Recap of our 2025 AGM

By Meg Andrews on 22 August 2025

James Bell and Peter Burn

Our 2025 AGM was a warm reminder of why our theatre means so much to the North Shore community. We farewelled Peter Burn after many years as Chair of the Board, and celebrated new Life Members, Tessa Duder CNZM OBE, Frank Graveson, and Jilly Thomas.

New life members, Frank Graveson and Tessa Duder CNZM OBE

Business Manager, James Bell, painted a vivid picture of the year gone by, celebrating a season of spectacular, sold-out shows, moments of magic on stage, and the tireless collective achievements of his team. His reflections reminded us not only of the artistry that filled our theatre but also of the passion, dedication, and teamwork that make every success possible.

New life member, Jilly Thomas

Our wonderful patrons Tina Cross ONZM and Sir Roger Hall KNZM QSO were in attendance, and we were treated to a fascinating talk and Q+A with Sir Roger Hall who was full of stories, creative wisdom, and humour, which left everyone inspired for the year ahead!

Peter Burn (middle) with PumpHouse Patrons, Sir Roger Hall KNZM QSO and Tina Cross ONZM

The Curtain has Fallen on a Theatre Legend

By Meg Andrews on 10 July 2025
With heartfelt gratitude, we bid farewell to Tim Bray, QSM, a beloved member of our PumpHouse whānau and a true giant of the theatre community in Aotearoa.

Tim Bray, QSM

For over 30 years, Tim and Tim Bray Theatre Company partnered with The PumpHouse Theatre, weaving theatrical magic into the lives of hundreds of thousands of young people, introducing tamariki to the wonder of live theatre and sparking a lifelong love for storytelling.
Through his incredible mahi and dedication, he not only filled our stage with joy, colour, and imagination but also provided opportunities for thousands of actors, technicians, and creatives behind the scenes to thrive, grow, and shine.
Arohanui, Tim. Your passion, creativity, and kindness have left an indelible mark on our hearts and our stage. Your magic and mahi will never be forgotten. Your legacy lives on in every child’s laughter, every curtain call, and every moment of theatre magic still to come.
Moe mai rā, e hoa. Haere atu rā. 🕊️

Tigilau Ness Takes Centre Stage at The PumpHouse

By Meg Andrews on 13 May 2025

The PumpHouse Theatre is thrilled to welcome Tigilau Ness to our stage on Sunday 8 June, performing alongside the incredible Jubilation Choir. Tigilau is an Aotearoa NZ-born Niuean musician and activist with over 40 years of writing and playing music and fighting against discrimination, racism, and social injustice. He was an active protester against the infamous 1970s dawn raids in Auckland, and protested at Bastion Point and against apartheid during the 1981 Springbok tour.

He is a highly respected and influential figure in the world of music in Aotearoa and is considered the godfather/matua of Pacific reggae. His band Unity Pacific have been writing and playing together for more than 20 years and released a 3rd album in 2016 Blackbirder Dread which was awarded Best Roots Album at the 2016 Aotearoa NZ Music Awards.

He also talks to school and community groups about his experiences raising awareness of injustice, discrimination and inequality and promoting peace, understanding and individual rights.

Enjoy reading more about Tigilau, in his own words below! And don’t forget to secure your tickets to see him in collaboration with Jubilation Choir at The PumpHouse Theatre this June – book now.

Fakalofa lahi atu, Kia Ora, Greetings.

My name is Tigilau Ness, I am a first generation Aotearoa NZ born Pacific Islander of Niue extract. I was born in May 1955 at Saint Helen’s Hospital, corner of Howe Street and Pitt Street, Auckland CBD right opposite the Auckland Central Fire Station.

Today I am a semi-retired father of 3 and grandfather of 9. My eldest Son is the Aotearoa NZ Pacific Hip-Hop Rapp Icon Che Fu. I do Reggae, he does Hip-Hop and Rapp. The two go together, like Father and Son, we say. I sing with The Auckland Jubilation Choir, he sings with the Auckland Philharmonic Orchestra.

I have over forty years experience in the Aotearoa NZ Music industry. In 2009 I was awarded The Lifetime Achievement Award at the Pacific Music Awards in Auckland for my contribution to celebrating Pacific Reggae Music in Aotearoa NZ . My first ever Reggae Album release was in 2003 titled “From Street to Sky” which contains the iconic track “Though We Are”. This song was recently re-released in Te Reo.

My last Album release was in 2016 titled “BlackBirder Dread” which won a Tui Award for Best Roots Album at the Aotearoa NZ Music Awards the same year. A selection of songs from these albums are what I am performing in a musical collaboration with the amazing wonderfully gifted Jubilation Choir of Auckland. Come along and dine in a musical night of truly uplifting once in a lifetime, food for the soul experience.

