This page features computer generated text of the source audio. It may contain errors or omissions, so always listen back to the original media to confirm content. You can search the text using Ctrl-F, and you can also play the audio by clicking on a desired timestamp.
But I was actually, at the time choreographing Miss World New Zealand. And, um, a friend gave my name to Jonathan, who got in touch with me, and he brought me into, um, choreograph the first show, Very first show, um, opening number. And, um, that's how I got involved. And I'm still here. 10 years later, before we get to that first show and the queen of the whole universe pageant, Can you paint or describe to me what goes into [00:00:30] choreographing something like Miss World New Zealand? Um, yes. Um, basically, I get this New Zealand I haven't I haven't done for a few years. Um, but I used to do the opening number, so I used to I I choose an opening number. I'd get the girls a week before the show, um, and spend a week with them. Um, fine tuning them into a dance routine. A couple of dance routines. So, um, yeah, it was [00:01:00] a lot of fun, but it's very different from what I'm doing now. So the, um, experience level of the girls and that kind of pageant, Uh, what was It was very, very, very much various. Um, some had to had dance training, Some hadn't. So, um, you had to sort of on the first day, I would sort of try and push them a little bit and see where the talent lies. Um, and used it and a bit like the whole universe. Really? Um, but, [00:01:30] um, see where the talent is and and and what's my lowest denominator? Because you should always choreographed to your last denominator. And when you say choreograph, what does that actually encompass? What? What are the limits of the choreography? Is it in the way people are moving? Is it the way they are set on the stage? Um, yes. So why they set on the stage where they're moving? Um, the dance steps that you teach them? Um the the overall. Look, I guess, um, and and Jona Jonathan [00:02:00] and I often talk about what he wants to to look like, and then I go from there. So I was interested to know in you describing the the Miss New Zealand choreography How different that is to what happens with the queen of the whole universe. Um, we have a little bit more time, um, between the whole universe, Um, and not much difference. Really? Um, probably you can take a few [00:02:30] more liberties between the whole universe. Whereas with Miss New Zealand, you can't really take the Mickey out of of the girls. Um, whereas we can, Part of the queen of the whole universe is the comedy. It's a fun thing. And And we as the Miss World, New Zealand, they're all there for serious, um, business. So they all want to win, Um, the the crown and go go after Miss World. So it's It's very different. Very different. I feel so when Jonathan first [00:03:00] approached you for that first pageant, what were your thoughts? I mean, yeah, love to you, love to you. It's something exciting. Hm. Something different. Yeah. I think it was a mutual thing that we both sort of approached each other almost. Um, can you recall the types of choreography that you were? Yeah. Yeah, we did. Um, I am what I am as the opening number. I think all of us who are involved in that will remember that, Um, it was [00:03:30] an amazing, amazing experience on the on the actual night, but, um, we had so I had so much fun. So much fun, and everybody gave it a go. And, um, yeah, it was just a magical experience. Can you recall the first rehearsals for that first pageant where you were presented with a whole lot of people with a whole lot of different abilities? I guess because I'm involved in musical theatre. Um, I I'm [00:04:00] used to sort of people of different abilities coming along. So, yeah, there were a few times where we tore our hair out, and, um, but on the whole, it it was just the experience was just such a wonderful one that, um that overruled everything else. And, um, you know it. It's not about being a perfect dancer or or or the opening number. It's about having having the fun and and getting the message out there. [00:04:30] But so can you talk a wee bit more about the, um, you mentioned, uh, choreographing to the lowest common denominator? Can Can you explain that a bit more? Yeah, well, you, um when I do a show, um, I have various degrees of dance dance ability amongst the people that are, uh, are dancing. So you've got you've got people who have done ballet or, um have done have hop or jazz or tap. [00:05:00] But you also have people who have come in off the street who have never done anything. So you've got a You can't expect everybody to know what a P a is or you know, part of you know, they'll all go look at you and go Don't know what you're talking about, but, um So you have to pull it