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NZ Herald
4 days ago
- Entertainment
- NZ Herald
Playwright Jess Sayer on Frankenstein's Mary Shelley and the creation of a monster
1816 was dubbed 'The Year Without a Summer' or 'Eighteen Hundred and Froze to Death' after the 1815 eruption of Mt Tambora in Indonesia triggered global cooling, crop failures and widespread famine. In Europe that year, 'summer' is dark and cold and awful. The Napoleonic wars have just devastated France and the young Mary Godwin – all heavy dresses and no rights – has just arrived in Geneva, Switzerland, with her lover (and future husband), Percy Bysshe Shelley. They spend the next three months frequenting the Villa Diodati with Mary's stepsister, Claire Clairmont, to visit the mad, bad and dangerous poet Lord George Byron and his personal physician, John Polidori. Olivia Tennet as Mary Shelley and Tom Clarke as the badly behaved great Romantic poet, Lord George Byron, in Auckland Theatre Company's "Mary: The Birth of Frankenstein". Photo / Andi Crown Because the weather is so awful – terrific thunderstorms and perpetual rain – this group of genius literati is trapped inside with nothing to do. They spend the dark days and nights imbibing, talking about the principles of life and galvanism (the 19th-century theory that electric currents could create life), reading poetry and scaring each other with ghost stories. Then Lord Byron sets a challenge: Let's all write a horror story of our own. Inspired, Mary comes up with the genesis of Frankenstein. Lord Byron and John Polidori focus on 'vampyres', leading to Polidori's The Vampyre – published in 1819 and considered to be the progenitor of the modern romantic vampire genre. By the time she attends this gathering, Mary has lived more than her years. Her mother (certified badass and proto-feminist Mary Wollstonecraft) died when Mary was around 11 days old, because we didn't know about germs and hand washing yet. So, Mary basically grew up thinking she'd killed her own mother. In a bold parenting move by dad (William Godwin, philosopher), she learned to spell and write her name using her mother's gravestone. Things only escalated from there – she fell in love with Shelley (a married poet) and got disowned because of it, ran away, lived abroad, was in dire financial straits and on the run from creditors, had a baby and lost a baby – all by the tender age of, let me repeat, 18. Having seen and felt so much of life, it's almost not surprising that when Lord Byron set his challenge, Mary Shelley responded with Frankenstein. It's a story about birth and creation; about rejection, being unmothered and unloved. A story that warns us about prejudice; warns us that we must create responsibly and take responsibility for those creations. Two hundred and nine years later, those warnings are as loud and urgent as ever. A 2012 edition of Mary Shelley's "Frankenstein", with Steampunk-inspired illustrations. Trying to condense all I've learned about Mary Shelley into a two-ish hour play has been a wild challenge, one I've baulked at more than once. How do you crush the life of a woman that brilliant into 104 pages? So Mary: The Birth of Frankenstein is a snapshot; a fragment. It reimagines that dark and stormy Geneva summer over one night, fusing fiction with a backbone of fact. It's about a young woman finding her voice in a time when women weren't supposed to have one. It's about creation, and how bloody and violent it can be. It's about rebellion and words and writers; about sexual politics and grief and motherhood. It's about a woman being furious and destructive, letting her rage and pain take physical form. Monsters are not born, Mary said. They are created. In this play, I've created a few ... I hope you come and see them let loose.
NZ Herald
16-07-2025
- Entertainment
- NZ Herald
Old words meet new truths in next-gen Romeo & Juliet
The cast of Auckland Theatre Company's Romeo and Juliet clad in costumes inspired by 1960s Italy. Photo / Supplied When Benjamin Kilby-Henson describes his version of Romeo and Juliet, it's tempting to wonder how much of Shakespeare's play is begin with, Romeo and Juliet aren't the only star-crossed lovers in the Auckland Theatre Company production he's directing this month: Romeo's friends Benvolio and Mercutio are also a couple.