A Glimpse Inside Our Enchanted Amphitheatre

By Meg Andrews on 6 May 2025

Aerial view of The PumpHouse Theatre and The PumpHouse Amphitheatre

Nestled perfectly in the heart of Killarney Park is our picturesque Outdoor Amphitheatre. If you’ve never been, you’re in for a treat. And if you have been… you know just how unforgettable it is.

The PumpHouse Theatre’s annual community Christmas Carols

Built in 1995, with its very first show being the hilarious musical Nunsense, the amphitheatre has become a beloved stage under the stars. Since then, it’s seen it all — from dramatic Shakespearean duels to the bright beats of K-pop, from moving Matariki performances to joyful community Christmas carols.

The first ever show to be performed in the Amphitheatre – Nunsense by Dan Goggin

With seating for approximately 200 patrons on tiered bench seats, the space offers an intimate connection between performer and audience. Two charming stage balconies frame the action, adding a richness to every production. And the view? As the sun sets over Lake Pupuke and the stars twinkle into view, it’s pure, delicious theatre magic.

View of the Amphitheatre from the tech booth

Shoreside Theatre’s annual Summer Shakespeare has been a highlight here every year since 1996, with everything from Macbeth to Much Ado gracing the stage. In recent years, groups like The Barden Party have brought a new flair to the classics.

Shoreside Theatre’s annual Summer Shakespeare

But it’s not just Shakespeare! Our stage has welcomed bold new work like Mark Wilson’s ‘.co.nz’ for Matariki, where brave audiences donned raincoats and layers of clothing in the middle of winter to enjoy some spectacular outdoor theatre. The unpredictability of outdoor shows — a sudden breeze or light shower of rain, a chorus of ducks from the lake, or even a cheeky possum making a surprise cameo to steal the spotlight — only adds to the thrill.

Mark Wilson’s Matariki show, .co.nz, performed in the Outdoor Amphitheatre in the middle of Winter!

We’ve had school holiday shows, cultural festivals, live bands, dance showcases, and markets take over the space. And each time, the Amphitheatre transforms!

View of part of the stage, and the stage left balcony

So next time you plan a night out, don’t forget to check if we have anything on outdoors. Grab a blanket, a cosy cushion, and pack a thermos. Experience the enchantment for yourself. Because once you’ve watched a play with the stars above and Pupukemoana in the background… indoor theatres might never feel quite the same again!

View from the stage right balcony

And, if you’d like to add to the magic and bring a show to our Amphitheatre, you are in luck! Expressions of Interest for 2026 are live now – click here to find out more.

A proposed plan of the Amphitheatre from The PumpHouse archives

Aerial view of The PumpHouse Theatre and The PumpHouse Amphitheatre

The Amphitheatre with Lake Pupuke in the background

Meet Tash Lay: Our New Venue Hire Coordinator!

By Meg Andrews on 28 February 2025

The PumpHouse Theatre is stoked to welcome the newest member of our team, Tash Lay! As our new Venue Hire Coordinator, she’s the mastermind behind bookings—helping artists, theatre-makers, and event organisers bring their creative visions to life on our stage.

But who is Tash beyond the emails and scheduling hustle? We had a kōrero with her to learn more—have a read and get to know her!

Tell us a bit about you! You as a person, your background in the arts, and what brought you to The PumpHouse Theatre?

Tash: I probably have a slightly less-than-conventional introduction to the world of live performance – my parents aren’t theatregoers at all so my introduction to theatre was through bootleg recordings of musicals on YouTube. I come from a stage management background but as I started working in arts administration, I found that it fit my skillset better and it’s what I’ve been doing since. I initially discovered The PumpHouse through a friend of mine who’s heavily involved and I’ve kind of just been hovering around ever since! I’m also a theatremaker, and I am currently working on a new show that takes place almost entirely in the dark.

What excites you most about being the Venue Hire Coordinator?

Tash: I love making things happen and helping people make things happen – I’m also a big nerd and find building systems and improving processes really satisfying.

What’s your favourite way to spend a day off?

Tash: A big lie-in is non-negotiable, and I need an activity that takes me outside the house or I go a bit loopy. It’s usually catching up with a friend from outside the theatre world – I try to avoid talking shop on a day off – and a movie at my favourite local repertory cinema, the Hollywood in Avondale.

Do you have a theatre show or performance that’s stuck with you?

Tash: I got to see the play NASSIM by Nassim Soleimanpour (of White Rabbit Red Rabbit fame) at the Edinburgh Fringe in 2023 and it’s really stuck with me since. The play features a different actor every night who doesn’t get to see the script until the performance itself, and I find that sort of inventiveness in form so exciting. It’s elegant yet unpretentious, and at its core, it’s a heartfelt letter to his mother, who has never seen and will never be able to see any of his plays performed.

