh, they're all wrong I said, But, you know, I'm gonna I'm gonna audition them And then because I said I would and, uh uh, we were all done and one guy says, um does in every scene do if I should get this role, Do I have to kiss another guy? And I said, no, [00:15:00] but you do have to suck his cock, and it's like I've waited 30 years to say that to those guys. I was just really great. I thought, Oh, man, this is hot shit you know, this is, uh I'm waiting for this. Anyway, I didn't cast those guys. Uh, Sam was there helping and casted cast him. But I, I mean, so here I was, uh, this was my major project for the Masters. So I I stared at the ceiling till about three in the morning that night and realised [00:15:30] that I would do it as a two man show and play all the characters and threw out all the amateur theatre stuff, threw all that stuff out and started at zero. And, um, one of the one of the one of the best things I've ever done in my life because suddenly the show had a had a real sort of life and a vitality about it and didn't have that contrived sort of circumstance surrounding it. But nevertheless, uh, it was a good idea, but it was It was a hard, hard thing to pull off and continues to be. [00:16:00] But it's part of the if I dare say the charm of the show of two guys and two chairs. So, um and then when I started working on it and sort of figuring it out of my head, I realised the power of all that and the show will. Sure it'll be playing down stage. But we could also do a bar in, uh, in bulls, too. And that's or a living room or or someplace else. So that's part of the part of the stick to part of its power [00:16:30] as well. You were talking about, um, a wee bit of reworking of the script. I mean, how much reworking have you done? I quite happily spent three weeks at Autumn Farm who sponsored me, uh, to do nothing, but, uh, wake up every day to a nice breakfast and, uh, beside an open fireplace. And, uh, I I typed and gathered firewood. That's what I did for three weeks, which is you know, God, it was ecstasy. It was wonderful. And, [00:17:00] uh uh, they made me nice meals, and I would just Yeah, I would just type. So I would guess that I have thrown out 40% and probably replace that 40% and then rewrote massively. So the show, it's it's running over 90 minutes. There will not be an international and no interval. Um, and I guess the last one was 83 minutes so it'll be a little longer. [00:17:30] Uh, but it it it goes up to 2010. There's as the other one did. But there's there's some stuff that you know just didn't need to be there or was confusing, nevertheless, but it's, uh, it's a It's a lot better script, Um, and a lot less sort of clumsy in spots as well. So, um, still not finished? Uh, we're going into a rehearsal tonight, and I have some things to do this afternoon [00:18:00] to finish a few scenes. Um, yeah, it's a much better script. And And I can tell you after the November season, I'll be going back and making changes for the March season. It's just how I work, so it will always be always. I always believe it can be better always and and there'll be some. There's some scenes I've always wanted to do, but I don't know how to don't know how to do. So, um, I'm figuring that stuff out, so that's that's kind of fun. What I'm learning is that I can do this. [00:18:30] I laugh because, I mean, that's what that's what you learned. I mean, you learn, you say I'm I guess I'm fortunate all to write. All I have to do is sit down and write, right? So But But But I've learned that and, uh, other people you know have to I don't know, dream dreams or have you know, eat acid or something or get drunk or whatever, but all I have to do is sit in front of a keyboard and it happens. So I'm pretty happy about that. And there's so [00:19:00] there's there's, uh, at least, uh, I mean, I can I'm lucky to be a director and and a writer and I have mates who will help me produce to be able to make these things happen for the for the for the Queer Community of New Zealand, but also the the the, uh, the rest of the country as well. We talked just before about how it's hard to put on a gay play in New Zealand, but I'm not quite sure if we actually got to some examples. Can [00:19:30] you give me some, um, examples of why is it so difficult? What? What are the things that stand out to you? What are the challenges? I mean, like like I said, earlier, like a lot of the gay theatre that I've seen in New Zealand have been borrowed or, you know, interpretations of popular American or English place. So we've had things like boys in the band, Angels in America and stuff like that. So I mean, it comes with, you know, a certain amount of, um, I guess you know, exposure or or previous history with it. Whereas this is such a new thing, I mean CN or or or even New Zealand [00:20:00] about developing new work. It's, um it's just so they just don't know what what's involved. Um, it's also, um it's, you know, um, being able to, um, cater, I suppose, to the community like, um well, with something like this with something with, especially with this kind of player with this kind of story. Um, you know, there's so much ownership