The Spinoff
23-06-2025
- Entertainment
- The Spinoff
Review: Roger Hall's End of Summer Time knows it audience
Sam Brooks reviews the new play from New Zealand's most successful playwright. Roger Hall's new comedy End of Summer Time is all about Dickie Hart. The character, returning from two earlier plays (C'mon Black and You Gotta Be Joking!) is a retired farmer who moves from Wellington to an apartment block in Takapuna with his wife to be closer to his grandkids. He's very much set in his conservative ways, not especially interested in new ways of thinking, and definitely not new ways of living life. He is pitched as a loveable curmudgeon, but your mileage might vary on how loveable he is. The comedy on display in Auckland Theatre Company's production of End of Summer Time is as broad as the ASB Waterfront stage, which is to say that it's pretty authentic to the Hall's creation; these aren't dad jokes, these are granddad jokes. End of Summer Time is a reflection of a very specific lens on Auckland, in that Dickie Hart's idea of South Auckland probably means 'south of Smith and Caugheys' (RIP). Hart has other ideas you might associate with a man of his demographic; he has thoughts about the attractive woman who lives in his building, the idea of learning reo Māori (that joke got more winces than laughs), and the very basic concept of veganism. None of these thoughts are surprising, and this allows Hall a very broad canvas to paint on; we can feel the punchlines coming in our bodies before we even hear them. Andrew Grainger, an ATC mainstay and favourite, does great work. He has to carry a near two-hour show, and with a fairly minimal set, hold a spell over the audience. He also has to marry two competing, conflicting, sides of Dickie Hart. He is both showman and grump. He makes jokes but refuses to be made a joke of. It is a testament to Grainger's charm – which softens some of Hart's rougher takes on modern society – and craft – which brings a clownish physicality that doesn't necessarily exist on the page – that End of Summer Time works. He's an ideal match for Hall's comedy: Hall loads the gun, Grainger fires it. Throughout the show's first act, you can feel how surgically Hall has peppered the show with jokes – certain pockets laugh at the sports jokes, others at the difficulties of finding your way back to a car in the Civic Theatre carpark, others the reality of driving up Takapuna's Lake Road. Then comes the interval. While an interval is likely a logistical and economic reality, it does End of Summer Time a disservice. The first act cliffhanger – which I won't spoil here, but is signalled fairly early on in the show – drops as heavily as the literal curtain that it cues. It also completely breaks the spell that Grainger has on the audience; we're allowed to leave the space, talk amongst ourselves, and essentially, judge the production before it has even finished. This is especially jarring because of the huge tonal shift that occurs after the interval. While the first act plays as close to a stand-up set as a solo play possibly can, the second act is an interrogation of loneliness, particularly the brand of loneliness experienced by older males who are used to being communicated at rather than embarking on that communication themselves. Grainger communicates Dickie Hart's reality as movingly in this act as he did comedically in the first act, but we're placed at a distance from him. The interval also allows us to make a judgement of Dickie Hart's character before this particular arc is completed, which is especially rough given where he actually lands – a place of relative enlightenment, a place where he is open to the world and its many differences, and even grateful for it. The interval also opens up the audience to discuss the odd tension at the core of End of Summer Time. It's important to acknowledge in this era of dubious media literacy that any playwright, and any fiction writer really, does not necessarily agree with or endorse everything their characters do and say. It would be a mistake to immediately assume that Dickie Hart is a reflection of Roger Hall, or a mouthpiece to communicate Hall's ideas and opinions in the world. The man has 47 plays to his name, reflecting a kaleidoscope of politics, social and otherwise – if they were all soapboxes of his opinions, it's unlikely he would be as successful as he has been. The context of End of Summer Time also makes this delineation difficult. Hart and Hall are demographically similar characters on the surface; cis straight men of retirement age who live on the North Shore. While it would be a mistake to assume that Hart and Hall share politics and views on the world, it's one that I can imagine an audience making. The fact that End of Summer Time is a solo show makes this even trickier; any voice that might push back against Hart's occasional sexism, occasional racism, and general lack of tolerance for what he's unfamiliar with is filtered through Hart himself, usually in a condescending voice. On opening night, full of people attending for free, and largely belonging to a younger demographic than the show's target audience, I detected quite a few winces at some of Hart's comments. I wonder if those winces might be replaced by laughs in an audience of ticket-buyers, and whether they'll understand that Hall means for them to be the targets of the jokes, rather than have their worldview confirmed by them. When I profiled him earlier this month, Hall said that the new generation has a tendency to use the stage as a pulpit for their politics. 