back to what you would think People would know as [00:05:30] common language and and and and work in that way. And then then actually sort of push them a little bit. And over the years, you know, the guys who have been in over 10 years, they all have progressed along the over the time. So, um, you know, you must have to be quite skilled at not intimidating people if if people aren't dancers and then to actually try and coax them into choreograph steps, I think I [00:06:00] think you have to be patient. Patience is is is a virtue. And it's one that you really need in something like this. You mentioned the I am what? I am opening number for the first pageant. Why was that so special? um I think I am What I am for me. Um, it's always been a bit of an anthem for for me personally, Um, And if you listen to the words of I am what I am, it is such an amazing [00:06:30] thing saying, Well, you know, this is who I am, And if you don't like it, well, sort of thing. So, um, it's Yeah. So it's definitely been something special for me. Um, but it is sort of It is sort of a gay anthem. Really? Were you there on opening night on that first night? I was. And what was the audience reaction? Amazing. Just amazing. Uh, very much like the Miss World. New Zealand. Actually. When When the curtain goes up on this world New Zealand, the audience just goes [00:07:00] nuts and the girls don't and can't manage to hear the music and I. I tell them that every time, well, used to tell them that every time. Um but it it was the support that was there in the audience was just throwing. Yeah, and it discontinues, right? Where does that support come from? Where do you Why do you think the audience is so behind it. I think it's something that's a It's doing something some good in the community. [00:07:30] Um, but it's it is fun. It all comes back to fun, doesn't it? So, um, it's Yeah, I think everybody's there to have a good time for me. It's It's been the comraderie that I've I've I've got I've met lots of people that I wouldn't have known before. Um loved working with Jonathan and and Kevin and, um the the guys that have been there [00:08:00] all through the thing. It's just like a reunion every time we get together. So, um, it's just it's just been a wonderful experience for me personally. Can you describe Jonathan's directing style? What's he like as a director? He knows what he wants. Um, he and he knows how to kill us. Um and yeah, he He's kind and and gentle with people. Sometimes it can be harsh, [00:08:30] but sometimes you have to be. So I've picked up from some of the other interviews that a lot of it is about participation. So it's open to anyone any gender sexuality, and it's about the participation. Yeah, I remember the very first one and there was a guy in there who was out of a bikie gang. IIII. I think I've got my story. Right. Um, I think he was in a bikie gang or had been in a bikie gang and somebody that he knew had died of aid. And he came [00:09:00] into the, um into the pageant, and it was you looked at him and you went OK, What are you doing here? But he actually was the nicest, nicest person and and was there for, you know, that support. Do you think there's a kind of a typical participant? Definitely not. Definitely not. No, definitely not. There's there's people from all sorts of walks and lives. Um, [00:09:30] yeah. No, definitely not with that broad cross section of of participants. What are the biggest issues for you as a choreographer? Um, just making sure that everybody is seen. That's really important. Um, that you don't hide somebody in the back row. You know, um, that they all get a chance to be front and centre, so to speak. So you've got to make sure that everybody gets, [00:10:00] um, good ear time, so to speak, so to speak. Um um, it's really important that all those people get a chance to be at the front. So at some stage during the routine. So, um, that is 11 thing that I'm really, um, quite in time. Um, and I do that in my other choreographic work. Um, because we're all in all there for the same reason. So, [00:10:30] um, uh, your skill set again? Um, age does put boundaries, so we can't have anybody doing high kicks and splits when, you know, in the fifties and sixties. You know, um, although some would try, um, So, yeah, there are limitations, but But we can work around that. You know, when I do a show, I say to my casts that we're a family, and and it has It has become very much so a family [00:11:00] sort of situation. Whereas we've got all the ones that have been out for 10 years, it is that, you know, it's a real family feeling to it. So for people that have been there for a length of time, can you see a progression in like, for instance, the confidence or the way they move or Oh, yeah, yeah, definitely. Definitely. Trevor, who you last interviewed? He keeps