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For me, apart from the obvious thing, um, the stage managing et cetera. It is the joy of being with a group of people who are themselves. There's no pretence, no pretence, no So many people live under a shadow of pretence and it shouldn't be necessary in this day and age. So for you, is it more? It's more than just the performance on the night. It's It's it's a wider thing. [00:00:30] Yes, it's the whole rehearsal thing, and it's also I must be one of the oldest stage managers. And I think certainly I would think in New Zealand and having done it professionally, it's a way of keeping my hand and my adrenaline goes sky high. No matter how tired I feel or anything like that, it just goes sky high and I love it. I love stage managing. Um, I love anything to do with Theatre and, um but there's that wonderful sense of rehearsal that I love, that everybody is joyous. [00:01:00] Tell me what? What is a stage manager? What? What does a stage manager do? Well, my role was in the Queen of the whole universe is not full stage manager. I call the show. So I go to rehearsals to listen to the music, to see what's happening and to, um, call all the queues, Uh, be they lighting sound, um, spotlights, um, flies, whatever. So you need to know [00:01:30] the show fairly well, and either by sound and or by visual, you know, um, mostly with me. With the first piece. It's It's a digital thing. I can't become involved in any shape or form. I feel emotionally with the actual performance on the nights, because otherwise you lose where you are. I only hear it as a series of the only way I can describe it as a series of digits, which sounds weird [00:02:00] and following every letter and and every note. And I've got huge notes on my script, and I've got huge reminders and stuff like that. I use a lot of coloured pens and that, but that's markers, but that's not necessarily other people's way of doing things. That's how I do it. I'd like to go into a wee bit more depth in terms of the process of actually being a stage manager on something this large. But first I'm just wondering, How did you get involved in the queen of the whole universe. Well, originally [00:02:30] having worked at the edge, Um, originally, whilst I was still there in the capacity of an event coordinator, I was asked if I'd like to actually be in the show representing our centre. And I felt strange about that because all my theatrical work has been done. Not for a company such as the centre. And I didn't feel right doing it for them. I wanted to. If I was going to be involved, it had to be for me. [00:03:00] If you understand that, that sounds terribly shall for selfish. But it had to be on my terms, not not what they wanted me to be. Um and I went along first of all to I've been to one or two of the shows and I'd worked out front of house as well on one show, I think, and then I decided that I would be involved. When they asked me to go on stage, I said, No, I'll do dressing because I've done dressing before backstage, and, uh, I said, I'll do that. And at dress rehearsal, [00:03:30] they realised that they needed somebody to call the show, and they said, Will you call it? And I said Yes, because I've done shows like that before, where you just do it on the spot, you know? So, um, it brought for all my learnings. It must have been quite nerve wracking, yes, but I was used to it because being a stage manager at a place like a centre, where shows come in all the time. If it's a big running show, of course they've got their own team, their technical team, et cetera. [00:04:00] But if it's if it's a smaller show, say I don't mean a smaller one. I can remember calling once for the Auckland Phil and the they wanted lighting special lighting. No done not just down in the house and up on the stage. They they had a handwritten orchestral score. And have you seen how an orchestral score is? You know what it's like. So it's handwritten. But being handwritten, of course, everything was a bit squashed, you know. And the, uh [00:04:30] the, uh, conductor was from America. I think I'm not sure. And, um, he said, You know, I want these lovers said later, Bloody hell, how am I going to read this score and I got one of the Auckland film to, uh, help me with it and they couldn't even read it properly. But you just learned very quickly, and you just learned very quickly how to do things very quickly. And because I love it so much, you know, And the adrenaline goes sky high that it it helps you through. So what were the main experiences or memories you have of that? That [00:05:00] first show that you worked on? Not much, except which I can't say under there. No, not much. Except that I was totally focused. Um, and because there was very little time or no time really to get to know anybody. You have to be focused anyway when you're stage managing. But if I go to rehearsals, I get to know the people and that sort of thing, and that's quite different. But this time I hadn't been to any rehearsals, so I didn't know who was who. Because when you see them [00:05:30] backstage with their costumes on, they mean absolutely nothing to you. Except you learn to