'Come along and you'll be better informed and your opinion will change on whatever issue it is. That's not necessarily what it's for – or entertaining!' Every piece of art contains the politics of its creator, however, intentionally or not. Even if the piece of art is meant solely for entertainment, it is the product of a subjective mind, with its own way of seeing the world. Hall's work, including End of Summer Time, is no different. His plays reflect an understanding of New Zealand that is specific, if not unique, to him. I truly believe that End of Summer Time is more of a critique of Dickie Hart than an endorsement, but I spent far too much of the show wondering if the method of delivery softens that critique to the point of dullness. But look, Hall knows his audience; he's been writing for them for half a century, and they've shown up in droves in turn. They have grown up with him, from the office workers of Glide Time, to the middle-aged friends of Social Climbers, to the retirees of Last Legs. Broadly speaking, these people have mortgages, not landlords. You might assume, then, that this audience doesn't want to be challenged. Perhaps they don't. End of Summer Time might be for an audience of Dickie Harts. They exist in our world, walking down our supermarket aisles, and voting in our elections. I can imagine them laughing at many of the jokes, even the ones that brush against the lines of racism, sexism, and general intolerance, if not outright disdain. Inside this show, conservative in both form and delivery, he actually puts up a challenge for that audience. If Dickie Hart can change, if he can look a little bit wider, and a little bit more kindly at the diverse city he lives in, can't they? It's a noble, if idealistic challenge, and I hope that those Dickie Harts can hear it underneath the laughter.
Scoop
22-06-2025
- Entertainment
- Scoop
Auckland Theatre Company Presents MARY: The Birth Of Frankenstein
From the minds of award-winning playwright Jess Sayer and director Oliver Driver, comes MARY: The Birth of Frankenstein - a blood-drenched phantasmagoria that reimagines the infamous stormy evening when Mary Shelley, the mother of gothic horror, conceived Frankenstein. Auckland Theatre Company proudly presents this world premiere, playing at the ASB Waterfront Theatre from 19 August – 7 September. You'd kill to get a ticket. In the summer of 1816, a real-life gathering took place at the Villa Diodati on the shores of Lake Geneva. The sun had vanished. In its place: lightning, laudanum, lust, and something darker still. It was here that literary history was made, and monsters were born. Before the night ends, some creatures will emerge. Some made. And one that will haunt the world for generations. " Can you not feel it? The power of possibility coursing through your veins? What if tonight we are not men, or women… but gods?" Forget polite conversations from the drawing room. MARY is visceral horror with its teeth bared - part psychological thriller, part hallucinatory fever dream. Think Black Swan wielding words like weapons, stitched with the ferocity of Tarantino, and the spiralling intellect of Stoppard in a blackout. This is not a historical literary tribute. It is an unrelenting plunge into the creative abyss. The notorious gathering of artistic rockstars is reimagined at their most wicked, burning bright and burning out. Director Oliver Driver adds, 'I want audiences to leave Googling these lunatics. I want them disturbed, exhilarated, and weirdly inspired.' At the centre is 18-year-old Mary (Olivia Tennet), consumed with conflict, her invincible perseverance overcomes all obstacles as she prepares to unleash something terrifying and claim it as her own. Surrounding her are the dangerous poet Lord Byron (Tom Clarke), wild and charming Percy Shelley (Dominic Ona-Ariki), volatile and jealous stepsister Claire (Timmie Cameron), and neurotic physician John Polidori (Arlo Green). When Byron dares them to write a ghost story, what follows is a descent into seduction, rivalry, and madness. Mary walks out with a legend, but at what cost? Helmed by the same visionary director that brought audiences to the sell-out season of Amadeus in 2017, the production is packed with the theatrical firepower of Lighting Designer Jo Kilgour, Composer & Sound Designer Leon Radojkovic, and Movement Coach Ross McCormack. Adding to that power are spectacular costumes by acclaimed film designer Sarah Voon, making her thrilling theatrical debut, and Set Design by John Verryt. A fiendishly clever script by Jess Sayer brings a modern flavour to historical icons so audiences can 'engage with how cuttingly contemporary these artists were in their time.' Every element is meticulously crafted to conjure a stage alive with illusion, atmosphere, and the thrill of pure stagecraft. MARY is a warning wrapped in spectacle. In an age where genetic engineering, artificial intelligence and unchecked ambition dominate headlines, this story feels more urgent than ever. It explores the fierce demands of creation - the sacrifices, the fury, and the power it takes to bring something new into the world. It's a tale of rebellion, of breaking societal constraints, of ambition and the need to be seen, and of the terrifying clarity that sometimes comes when you're pushed beyond your limits. With the highly anticipated 2025 release of Guillermo del Toro's Frankenstein on Netflix, now is the time to return to where it all began.