saying to me I'll never get this. I'll never get this in the first year. You know, he was a bit, you know, three left [00:11:30] feet. But, um, he got it in the end. And he's just gone on leaps and bounds every year, you know? And and just the difference in performance. You know, you can see from where he was 10 years ago to where he is now. And there's a couple of others that are like that, you know, that they know they know how to perform. Now, you know, they've they've learned performance from Jonathan and myself and all the other choreographers that have come passed through on the way. Are there any others [00:12:00] that you can think of that that have developed in in a similar way? Yeah. I think over the years it has developed because the I mean the act two girls definitely have have from the very first one the the calibre has just gone up and up and up and up every year. Um, and I think that's pushed people, too. Um, and there's people who have, you know, gone on to try and being an Act two girl who possibly 10 years ago. Wouldn't even think about it, you know? So it's been, [00:12:30] um, interesting to see that, too. So for you, when you're choreographing, what do you start with? What? What idea? Where does that come from? Um, Jonathan and I talk about he he'll give you a piece of music. Um, I'm a bit of an organic choreographer, so it sort of happens. Sort of just happens as we go. And, um, I don't I tend to plan where people are going, but not what the steps are. So, um, [00:13:00] and from time to time, I do. Um but it just sort of grows and and I grow it that way. So I have in my mind pictures, you know, um, of what I want to see. So, yeah, am I right in thinking that the last queen of the whole universe you there was something like about 40 or 50 people on stage? Yes. Yes. Yeah. What other people? Yeah, I was gonna say What? What is that? Like to choreograph 40 or 50 people. Well, [00:13:30] let me see the the first couple of years when it was, you know, 30 years or so, um was really good, because Nobody knew each other. But everybody knows each other now, so it's very noisy for a start. Um, they like to talk amongst themselves a lot. Um, so that can be frustrating. And it takes a little bit more time. Um, but, you know, people help each other. It's It's a real, you know? I go back to the family thing. It's a real [00:14:00] family. We're all there helping each other. So, um, you know, it works that way. So, um, if somebody's not getting a step, then if I can't help them or I'm busy off doing somebody else will be helping them. So it's It's It's great. You know, I'm really interested in the the production process of of the pageant. And I'm just wondering, can you describe for me what a typical rehearsal would be like? Um, to a rehearsal? [00:14:30] Uh, we would start with a warm up, um, just to get bodies moving. Um, Kevin usually does that. Um, and then they'll leave a hand over to me or the other choreographer, depending on what we're doing. Um, but from the start, we we build, like, as a I build sections and put that then sort of put it together. So you'll I'll give them a little few steps and then I'll add on and then I'll add on a little bit more, and then I'll go back [00:15:00] to the beginning and then I'll add a bit more. And so it sort of it. It starts at a very much, um, you know, it just grows it. It's as I say, organic. It actually grows. And and then then, by the end of a rehearsal, they might have finished a third or half of the routine and and they are surprised, you know it. It's quite a surprise that they realise that how far they've got, um and then have a cup of tea. [00:15:30] Um, and I need to lie down after that and then usually, um, Jonathan will take over, and we might do the head gear of nations putting that together or something. So we don't solely concentrate on, um, one whole aspect of the show. We we will move through all the different aspects and rehearsals, and then the point where you're getting from rehearsal into the theatre, Can you describe for me what moving from rehearsal space [00:16:00] to theatre is like, um it could be tricky, but it hasn't really been, Um, because you're working in two different spaces. So, um, your rehearsal room is a certain a certain space, of course. And then you go into the theatre, which can be you can have more space or maybe less space at times. But, um, that can be kind of tricky, but you need to go through and say, right, go to your first positions. [00:16:30] Um, check where you are, right? You're all happy there, Right? Let's go to your second position. So you do a positional rehearsal where they just go from position to position just to make sure that they know where they are, because it's a whole different looking at the wall than looking at a whole lot of seats, too. So, um, when