recognise that they are Miss England, or they must be Miss Japan, you know, And you just yes, that first one was totally, totally focused on what I had to do here. Not not even looking out there sort of thing unless it was done by a movement at all. It was much more simple in those days, too. Jonathan has grown. It's grown hugely. And the, um, [00:06:00] the technicians backstage at a centre are are chosen. Specifically, I think I'm not sure for that show. Who are Pae with the show and know that, um, there will be a lot of a few flies. And there will be, um, a few and that sort of thing, so and they're not going to be anti at all. They're not anti, you know, and I know most of the technicians [00:06:30] anyway, so it's easier for me. And it also must be quite a different type of show in that you're dealing with maybe people that have not done theatre before. Yes, that's always different. Yes. So how was that on that? On that on that first time for you? Oh, I get very bossy. Shorten coming from a teacher, a school teacher, family. I get very bossy. And I warn them now beforehand. And they know that I'm going to warn them [00:07:00] that on the night and during rehearsal, the last rehearsal, perhaps I'm not really interested in anything else, especially not egos. I'm only interested in the show and people have come to see it. And therefore I'm I'm they've paid money and they will do as I ask them to please. I will say please as an afterthought, but they all know that I'm a little dragon on stage, you know, on the last night, and they all know [00:07:30] to behave sort of thing, you know? And I did blow somebody up on the first night who went out the front curtains. He was a backstage person and he went out the front curtains and I blew him up because that's not what you do. That's what a rank amateur would do. I mean, you very you would rarely see that even an amateur theatre these days people know not to do that. But he did that, and, um, I sort of had to come off my high horse a bit. [00:08:00] I guess it's an education thing, like I mean, if you are turning up at rehearsals, then they will get to know that, I guess, well, that Well, yes, but it's just to me. It's common sense. But then you have to realise I have to try and realise that these people, especially backstage helpers who come in on the last moment, some of most of them they don't know the etiquette of theatre. And they haven't got it in their minds that they're not the stars, that the show to me is [00:08:30] the star and that people have come to see magic regardless of whether it is semi amateur. I don't like the word amateur because to me everybody's kind of striving to be professional, and and it's the audience have come to see magic, regardless of whether it's an orchestra on stage or whether they we do have a proce march with the curtains going across. You know it's magic to them, and therefore [00:09:00] you don't show at any time. You don't cross that fourth wall sort of thing unless it's part of the show. And I don't like, I just don't like that behaviour. I'm not very tolerant of it, I'm afraid so. How did you get into stage managing? Um, years and years and years ago I did a little bit in amateur Theatre in Christchurch. Um, I was usually on stage, but, um, sometimes I quite liked the stage managing. [00:09:30] And then when I got I, I in 1990 I did diploma of drama and realised that I quite liked that backstage technical stuff. And I've done a fair bit of technical stuff before anyway. And, um um, So I was a year out of, um, any sort of, uh, work force. And so I, uh, applied at the test centre. Not sure if it was that following year or not, but, [00:10:00] um, they gave me the job and I sort of picked it up from there and read a lot of books and did a lot of courses and that sort of thing, you know, did a few courses in it. What are the main attributes for a good stage manager? Loud voice. It's quiet at the moment. You have to be calm. No matter if inside everything is falling apart, you can't show that. And also in an emergency, [00:10:30] if somebody asks you something in an emergency, I will hesitate before I answer because it has to be the calmest answer. And often they think I'm not thinking about it, but it has to be the calmest. You also have to be able to think of several things at once. You've got technicians in this ear. You've got somebody in this ear and you've got a speaker here with the music and people and you've got what is visual out on stage. And so you have to keep sort of [00:11:00] a handle on all of it. And sometimes you can't listen to any of it. And you just have to you have to say, you know, quiet and everybody could shut up while you do the queues and that sort of thing. You know, um, I think also you have to be friendly. You have to be similar to a mum sort of on stage. I suppose that's easier for somebody my age. I don't know. For the younger people, it's quite different, but I think they're also a kind of mum on the stage as well. [00:11:30] I can remember doing something for a group of musicians who'd been on the road for a very, very long time, and this was their last, their last stage in New Zealand and they needed a hug and