Play reading of Tash’s play How To Be A Great White Man, which was shortlisted for Playmarket’s Playwrights b4 25 award in 2020. Part of Proudly Asian Theatre’s Fresh Off The Page programme, photography by John Rata

Essential workday fuel: coffee, tea, or something else entirely?

Tash: I’m not fussy but ideally a big yuzu & blackcurrant sugar-free V. I’m not sponsored by them, I swear.

What is something about you that people may be surprised to know?

Tash: I went to law school for a hot minute before I decided to run away with the theatre! I also did a bit of figure skating as a tween and won a couple medals at a competition.

What’s your go-to song for getting pumped up?

Tash: 212 by Azealia Banks.

If you had a superpower that made your job easier, what would it be?

Tash: Mind control. Too easy!

What’s your earliest theatre memory?

Tash: I must have seen another show before it, but the first show I have a vivid memory of seeing was Proudly Asian Theatre’s production of Lantern by Renee Liang at the Musgrove Studio, which was a pivotal moment for me as an Asian creative living in Aotearoa. I remember I’d accidentally booked tickets for the matinee but showed up for the evening show haha. It was a sold-out show but they kindly let me sit in the house seats instead.

Still from Tash’s short film ‘lipstick’ which was commissioned by Exeter Phoenix arts centre (UK).

In the movie about your life, who plays you?

Tash: Honestly, I’d probably just use it as an excuse to hang out with someone I’ve always wanted to meet – so obviously, I’d pick Paul Mescal.

What do you love about theatre?

Tash: There’s something magical and deeply human in gathering together to share stories, in performer and audience experiencing the work together in real-time, night after night, that you just can’t replicate with recorded media.

Hero image from Tash’s play MANIAC (on the Dancefloor) which was shortlisted for Playmarket’s Playwrights b4 25 in 2018.

A Rising Star Shines Brighter in Aotearoa

By Meg Andrews on 17 February 2025

Written by Andrew Maher of Brown & Maher Productions

Amy Cotter, a talented young actor and graduate of the highly regarded Royal Central School of Speech and Drama in London, has exchanged the promise of the British stage and film scene for the less hectic pace of New Zealand. Drawn back by the strong sense of community found in all theatre and film production in New Zealand, Amy is feeling highly satisfied with her choice.

Amy Cotter

Her recent leading role in Old Love at the Howick Little Theatre has already showcased her impressive range and talent. Now, Amy is set to challenge audiences once again as she steps into the controversial drama Oleanna by David Mamet, portraying Carol, the student. Opposite her is one of Auckland’s leading actors, Stephen Butterworth. The play is directed by award winning director Dr. Nick Brown.

Stephen Butterworth

Amy’s decision to embrace the vibrant New Zealand arts scene reflects her passion for meaningful, close-knit collaborations and her desire for a balanced lifestyle. Her presence is a testament to the magnetic pull of New Zealand’s theatrical community, renowned for its supportive and creative environment.

As Amy continues to carve out her niche, the local theatre community eagerly anticipates her dynamic performances and heartfelt contributions. For Amy, every stage and screen venture in New Zealand is an opportunity to deepen her craft and connect with audiences on a profound level.

Director Nick Brown

In a world where many chase the glitz and glamour of high-profile cities, Amy Cotter stands as a shining example of the fulfilling artistic journey that can be found in the embrace of a passionate community, far from the chaos.

Book now to see Amy in Oleanna, on stage at The PumpHouse Theatre from 10-15 March 2025.

Shakespeare Reimagined: Behind the Scenes with Director Mags Delaney-Moffatt

By Meg Andrews on 11 February 2025
This year’s Auckland Shakespeare in the Park celebrates the artistry of wāhine toa, as two visionary directors bring their distinct flair to the Bard’s timeless works.
Mags Delaney-Moffatt breathes fresh life into The Taming of the Shrew with an all-female-identifying cast, exploring the comedy’s tangled web of love, power, and identity through a modern, gender-flipped lens. Meanwhile, Cath Boniface reimagines Richard III as a gritty post-war gang drama, infusing Shakespeare’s tale of ambition and betrayal with the intensity of 1940s London’s underworld. We were lucky to interview Mags to find out more about her creative processes, challenges, and the rich reinterpretation she has crafted for this iconic annual season of Shakespeare!

Tell us a bit about you, your Shakespeare experience and/or love of Shakespeare and how you came to be a director.

Mags: My love of Shakespeare comes from my high school days where I was lucky enough to have a very inspiring English teacher Miss Nixon whose approach to the Bards work was to make it come alive from the page rather than just reading around the room which I know has been lots of people’s experience.