Scoop
17-06-2025
- Entertainment
- Scoop
Lineup Announced For Mānuka Phuel Synthony Origins
818. - Latest News [Page 1] Happening for one night only on Saturday 26 July at Spark Arena, SYNTHONY Origins is a return to the roots — a full throttle homage to underground club culture, warehouse raves, and the era that shaped it all. More >> Rhythm And Vines Announce Supergrans Tairāwhiti Trust As Official Charity Partner For 2025 And Beyond Wednesday, 11 June 2025, 9:34 am | 818. SuperGrans Tairāwhiti Trust ( plays a vital role in the community by enabling whānau with skills and knowledge to take greater control of their own lives. More >> The Others Way Festival First Line-Up Announcement. And A Huge Plot Twist - We're Closing Down K Road Saturday, 31 May 2025, 7:06 pm | 818. We're shutting down the street, and throwing K Road the biggest party you've ever seen, with the wildest line-up in the festival's history. You don't wanna miss it. More >> Phoebe Rings Joins Japanese Breakfast As Support For The Auckland Winter Series Saturday, 31 May 2025, 7:02 pm | 818. Made up of lead singer/synthesist Crystal Choi, drummer Alex Freer, guitar/synthesist Simeon Kavanagh-Vincent, and bassist Benjamin Locke, they join U.S. band Japanese Breakfast who will perform for the first time ever in Aotearoa next month as part ... More >> Trailer Released For Kiwi Feature Film Pike River Ahead Of Nationwide Cinema Release On October 30 Wednesday, 28 May 2025, 8:43 am | 818. Directed by acclaimed filmmaker Rob Sarkies (Out of the Blue, Scarfies), Pike River tells the true story of Anna Osborne and Sonya Rockhouse, two women who lost their loved ones in the disaster and became leading voices in the families' long fight More >> Full Cast Announced For William Shakespeare's Romeo & Juliet By Auckland Theatre Company Tuesday, 20 May 2025, 6:54 pm | 818. Making their Auckland Theatre Company debut, Theo Dāvid (Shortland Street) and Phoebe McKellar (One Lane Bridge) will star as the ill-fated lovers, Romeo and Juliet. More >> Naked Samoans Add One-Off Show At Q Theatre Sunday, 18 May 2025, 2:42 pm | 818. Last seen on stage together in 2018, their much-anticipated return reunites best mates Oscar Kightley, David Fane, Mario Gaoa, Shimpal Lelisi, Robbie Magasiva and Iaheto Ah Hi in a dark comedy of denial, miracles and community service. More >> The Royal Edinburgh Military Tattoo Set To Bring Historic 75th Anniversary Milestone Show To Auckland In 2026 Friday, 16 May 2025, 7:50 am | 818. Led by the magnificent Massed Pipes and Drums featuring UK Military musicians, the Show will feature over 30 bands and acts from around the world including fan-favourite Top Secret Drum Corps and performers from the New Zealand Defence Force amongst many ... More >> Kiwi Feature Film Pike River To Receive World Premiere At Sydney Film Festival Sunday, 11 May 2025, 7:47 pm | 818. Pike River is the powerful true story of Anna Osborne (Melanie Lynskey) and Sonya Rockhouse (Robyn Malcolm), and their fight for justice alongside other Pike families following one of the worst mining disasters in Aotearoa New Zealand's history. More >> Artistic Underground Festival F.O.L.A [AKL] Returns To Tāmaki Makaurau Friday, 2 May 2025, 