that's easy for me. because I'm older, you know? And sometimes people just need that. Um uh, I've come towards the end, particularly on dress rehearsal and particularly on the night, extremely focused. And they know not to talk to me too much. Yeah. [00:12:00] Um, what other things do they need? Patients and very much patience. And you need to, um, also have a lot of, um, physical strength in in some ways in that it's tiring. It can get really, really tiring. And you just have to find that adrenaline from somewhere. But that's for everybody on stage. It can be very, very tiring for everybody. [00:12:30] Theatre is terribly glamorous from those who for those who don't do it. Who did you meet? What did you say? What did you do? Uh, there's quite a few people I've met, actually, but I wouldn't tell you. Yes, I think it's glamorous, but it's not. It's a hard job. It's 90% standing around and 10% pure adrenaline. Can you describe for me what the kind of backstage feeling was like on that the first time that you were with Queen of the whole universe? [00:13:00] It's very difficult to get people who are not used to theatre to be quiet backstage because there's no fourth wall, and I think they think that there's hard walls all the way around. But there's not. There's only legs, and you've got to be careful because anything that happens at the side there can be heard by the audience. And depending on where you're standing, can be seen by the audience. [00:13:30] And it's very hard to show people not to stand like the legs are here going on to the stage. There's the audience out there. They're there and I'll do it that way. You are the kind of drop down the short one, so they're that way. You're the audience. But if they stand here and they can see the audience, the audience can see you. So it's very hard to explain to people right from the start. When you're on the stage, don't stand [00:14:00] in those positions. If you can see the audience, they can see you don't peek out just to see mum or dad or whoever don't do any of that and shush. I still have problems with shush backstage. Yes, they get excited, they're excited, whereas those who do theatre all the time professionals do theatre all the time. Know to stay focused backstage anyway, uh, you know, they know not to chatter backstage, but they're excited, and they've got their big hats on, and they, you [00:14:30] know, they're excited. So how do you tell people to when you can't? Actually, I'm probably blowing your mic out there. You don't do it as a kind of AAA facial gesture or because I'm looking at that. And if they still don't I I I'm in contact with the stage manager Steve, and I tell him I say to him, Tell them to shut up now [00:15:00] and that he knows by the sound of my voice that I mean it. So in your role, are you the kind of head controller of the backstage area? Or is there somebody? No. Steve is. Steve and I are sort of partners, and he's learned a hell of a lot in a very short time, and he's very good at it. His job is massive with with coordinating people and getting them into the right place and coordinating everything backstage, and that normally that is done. Um, you [00:15:30] do. You do have and big shows that are travelling say you have a head stage manager who does that and the deputy stage manager who will call or they will reverse roles throughout the season. Um, so it's a kind of hand in hand and I call him boyfriend. He calls me girlfriend, but it's a kind of yes, it's a partnership, and he he knows what I do, but he couldn't do [00:16:00] it and I know what he does and I couldn't do it. His job, You know, we could if we had to, but we don't choose to. So has it been the same team for a number of years doing that? Uh, Steve for about three or four years, three or four years? And before that there was someone else who was doing it, and he had had some experience, a little bit of experience with with Amateur Theatre, and I'm not sure if he had had some experience with Auckland film as well. I'm not sure. Does it make it easier having that kind of through line [00:16:30] with somebody that's been there for three or four years because they know what the show is like, and it's not like any other backstage because it's so big. And because you've got so many men in high heeled shoes and because you've got frocks that are huge and hair and and stuff that are huge, it is not like a normal a normal theatre backstage. Um, if you have normal theatre in the centre in particular, you've usually got a musical [00:17:00] or something like that. And there's not big hair, big frocks, Um, and they're all They've all been touring or something like that for years, so they know their place sort of thing. I don't mean that rudely. They know their space and area, but with something like Queen of the whole universe, they are, um, you know, it's a wonderful show for them, and it's a wonderful vehicle for them. And it shows their talents as a as a person and as a dancer and as a creative person, with their dresses and their hair and that sort of thing. [00:17:30] And, um, they often don't know the backstage etiquette as well. Perhaps yeah, so perhaps, can we go through the the process