with that I mean, and I mean, if if if you grew up here or if you know of the people, um that there's gonna be parts of our history or fabric that you want to see in that So there's there's a lot of, um, um, there's a lot of careful research [00:20:30] or careful um I don't know. Am I right in saying that? I think I think I'm an American and I've been here for nine years and not once has anybody ever said to me How dare you write this history of no one's ever, ever, ever done that to me, Which is I wasn't expecting it, but it wasn't going to surprise me. But then it surprises me in the sense that why has it taken us this long [00:21:00] for us to tell our own stories? Um, you know, like, because Because kiwis are so self deprecating and they they they have the self worth of a fucking door knob, you know? I mean, it's well, no, no, it's just the idea. Oh, we're not very interesting. Oh, what was me? We're just We're just Kiwis and the assholes. No, but I, I that that attitude is that attitude is there. And it's just such a bore. I always saw the story. I was I was in New Zealand for about a month. I was getting the first haircut [00:21:30] I ever got in New Zealand. The guy's cutting my hair. There's a radio on on his his boom box, a CD playing. I said, Oh yeah, that's that's kind of cool. Who's that? And he says, Oh, that's the so and so's They're pretty good. They're OK for a New Zealand band. I thought, Oh, fucking hell, I don't want to live someplace where something is OK for a New Zealand band or a New Zealand play or a New Zealand sculpture on and on and on. And I just don't want to live in that world, you know? Fuck that noise, [00:22:00] you know? So I think I think I think I think people often yearn for plays and theatre that I that is from some place else and and II, I guess I can understand that. But that that just ain't me. But then if you look at like, I mean film, you know, recently our stories have been been celebrated overseas and and we're really supporting. Now let's look at films like Boy or um, Home by Christmas, and stuff like this is absolute [00:22:30] support. I think mates and lovers is what makes that difficult or a gay play. Quote UN quote is is trying to convince an audience a straight audience that it's for them as well. My my goal was that I want people to walk away from the show saying that they learned a little bit about New Zealand and then maybe a little bit about gay New Zealand after that. So [00:23:00] II i it it was It was It was, uh that was always my goal. And sometimes I think I've gotten there a little bit. Sometimes I think I'm crazy, but it's that that's what it's all about. And, uh, it's not necessarily a I wanted to be a I wanted to be more about Arturo New Zealand than to be a gay play for sure, that's for sure. Um and and the actors this time around, just like the last time, just, I think, really carry this real sense [00:23:30] of burden on them because they are doing this show. And, uh uh, Kent and Sam did, uh, to their credit and and really pulled it off. Real sense of commitment and belief in the show. Um, the community in this recasting that I've done, um uh, you know, a couple of people were were [00:24:00] really sort of disappointed that I had, uh, uh, recast it because they liked Sam and Kent so much in this show. And, um, after I explained what I was doing in terms of the bigger, broader professional production of the show, this is what I had to do. They sort of explained it. I mean, they sort of understood. But at the same time, it was their level of ownership over the play. It's like, Gee, you know, So they argue with the director, the producer, the playwright [00:24:30] about his flipping show and you know, to me that just sort of showed that they were very much engaged and and and invested in that and willing to take me off about my own show. It was pretty funny. So So that's that's really encouraging stuff, really encouraging stuff. How hard is it to put on a second season? There's pros and cons. I mean, the great thing about the second season is that we've got, um, our success of our previous season, you know, luckily, the show I'm not. Luckily I mean, the show did extremely well. So we've got some awesome quotes and stuff like that, which [00:25:00] when we apply for funding, you know, they want to hear those buzzwords. You know what I mean? What's the quote that you say, um, the masterful one. Yeah. Producer playwright director Ronald Nelson has triumphed. You know, things like that look excellent on a funding application. So So? So I'm I'm trying to get support of contra deals from people. Um, it's a lot more easier because we've had that previous history and we set up relationships. Um, you know, But then at the same time, you know, it means that, um we can't ask the same people for the same things all over [00:25:30] again. So, I mean, as as half and half. Um, but, yeah, I think the biggest, um, the biggest asset about doing a second season is that we've got everything from the previous season to, um, to work towards. And, you know, we're not slugs. I mean, I mean, it'd be real. It would be nice to, you know, for people to write us