8:15 am | 818. Back in full force for the first time since 2023, F.O.L.A. [AKL] is a haven for the misfits, punks & menaces of the art world & is full of the kind of art that starts movements and shapes the future. It is your gateway drug to the wildest, most exciting ... More >> Beyond The Beat Flips The Script On Kiwi Music With Bold New Series Wednesday, 30 April 2025, 9:28 am | 818. Premiering this Thursday 1st May, and continuing with weekly drops throughout New Zealand Music Month - May, the series offers an electrifying glimpse into the future sound of Aotearoa. More >> A Breathtaking Collision Of Symphonic Orchestra Meets Hard Rock And Heavy Metal: Mānuka Phuel FULL METAL ORCHESTRA Saturday, 26 April 2025, 8:33 pm | 818. Phil Rudd (AC/DC), Jon Toogood (Shihad), Jennie Skulander (Devil Skin) & More Announced To Join The Line-up For Mānuka Phuel Full Metal Orchestra. From the teams behind SYNTHONY and COME TOGETHER – Brace yourself for the ultimate collision of metal ... More >> Get Ready To Fall In Love With The Auckland Live Cabaret Festival This June Wednesday, 16 April 2025, 7:09 pm | 818. Established in 2014, the Auckland Live Cabaret Season has grown in popularity each year, this year being renamed the Auckland Live Cabaret Festival, recognising its significant impact and place on the arts and cultural calendar. More >> Mall Grab Joins Auckland Winter Series Along With Shows In Wellington And Christchurch This June Monday, 31 March 2025, 8:10 pm | 818. Second Line Up Announcement Of The Auckland Winter Series More >> The Lost Dogs' Disco Set To Light Up Aotea Square This April Thursday, 20 March 2025, 9:56 pm | 818. The Lost Dogs' Disco is no ordinary exhibit. With 16 larger-than-life dogs standing (or lounging) tall—some reaching an impressive 5.5 meters—visitors will be greeted by these colourful, illuminated canine characters. More >> Japanese Breakfast Announces First Ever Aotearoa Show Thursday, 13 March 2025, 9:14 pm | 818. For Melancholy Brunettes follows a transformative period in Zauner's life during which her 2x GRAMMY nominated breakthrough album Jubilee and her bestselling memoir Crying In H Mart catapulted her into the cultural mainstream, delivering on her deepest ... More >> Jude Kelly Announces Debut EP 'The Seven Spirits Of Her' Out May 9 Friday, 7 March 2025, 8:36 am | 818. Imbued with her signature narrative-driven lyricism, each song from her upcoming project personifies a different character within herself, threaded together like chapters of a memoir. More >> Wellington Animation Film Festival To Return This March Wednesday, 5 March 2025, 6:49 pm | 818. Five highly acclaimed films will receive their New Zealand premiere: Living Large (Winner of the Section ContreChamps at Annecy 2024), Colors Within (Japan) The Storm (China) Exorcism Chronicles: The Beginning (South Korea) and Rock Bottom (Spain and ... More >> Trailer Unveiled For 'Marlon Williams: Ngā Ao E Rua - Two Worlds' Sunday, 16 February 2025, 11:03 pm | 818. Marlon Williams: Ngā Ao E Rua - Two Worlds gives audiences a behind the scenes glimpse at Williams' most ambitious project to date, writing an album in te reo Māori, and the personal challenges he faces along the way. More >>