of, um, going through the initial ideas to the rehearsal to the performance? When do you become involved? At what point? Um, I don't have anything to do with the ideas at all. This is just Jonathan. And I guess Kevin has a huge input too. And, um uh, I go to rehearsals [00:18:00] as much as Well, yes, I go to all rehearsals. And what do you do at rehearsals? Sit and listen. And if anybody's away, I will join in with with, um, Jonathan. And he and I have some rude moments together, and that's good. I was like that. Um but, uh, yes, I join in if there's somebody's away and they need, you know, if it's the group whole group doing everything together, I'll I'll join in because you get used to the movements [00:18:30] and stuff. Yeah. So are you actually documenting things as the rehearsal goes? Is there kind of like a script or no? Jonathan writes the script with with me in mind and with the others in mind, and we usually have a a big talk beforehand. The back backstage people like Steve and myself and Jonathan and Kevin and and Jan will come along, too. And we talk about the way to move things and how to do things. And that's their area. And then I talk. We talk about lights and sound [00:19:00] and that sort of thing with me. But I've always got beforehand. Um, I've got any words for songs, particularly the first piece that is usually made up, say, of 345 songs with With Movement and that and I've usually got that early on because I like to follow that so that I get it in my head and can send it along with them and know also where I am. And then he'll give me the queues within that quite early. So I'll start [00:19:30] in my head sitting in my little corner. I'll start calling the queues so that I know what's happening and what they're doing at that time. If it's a visual queue and when you say queue, what what What is that? What? What is a queue? A queue is, um, could be a lighting queue. Lighting change. It could be a fly queue for something to come down. Um, it could be an a V queue for something to go up, um, on the screen. Or it could be it won't be a sound cue because that his first sounds go right the way [00:20:00] through you know they're a compilation that he has done that Jonathan has done or had done for everything. And, um, I just need to know where stuff comes. I like to listen to the music and know where it's coming and where the changes come. And I will mark on my script. If if of the of the words, if that's a long note there, I'll mark it with my own little higher graphics. Is this Where is this? Where the, um, the coloured pens come in? No. First of all, it'll be pencil. [00:20:30] Everything's pencil. First of all, the the coloured pens don't come in until I know that is complete, and it will come in usually on the day of performance. And what do they refer to, um, lighting, sound and a V and everything like that? So the coloured pens come into my cues and my like. The script is written down like this. But first of all, my first script of the first piece is usually just on this way, done this way with words, and I've got notes all [00:21:00] over it. But then, when the coloured, when the actual, um, script comes in there, there's Buffy and bimbo narrative. And then, um, what has happening and sound and music and blah, blah, blah and lights and all that sort of thing. And that's where I put my cues and and all my notes and what's happening. And Buffy and Bimbo are going to talk for a long time there. I know that and, uh, all sorts of things, just just my general notes that I know that I need to have. I should have brought them along, shouldn't I? [00:21:30] Sorry to show you, because I've got some that I've kept, you know, and they're full of notes. But if I write it down like that, I very rarely have to return to that unless it's a really tight series of cues that I have to remember for this one that's written this way, I still follow it and and that. But if there's any notes on the side having written them down, I remember it, you know, And when [00:22:00] you're writing cues, is it a specific language that you use? It's just QLX one or SS slash BYQLX two. That'll be stand by LXQ, and I'll have NT for Enter and XT for Exit or, um, SX one or something. Something like that. Navy, um, is the is the projection and flies is FLY. I don't try [00:22:30] to change it to FLIES. So when you're actually calling the show, you're talking in that kind of code. No, I'll say stand by one XQ. One go. And it has to be. If they go too soon, I tell them off. I'll I'll say that's too soon because what might be on the script may not quite happen in reality. So you have to be aware that it's a feel thing as well as an actual thing. You know, if somebody said something and there is a pause [00:23:00] and the LXQ is supposed to come on right on that. But there's But there's, um, lighting going on or some there's a pause or something, something. You got to feel that and do it then, so I don't like people doing it too soon. I like them to listen to me, and it has to be positive. You have to give lighting sound and a about 10 seconds stand by, but flies have to have about 30 seconds stand by because they have to go to the rope and