off and just say, Oh, those guys, they're just sitting in a room and acting and dancing and making jokes. But, you know, so much of this is is hard core business stuff, and and [00:26:00] we're not trained in that There are people who are out there. Uh, but we don't know how we pay them at this point. So we're sort of faking it by ourselves. And now we're we fans, Uh, fabulous art art in New Zealand just this very morning became a charitable trust, and that's going to help us from everything from GST. But it also, uh uh makes us, uh, you know, appear to be legitimate. I mean, we are legitimate, but that sort of backs up that legitimacy. So there's just [00:26:30] a lot of there's a lot of hard core business crap contracts. I mean, so this professional production, we have to pay professional wages to actors, and that's about what they'd get at Burger King. But it's a lot the same that you get in a professional theatre as well. You know, it's just remarkably under these these people with incredible experience and and education, and that's what they get. So, um, uh, uh, he [00:27:00] and I, as Coro producers, uh uh, we're not. We're surviving by our wits until, you know, the ticket receipts come in in November and and until after the bills are paid, and then we'll divide $47. I bought myself a happy meal, but we're in that intermediate stage, and we could be here for a while, but eventually, You know, we want to develop the idea of a of, uh, of [00:27:30] an artistic board of directors, uh, from people in the industry and and really starting to to to serve the gay community. I'm hoping with a with a really tight, wonderful 20 minute show that we can do around high schools all around the country about coming out and HIV and suicide and things like that. And we we think there's a funding for that. But we're looking to employ our people and to give them a wage and to get them out and constantly improving their craft and and [00:28:00] travelling and and and getting our name out there, there'll be another show after this. And then there'll be another show after that. But eventually, You know, we really have to look at, um, a place where we get funding from central government or or counter deals or whatever. So our lives can be a lot more sort of comfortable and where we can, uh, yeah, I don't know where I'd be without the bank. A boyfriend? [00:28:30] What? We call this. You've heard the BNZ This is the BBF. So the BBF Uh, yeah, the bag of boyfriend is is a is A is a great thing. So, you know. So if I if I need to put 20 bucks down on a you know, on borrowing on hiring a bowler hat for a photo shoot, where in the hell is that gonna come from? So these are, you know, we we're real guys and you know, we have real lives, and and, uh, it's it's it's building the company to [00:29:00] force something that not only the gay and lesbian and and and bisexual and transgender folks who appreciate and applaud. But we're Kiwis and we're doing Kiwi Theatre, and that's that's going to be the, uh, that's going to be the thing that we can all be proud of. So what's it like trying to get sponsorship or funding or contra deals for a gay production? Lots of lots of paperwork, lots of writing, um, budgets [00:29:30] as we realised, Um, it's not our strength. Um, but, you know, I have sleepless nights doing things like that. It's it's just a lot, a lot of ground work, and, um basically, yeah, just lots of writing I mean, like, you know, we did an application for Auckland Art live, but, you know, they asked us specific questions. You know, how innovative is your show? Who is the show going to appeal to? How are you gonna market it? And so but the the process of, um applying for funding or asking for people makes it more and more clearer for us as practitioners About what we're what we're making and what we're trying to sell. So, [00:30:00] you know, And each time we keep applying for funding, we get more and more clearer with, um, being able to articulate what our show is about. And, um, yeah, so, um, and it gets easier and easier with each application. Once we've done a template, we just do a lot of copy and paste, you know, generic and move it around. So we've learned that. And, um, yeah, so, um, I hope that answers what? Um, when on a funding application, it says, How innovative is your show? I mean, what do you reply to that? What do we say to that? I remember it. Very innovative. He's the director. [00:30:30] He think it's really innovative or into a I forget how you say it. But But, uh, now the show is innovative. Uh, and and I mean I mean, we're not sort of glossing that or making up something that isn't there, but two guys in a chair based on a nonfiction book. I mean, that's that's pretty whack stuff. And and and the the the fact that the, you know the guys are playing, you know, 30 odd roles. I mean, that's that's pretty innovative thing. And the contemporary dance element, [00:31:00] The way that the actors, you know, manipulate costumes throughout the show is, is, is fairly innovative. I mean, saying that we're using different theatrical styles and, you know, and and and different kind of methodologies to this this new