you're in a hall for, say, six weeks, you actually know your places that you have to be. Well, hopefully, um, And then when you get into a theatre, it throws you off because you haven't got your usual, um, points [00:17:00] of focus. Um, so that that can be a problem. Um, and of course, lighting and adding lighting and sound is a whole different makes a whole different atmosphere. So what do you tell people when they don't have point of focus? How do you tell them where to be on the stage? Well, you I, I then pinpoint the rows, the seats And I say to them, Well, you know, there's no a there. So you're maybe [00:17:30] two seats in from the aisle or something like that. You know, just just in your head, go through and and work it out. And and people do. Most people do, and some people need a little bit of help, but, um, that can be an issue sometimes, and we centre is You always must know where centre is. So so, um, that there's always a central point in every routine. So you don't have, say, four people on that side and 16 on that side. You make it so it's eight and eight sort of things. So [00:18:00] I imagine moving into a theatre can also be quite stressful because you you're suddenly dealing with writing and sound and which, which is what Jonathan deals with. So, um, once we get into the theatre, he sort of moves on to that technical issue and you have to be patient, you have to be really patient. Because these we've been doing it for six weeks. Whereas the technical people have only just got the music and only got the life in, You know that they only know from what they have been told [00:18:30] that day, what's happening? So you have to be patient, um, and just go with the flyer. And don't get upset if we have to stand there for 20 minutes while they fix something which doesn't usually happen, but it can do. Um um, you just have to be Yeah, patience is very important as the choreographer. Do you have much say in terms of, uh, what people are wearing and kind of lighting design? No. Jonathan does all that. [00:19:00] So how would you describe your relationship with Jonathan? Um, we work really well together. I think, um, he tells me what he wants. I tell him when he's getting and we go from there, we have a We have a very funny relationship. I think, um, when we're doing when, When it's all been put together and well in in the past. And it's not gonna happen this year because I'm not doing choreography. But, um, you know, there's under under. [00:19:30] Underscores going on between us, you know, we have. We'll have a little jive at each other every now and then and have a bit of a laugh, but, um, yeah, No, we work very well together. And so this upcoming pageant, the 10th 1, you're going to be a contestant. Yes, but this is not the first time you've been a contestant. No, I've been a contestant twice before. And what is that? Like What? What? What's the difference between that and being the choreographer? Um, very different, Because you have to be one of the girls [00:20:00] as well. Um, but just say you're one of the team where you can't be when you cho you, you're leading which role do you prefer more? Um, people will say that I'm a control freak, so probably a choreography. Um, but no, I do enjoy being on stage. I love being on stage and and and And this is really different and fun. So what was it like the first time that you were actually a contestant with the queen of the whole universe? Can you remember [00:20:30] that? Scary as hell. Scary as hell, the whole different ball game. Um, when you're in a show, you're given a script and you're playing a character. And yes, we are playing characters, but there is a little bit of ourselves and and the person we portray and we have to make up that ability. It's very much like when I did ladies night the second ladies night two, they, um, at the end of the show, we used to do a monologue [00:21:00] the Gavin used to do a monologue and drag, And the second time the director said to me, Oh, you can write that. And I went, Oh, my God. You know, um, that's hard. Um, and it's put a little bit like that is what the whole thing is, your CRE creation. So as an Act two girl, you have to create your character, Your persona. Um, you put together your routine. Um, so it Yeah, it can be quite scary. [00:21:30] So who were you on the first time? First time I was with Australia. I'm Skippy Divo and I did a tribute to Peter Allen, who had obviously had died of AIDS. And, um so I put those two things together and did my tribute did a tribute to him, and then, um, was a bit weird because I used this song. I go to Rio, [00:22:00] which was a Peter Allen song, but it didn't really relate to Australia, so but it related to him, and I still call Australia. Home was a song that I used also, um, And then I went into absolutely everybody, which