then take off the brake [00:23:30] and hold. And, um, you know, that all takes time. LX is what light? OK, so and X is or S FX is sound, Um, a V is what's coming up on the screen and flies is flies, of course. And if it's a if it's a, uh, pyro thing, it's just usually pyro if it's pyrotechnics, but we don't have that, please don't have fire or pyro. You can have some. I did [00:24:00] a show for Mike Misa once, and it was a huge one, and it was an awards. And he Mike mis he is just an amazing do. You know him in his work. He will dream something, and he has the ability to actually create that dream. He is. He he works for Louis Vuitton stuff. Now he's he's he's just an amazing, and he and his wife are just an amazing partnership and all the people around him. And he had coming on a [00:24:30] a man who was on fire followed by, So he had to had to be tortured on that side and come across and be doused on this side, followed by a huge, huge, huge draught horse was feet like that. And this draught horse didn't like it back stage in rehearsal. And he got all snorty and stuff. But during the actual show, when his hat man was platter in that [00:25:00] talk about a show pony and his bottom Is this thing going past you? You know, and his feet are this big, but those are the days. Those are the days when you're glad that that part of the show is over. Yes. So, have you tried to interest Jonathan in doing something? Oh, no, no, no, no, no, no, no. You have to have professionals. Um, not that Jonathan's not, but I mean, you'd have to He would have to hire somebody or or or coerce them to be in the show who are professionals with fire or anything like [00:25:30] that. But horses, animals, horses in particular, You know, that's a big thing. Horses are because they have to be stabled somewhere nearby, and they have to be stabled on the in the car dock. And yes, it's quite a difficult thing. It's not an easy thing to do, So just getting back to when you call something, and if somebody does something wrong, and you say that's wrong. Do you have a code for, um, you know, bad messages back to them. [00:26:00] Um, wait for it. Wait for my call, please. I try to keep very calm, and if I've said myself, I say, Oh, dear, you know, But I don't usually I know because it's a live show. And even if you do the same show 20 times, things can still go wrong. And a live show. You've got the audience don't know that something's happened wrong incorrectly. They don't know at all. It's only you that know, [00:26:30] and it doesn't matter that's gone, so it doesn't matter, you know? Um, so no, I don't No, it's a team affair. And if you rubbish your team, um, it doesn't happen. You're only as good as your team, aren't you? And that applies to any business or anything. You're only as good as your team. And, um, I don't think that I'm the boss or anything like that. I'm just working [00:27:00] as a team with everybody. And that includes the actress and Jonathan and Kevin and everybody, you know. Yeah. So in the rehearsal period, do you tell the the queen of the whole universe cast. You know what to expect when you get in the theatre. No, we do that just beforehand. And Jonathan does that. Yeah, and I don't have a talk with them until we're in the stage, because they've got to get used to those who have done it before. No, but those who haven't done it before it can be quite daunting being on a stage [00:27:30] and especially the stage, the A SP Theatre. It's a big stage, and when you look out, there's a massive amount three whole levels of audience there, and this is what they're seeing in their mind's eye. But they see all those seats, and it can be quite daunting for you. And so no, I don't I You know, it's most important that they get used to where they are and how to get around and how to feel. The first thing you've got to tell them is how to [00:28:00] evacuate, of course and what to do and what not to do in the theatre itself. So, no, I never tell people things on the first go or very rarely, anyway, unless it's a massive thing because not only the stage would be different in looking out to the audience, but things like, um, dressing rooms and where people congregate and that must all change. Yes, it does, because when we rehearse, we're only rehearsing in a hall. And usually it's It's the grey [00:28:30] um, Hall library hall, which is great, but the theatre. It's bigger. So the lines where they've been squashed out the first rehearsal is an orientation where your dressing rooms are, how you get there, how the sounds, Um, and they often don't know what is. So they have to listen. And and you know what A is A. Is a, um, a speaker system to each dressing room, named after the [00:29:00] person who, um, thought of it, I think, and it's a speaker system to every dressing room, and they need to be aware of it on their They also have the background music of what's happening on the stage, which they can turn down. But my voice doesn't turn down. And if there's an emergency, an emergency overrides my voice and everything. Yeah, so that's that's what they need to listen to. Uh, they need to know things like [00:29:30] upstage and downstage, which, and they need to