show, for instance, and and you know, it's kind of funny because this is this is where we are. I have a I think it's a funny scene. I think it's OK. It's It's two condoms in a at [00:31:30] the bottom of a rubbish bin, uh, after, uh, a pretty heavy duty night at a at a sauna in Auckland and they're talking and they're they're they're they're they're revelling in their experiences and and what it was like for them. And, uh, they went, you know, and I don't know what the literary word is for this when you apply human characteristics to an inanimate object. Well, I know what it is for animals, but I and things like that. Yeah, but anyway, that [00:32:00] word. So these guys, these condoms, Willie and, uh, Jimmy and, uh, they're very serious, sort of condoms. And and they take their duty very seriously. And so they explain the kind of sex they had and how they were put on, And how are they disposed of and and various physical attributes of their they guys as they call them. So it's it's it's a cool thing, but so we're doing that as as a puppet show. [00:32:30] So these guys are gonna take off their socks, their white socks and put it on their arms, and they're gonna do you know they're gonna do these These these, uh, puppets will sort of look like condoms with reservoir tips and and, um uh, so that's that's pretty innovative and pretty fun. It's towards the end of the show. It takes place in the nineties, and and and that and but aesthetically, Director I have to find another place in the show [00:33:00] where I use other objects on stage, whether it's costume or set in the same way. In other words, I animate, um, other objects on chairs. So I've been thinking about that and how like to set up that continuity between you have a rule about your directing style When you doing stuff? Yeah, I always use things three times. So, uh, for instance, uh, the sock is obviously used as a costume piece on somebody's foot, and then it's used as a hand puppet. [00:33:30] And then the third time, we'll probably be down on his pants when he's trying to get a date that night, right? Yeah, that's it. Yeah, very single. Very available on the show every night at the end. Uh, no, no, no, please move along. This. Yeah, yeah, yeah, it's it's it's, uh, So there's all these, uh, you know, it's just it's how shows were built. And, uh, there's there's struggles. And there there's some failures in the last show. I mean, I acknowledged some things where they we're just sort of hanging out and [00:34:00] and not good. So we're we're cleaning all those up and and it'll be a good show. And it'll be a better show after the season after that because I mean that that's the That's the luxury of being able to do repeat seasons that we get clearer and clearer and we get we refine our craft. So in having this Auckland season, then the Wellington season Nelson season. Then by the time we Nelson, it's gonna be like, Yeah, well, you know, what's amazing is if we were filmmakers, we would have shot this puppy a year ago and there it would be sitting there and we would have edited it. And we say, You know, you [00:34:30] know, we could have done better There could It's just you know, God, you know, That's why I That's why I That's why I didn't do film. Because I, I always want to be able to play with it and and get it better and better and better. Nelson seems to be an interesting choice for taking the production to why, why was that? Um, because I was down there rewriting, and, uh, they had just renovated the Theatre Royal or Theatre Royal. [00:35:00] And you know, I, I knocked on the door I had an appointment with this, this woman named Janice and knocked on the door to the theatre. It's a renovated 19th century theatre with a proceum march, and you know, it's fascinating. The the chairs that were installed in 18 80 something were second hand from the UK. I mean, the the the stories, the stories, these chairs, these seats could tell, you know. So that's, [00:35:30] um it's It's a fascinating place and and we're only doing a weekend there, but it will get us at the top of the North Island, and we're interested in playing around in small towns as well. I'm thinking about going to Golden Bay because there's there's I. I like the idea of people not only seeing this show because it's the history of gay New Zealand, but at the same time it's a kind of show that they would never see out in the S. You know, it's just, uh, it's stylistically [00:36:00] or otherwise. It's just something that they would they would never see. So So, um, we're looking at smaller gigs after that on the South Island, And, uh, maybe eventually working our way down to Allen Hall at Otago. Um, but, um, venues are few and far between. And, um, there's, you know, at at a certain point, hopefully the plan is that, [00:36:30] uh, uh, someone will pick us up, and they will be the producers. And, uh um, and we negotiate that deal. And, you know, uh, we do festivals, so that would be the greatest thing. So, uh, that would be the next. Ultimately, that would be the next sort of click for us and the show. That would be the best case scenario for us. And then we start a new show. So it's