is a a bit of an anthem in Australia. So, um, I tried to tie that up together and in terms of garments and headdress. What? What? What did you have going on? Oh, I can't remember. I wore a skirt and a blouse for the first bit of the number, and then I stripped [00:22:30] it off and I had a corset underneath. Um, yeah. So it was a bit show girly, very show girl. How far out do you have to start thinking about kind of garments and headdress and music before the performance I like I've already put together my music for Miss Sweden, Which is what, Two months ago, I put it together, um, and with Miss Argentina, which was pretty [00:23:00] much a no brainer because a gay musical theatre did the whole of Eva thing. So, um, um, I put that together probably about 6 to 8 weeks before the show. It was Oh, no, it actually would have been longer than that. But, um, definitely. I knew what I was doing. I knew I had the whole concept in my head of what I was doing and how I was putting together. What do you find the most exciting part of of the queen of the whole universe [00:23:30] for you as a contestant? Um, there's nothing better than the curtain coming up at the very start of the show. And the roar of the crowd. It is just it's just mind blowing and yeah, that's that's probably the best part. And the camaraderie that you get from everybody. It's just that's really special on the day of the performance. Are you kind of tense? Are you nervous? Are you? Um, [00:24:00] yeah, I am a little bit nervous. Um, because you never know what can go wrong. Um, and I think nerves is a good thing, and And when you're performing, you know, if you don't have nerves, then it doesn't drive you to get better, but, um yeah, III. I am slightly nervous. Probably smoke more than I probably should. And can you talk to me about the the transformation [00:24:30] from you and everyday clothing to either Miss Argentina or Miss Australia or, uh, with Miss Argentina? I had a makeup artist come in and and help me. So, um, she did my makeup for me. I had I got the wig. So as soon as you start putting the makeup on the wig you become, you start to become another character. And then then, of course, the clothing all helps. So, um, it is, [00:25:00] Yeah, it's really important. Clothing is quite an important thing for your character and your character, right? And, um and I guess when you turn into a woman from a man and that's really important, but yeah, you just sort of And the shoes make you walk like a woman sometimes. Um, but, um, yeah. No, it's the whole transformation [00:25:30] over the couple of hours. It takes you to do your makeup and everything. It's, um, quite amazing. Do you find there's a moment where you mentally switch from yourself to this? This other person? Um not really. Not really I, I guess. Like any actor I when I go on stage that becomes I become the other person. And then when I come off stage, I'm back to being me. And although some actors, you know do get into themselves [00:26:00] and and and and become this whole person right from the start start, you know, I tend to sort of I can be me back to me very easily. So we get to show time. What are some highlights for you? What? What are some of the things that you can remember? Uh, just some of the two girls have been spectacular. Um, I remember the very first, the Russian Miss Rush, who won [00:26:30] very first year, just outstanding, you know, And, um and as we've gone through the years, they got even more and more extravagant and outstanding. You know, Miss France, last last time up in Auckland here, it was just incredible. The costumes just blew me away. Um, so, um, and you get quite a variety. So it's been there's lots of highlights. There's lots and lots of highlights. Um, [00:27:00] and it will be it's gonna be sad when it's the like, because this is the last one. It's gonna be very sad to say goodbye. Yes. What? What are your thoughts? Because we we are coming up to the last queen of the whole universe pageant. Um, it is It's sad, but we've done it for 10 years, and we should be very proud of what we've done And what? How much money we've raised over the 10 years. Um and, you know, I'm [00:27:30] very thankful for the people that I've met. Um, you know, I wouldn't have met Jonathan or Kevin or, um and, uh, lots of the other boys. You know, um and girls, um, and it's it's just been a really nice experience, and it would be sad to say goodbye, but 10 years probably is time to to move on. Um, let's go out of her bank. You know, go on a high, and it's really important. Um, too. So I think we [00:28:00] you know, we can be proud of what? What we've actually achieved.
This page features computer generated text of the source audio. It may contain errors or omissions, so always listen back to the original media to confirm content.
Tags