know. People need to know why I feel upstage was was when the stages were raked. Now the audience are raped. But upstage was obvious. Downstage was here, there's the audience and they were sitting on the flat. Now it's there. They're sitting there and we're on the flat. Some old stages are still raked a bit. Yeah, but those words are still used, you know, Um and so they need to know a fair bit of that sort of thing. You know, uh, just [00:30:00] stage etiquette stage mannerisms. Um uh, where they as I say, where their dressing room is and where Jonathan and, uh, and not to touch them unless they have to sort of thing and knock on their door. And yes, yes. And I use the dress room because the stage manager's room is just a room for some reason. In the art centre, it doesn't have a toilet. So I go into the toilet and that's my last minute rituals. You see it down here at rituals, [00:30:30] you know, And I think when I was on stage, I always had to go in and have a But now I only have to have a quick way and they all know Look out! Alison's coming through for a quick wee. Is that five minutes to curtain? Oh, yes. After before my last call to everybody. Oh, and I teach them also the calls, because the half hour call is at if the show is gonna start at eight. So the half hour call is 25 past seven, and the quarter [00:31:00] hour call is 20 to 8, and the five minute call is 10 to 8, and the standby is at 5 to 8. So that that gives if you need to. But usually they think the standby call is actually on the day, but I've explained it to them, but they're also, you know, and that rehearsal to that that orientation rehearsal is to sort out for Steve and his team to sort out where the stuff is, [00:31:30] how they're going to move it. That's a massive job, how they move things on and off stage, which is done. First of all, too, in a meeting when we know how big everything is because we've been to their rehearsals as well. Um, how they're going to get people on and off stage, you know, a lot of people come off stage and just like they get off, lifts people, they get off lifts and just stay there. Or they get off an escalator and stand there and people are coming through, you know? [00:32:00] And often I'll see somebody getting changed in the wings and I'll always have a torch. So I'll shine a torch. Um, whilst I'm reading that just so that they can see or I'll shine something down on the ground so that if they've had a bright light on them, they can see when they're coming out, Um, off stage or shine, just help them on and off stage. I don't leave my area unless I have to have a visual cue of people's movements if something's coming down, [00:32:30] you know, so that I'm calling the flies. But there's somebody in the way. Yeah, So do you have much to do with, um, Buffy bimbo throughout the show? Oh, yes. Oh, yes. What are some of the stories? Well, I've got a photo in the last one. I should have brought it. Um, of me. It was, um um dress wasn't done up and we were lacing it and bimbo was trying to do that, too. And Bimbo was trying to do something else. So I started the lacing at the bottom, [00:33:00] and bimbo was at the top because they're so much taller than I am. So here are these two. And here am I here, you know, and we got it done, you know, because you have to do it. I think they were going out on a, um I think they had to go out there because they've got a lot of work to do out in front of house. First of all, you know, it doesn't Nothing bothers me backstage if I see anybody, or I often ask how they manage to tuck that away sort of thing, you know? And they tell me gaffer [00:33:30] tape. And I think Oh, no, no. How could you possibly do that? But, you know, um, I just love working with them because they all accept me. They they they know I'm not gay. And and I mean, some people who are part of it aren't gay and that I think that's the best thing of it all, that we're mostly gay, But some some of us aren't, you know, and I think that's the best thing of it all. And [00:34:00] I've also encouraged a lot of people from sometimes from my work, you know? Have you been to this? Oh, yeah. I wanted to go to that. Well, why don't you go to it, you know, go to it. And I've told people that, you know, it's it's raising funds for the New Zealand AIDS Foundation. I can't do much money wise. I'm not in a position at this time of life to do things that I would like to do if I wanted millions of dollars that I'd have such joy in giving money away. [00:34:30] But I can give my services and my knowledge to somebody and or to an event. And I've learned a lot. Um, when the representative from the New Zealand AIDS Foundation comes around, just before we move into the theatre and she tells us, uh, last time she told us that there's more, there's gonorrhoea and syphilis are coming back, you know? And I think why is it just because we're not wearing condoms? [00:35:00] You know, um, I even taught my said to my sons, You've got to wear condoms for various reasons. The most important at this point in your life is to stop spreading diseases, you know? Did they wear them? Who? Why? I don't know why they're straight guys, but why didn't they do it? You