performing and I disappear [00:37:00] and go write a new show, so yeah. Yeah. Isn't he gonna ask what that's gonna be about? So what is your next show gonna be about? I'm not gonna tell you. It will rock your world. It it will. It will. It will. Yeah. It will rock your world. It'll it'll be hot Shit. So you guys have assembled, um, a pretty stellar production crew and cast for this. Can you go through who you've got? And, um, give me a brief bio on all [00:37:30] those people. Yeah. So, um, Samuel Holloway doing music? Holloway, He and I worked together five years ago doing a glory hall. And that was, you know, Glory Hall was exactly what you thought it was, but I think he sort of there's no progress. So I think, uh, I think, uh, Samuel, sort of, uh uh, you know, he sort of did that. Yeah. Yeah, we're all proud. It was a great show. God, Neil Hall. Uh, Ty Royal? Uh uh. Me, Uh uh, Sam [00:38:00] Neil Holloway did did the music for that, and, uh, he has won all sorts of awards, and he does see the score is going to be lush. Beautiful. And then you got, as you said, Tai. Oh, ta ta royal. Of course, You know, uh, who's currently touring? Touring with, uh and, uh, a black grace fame [00:38:30] and, uh, often called New Zealand's, uh, best male dancer. Yeah. Can't beat that. And and I have known each other for a long time, but, uh, even I even he he and I talked about working on mates and lovers three years ago, and the timing was just really off for him, and we could never pull it off. So, uh, he and I had a remarkable meeting in the sunshine just last Sunday. And, God, you're so happy to do a collaborative art form. I thought, [00:39:00] you know, because I Oh, God, What do I know about dance? I know, I know nothing. You know, I know what I like. You know, it was sort of crap, but, you know, Ty, he was able we were able to reduce things down to to ideas that communicated to both of us, like you do with any designer or any situation. I was happy as a clam, and we walked out and we said, Wow, we figured out the dance. It was great. Just Yeah, I was happy to me. It was the sort of feeling like I you know, [00:39:30] it's like I met somebody and they were really hot, and they thought I was hot. And it wasn't quite a fatu situation, but it had that sort of quality to it. But anyway, yeah, that's who else do we have? Um So we've got to And, uh, Simon Leary we talked about, um, designers Ambrose Simons, who works for multimedia, and, uh, he and I He was in glory hole, too. It's [00:40:00] all those glory hole guys. Yeah, It's great. Um uh, and he is a dancer and is ta's boyfriend works for multimedia lighting in Auckland. And, uh, uh, he'll be a fine designer. Photographers or designers and stuff like that. Um, you talked about Contra deals? Uh uh, typically, you know, it's a trade out. So I know, for instance, that, uh, toy, uh, very [00:40:30] few of their MT a students come from Auckland. So we're doing an Auckland show doing a show in Auckland, and I was able to work out a Great Contra deal for rehearsal space. I know Gareth Watkins is interested in plugging his his book and his, uh, website. So he he was He was easy plus. Plus, you know, we thought we would entertain him on Sunday afternoons. Countless Sunday afternoons. We'd come up here, um uh to to hear Kiki, [00:41:00] uh, is is, uh, works at or worked for the NZAF for for a decade? Uh, did a master's in Maori studies? Great guy. Uh, Bill Logan who? I I witnessed one of the leaders from homosexual law from 1986 is writing a a thing for our programme. Uh, Brian Wang, uh, is an IT guy. Uh uh, I think how did I hook him into this? Uh, he's a friend of mine. [00:41:30] He's an American from LA. I think I said you can meet hot guys. I think I got him to, uh he's, uh he's, uh he's helping with with all that coordination and and is doing a great job. Um uh, lots of people are helping and you appeal to their you know, you you you try to give something back. Uh, David Allen, who's providing all the IT and and and website design and all that sort of stuff. I mean, it would cost us thousands of dollars if he charged us. So [00:42:00] we we always try to be nice to him and, you know, he's a he's a business guy. He's a hard core business guy in IT and and advises us, you know, really wonderfully, Um and it's it's it's because we're all gay and that opens the door in many, many ways. We're lucky, just like if you were doing Sri Lankan Theatre and you wanted [00:42:30] sponsors, who would you go talk to? The Italians Try to say something that you know. The analogy is the analogy is we're we're talking to our peeps. You know, that's that's That's what we're doing. We're we're talking to our peeps and our peeps generally respond. Plus, we got a good product. I mean to say it in that sort of crass way. I mean, we got a good we got a good show and and it's it's proven now. [00:43:00] It's like, RuPaul you ever watched you know RuPaul's show where Where she says, Don't fuck it up, OK, you got a good book and you got a good script and you have a good track history here. Just don't fuck it up. So we're trying not to fuck it up.
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