Christchurch Actress’s Colourful Career (Press, 9 October 1987)

Elizabeth Moody, a prominent New Zealand actress known for having roles specifically created for her by leading playwrights, reflects on her vibrant career in an extended feature on "Kaleidoscope" airing on 9 October 1987. Since her early days in kindergarten, where she portrayed the bad fairy, Moody has taken on a variety of roles in Christchurch and across the country. Notably, this year playwright Roger Hall crafted the character of Agnes for her in his latest production, "The Share Club." Moody's connection with the theatre community runs deep, as Bruce Mason wrote a role specifically for her in his final play, “Blood of the Lamb,” before his death in 1980. She played Henry Higginson, the male partner in a lesbian relationship, in a play commissioned for the opening of a studio at the Court Theatre in Christchurch. The theatre holds special significance for her as her family contributed significantly to its founding 15 years earlier. Among her memorable performances at the Court Theatre is Lady Bracknell in "The Importance of Being Earnest." Currently, she is portraying Martha in Edward Albee's "Who's Afraid of Virginia Woolf?", a role previously inhabited by Elizabeth Taylor in the film adaptation. Elric Hooper, the artistic director at the Court Theatre, commends Moody for her versatility and outstanding comedic talent. She gained national recognition through her role in "Road Show," a theatre tour that lasted six months in 1983. Moody has also showcased her personality and sharp humour on television, particularly as a panellist on the shows "Beauty and the Beast" and "Antiques for Love or Money," where she provided a distinctive, humorous perspective. In her latest television drama "The Fire-Raiser," Moody plays a powerful character, Mrs Marwick, and in her discussion on "Kaleidoscope," she shares her thoughts on the local theatre scene. Moody expresses worries about the direction of New Zealand theatre, particularly regarding the divisive influence of militant feminism within the community. Through her reflections, she highlights both her commitment to her craft and the challenges faced by the theatre industry in New Zealand.

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