know what's So I feel What's so big? That a man, it's only a man [00:35:30] that feels this, that it's it spoils my enjoyment or tough. As far as I'm concerned, that is not a reason not to wear condoms. You know, women take the pill it most uncomfortable. I took the pill for a long time. It made me bloated and fatter. You know, I've never worn anything else, but, um, I can imagine they're very uncomfortable. Um, what's so bad about wearing a condom that men feel [00:36:00] they're emasculated? For some reason, if they don't wear one or it's not as enjoyable, get a life. That's my answer to it. Get a life. There are so many Children in this world that aren't loved because the male didn't wear a condom. And there are so many diseases in this world that are not only part of the gay community, they're part of all of us. AIDS is part of all of us because the man wouldn't wear a condom, [00:36:30] get a life. That's all I have to say about that. Really. I just get, uh the older I get, the more angry I become about people's preciousness. Life is the precious thing, Not your pleasure. You can have just as much pleasure with a hand job as far as I'm concerned. And it's interesting that the somebody from the AIDS Foundation comes and talks to the group before before the performance Hands out lollies [00:37:00] that they all love chocolate bars. But that's just a bit of a joy thing and gives us all, um, condoms. Yes, for the event. Um, yes, as well. I think condoms are available in the event as well. Um oh, sorry. Sorry. Possibly I don't know. I don't see those sort of things, but, um, definitely out in the foyer, I think this condoms available. And, um, to me, they should [00:37:30] be freely available, you know? And it shouldn't be the New Zealand AIDS Foundation that has to sponsor that. It should be. I don't know, the health department, the New Zealand go, which comes back to the New Zealand government, and all governments must take responsibility. I feel you know. So you were saying earlier that, um, during the performance, you are absolutely focused and, you know, get quite stern. Where is the enjoyment for you? At what point do you say, Wow, this is fantastic. This is great all the way through. [00:38:00] So you can be You can be stern and and yes, all the way through. It's the it's It's the joy of my mind going flat out. It's the joy of working with technicians, whom I just I just love being in that area. It's the joy of working with performers whom I just love working in that area with Anne, Buffy and Bimbo and the audience, because I think it's the [00:38:30] whole thing, isn't it? It's the it's the audience and it's you. I did a one man show once a one person show, once as an actor, and somebody said to me, Don't you feel lonely? And I said, No, it's you and the audience. You're working together for this show. It's the whole, the whole thing. I love being on going into the dark and stage and knowing there's magic performed out there. It's the whole thing. And afterwards, um, I find it unable to go celebrating immediately. [00:39:00] I need to go on stage and help with pulling up the gaffer tape and the tape and all that sort of thing and packing away. Whereas my husband, he works on the, uh not on the ay side with this, but he's an Navy technician and an Navy editor and that sort of thing, you know, and he can't stand it. He likes the preparation and the show, and then he needs to walk away. Whereas I like to do the preparation, the rehearsals, the show and stay there and help to clear out that [00:39:30] that that is the not the funeral, the They're going back to normality. Perhaps, I don't know, because that can't be normal all the time, can it? You'd love to do it all the time, but it can't be normal. So that's for me going normal. And then I go out and have a drink or four. So again, that's a kind of a ritual that you do. Do you do that for all the shows? Yes. Yes, yes, yes, and I've always done it. I've gone on stage afterwards and helped pack out. [00:40:00] And that sort of thing. Yes, it's just it's just my It's my way of coming down, you know, I need to come down from that. If I didn't come down from that, I wouldn't be able to sleep properly. It takes a long time to learn to sleep properly. After these, um, often people will say, Oh, you know that if they if they're only short term, they've they've spent so much time trying to get to sleep again. It does take a long time. So you've got to come down off that adrenaline and if the next day [00:40:30] you're absolutely stuffed and I mean poor Steve, if we're down in Wellington, has to drive the truck all the way home, you know? And he has to keep that adrenaline still going. But you're absolutely stuffed the next day and maybe for two or three days afterwards. And it's only because you've used up all your adrenaline. You know, we're looking now towards the, uh, final queen of the whole universe beauty pageant, and I'm just wondering, if you had any thoughts on that, everything [00:41:00] has to come to a natural end, and I think probably it's run its course. He will have something else in mind for sure, though for sure.
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