I took that approach into my own teaching career and when I lived in Warwickshire before I came out to NZ my school regularly took part in Shakespeare Festivals in Stratford including performing in The Dell (on the banks of the Avon).

I was also close enough to be a regular visitor to The Swan Theatre in Stratford and Shakespeare’s Globe in London.

When I came out to NZ my husband’s cousin was performing in Richard 3 and got me involved backstage! I have stage-managed a good few Shakespeare in the Parks since 2011, but I really wanted to try directing adults having worked so much with young people.

In 2018 I directed The Comedy of Errors which was well received and now I am back again after a couple more stage-managing stints with The Taming of the Shrew.

I am a self-confessed Shakespeare-aholic – anything Shakespeare I’m there!

Your adaptation offers a bold, reimagined take on Shakespeare’s work. What inspired your unique visions for The Taming of the Shrew, and how did those ideas shape your direction?

Mags: The Taming of the Shrew is one of Shakespeare’s early plays reflecting the attitudes of the day ( and even now). I’ve always thought Kate was hard done by – so I decided to take the all-female cast approach (turning the theatre rules of Shakespeare’s times on its head) so rather than focus on Kate being made to succumb to male domination turn it into an actual love story with much more focus on the comedy aspects of the suitors and servants and the silly attitudes of men!

Shakespeare’s texts are centuries old but remain highly relevant today. How did you navigate the play to connect with contemporary audiences?

Mags: I hope that my version of the play will provide comic moments to be enjoyed by all – even those not really ‘into Shakespeare’ – but will also be appreciated by those who know the story recognising that it’s really been hard for a woman to make it in a man’s world for centuries but now we are breaking through the glass ceiling more often – and just like Kate get what she wants rather than what she was ‘allowed to have’.

As a director, what has been the most challenging scene or moment to bring to life in your productions?

Mags: The most challenging part for me in all honesty has been having all the cast at rehearsal the same time!
When we are able to do complete scenes with everyone who is in it, there are some great moments which I hope the audiences will be entertained by.

Can you share an example of a standout moment with your cast or creative team that shaped your vision or brought new depth to the performance?

Mags: Whilst I am loathed to single anyone out, I am secretly patting myself on the back with the casting of Tranio. The actor completely gets what performing Shakespeare is about – that it’s not just the words on the page but what you do with them. This has helped others to relax a little into their roles and play with their characters which is satisfying as a director. You can share your vision but it’s the actors job to make it come alive.

What do you hope audiences take away from The Taming of the Shrew?

Mags: I hope audiences will leave The Taming of the Shrew having enjoyed a laugh and appreciating that in the battle of the sexes there is no one winner – we are all humans after all!

The Auckland Shakespeare in the Park season runs from 18th January – 15th February. Click here to find out more or book to see what these two incredible directors have created.

A Final Curtain Call: Honouring the Legacy of Tim Bray Theatre Company

By Meg Andrews on 18 December 2024

Tim Bray, QSM

It is with heartfelt gratitude and deep appreciation that we bid farewell to Tim Bray and the incredible Tim Bray Theatre Company (TBTC) as they close their curtains for the final time. Arohanui ki a Tim Bray and the entire TBTC whānau. You have brought an immeasurable amount of joy, talent, and entertainment to the community for decades, and we are so honoured to have been your home and a part of your journey.

The Great White Man-Eating Shark and Other Stories, 2018. Photo: David Rowland / One-Image.com

Tim Bray Theatre Company has been an integral part of The PumpHouse Theatre’s history. Established in 1991, TBTC began performing at The PumpHouse in 2004 (with a bonus show in 1991!) Since then, they have delivered an astounding number of shows on our stage, sparking laughter, igniting imaginations, and bringing stories to life for thousands of tamariki and their whānau. Through their dedication to creating magical, heartfelt theatre, Tim Bray Theatre Company has shaped countless childhood memories and inspired generations of theatre lovers.

The Whale Rider, 2014

From their beautifully staged adaptations of classic tales to their original Aotearoa works, TBTC has set the standard for excellence in children’s theatre. It’s hard to imagine The PumpHouse without the joyful sounds of young audiences responding with delight to the enchanting world that TBTC creates. Their productions have not just entertained but educated and empowered, fostering a love for the arts and cultivating a lifelong appreciation for storytelling.

The Santa Claus Show, 2017. Photo: David Rowland / One-Image.com

Beyond the stage, the warmth and generosity of Tim Bray and his team have touched everyone who’s worked with them. Whether collaborating with local schools, nurturing budding talent, or supporting accessibility initiatives such as their sensory-friendly performances, TBTC has always gone above and beyond to ensure theatre is for everyone.

We`re Going On a Bear Hunt, 2019. Photo: David Rowland / One-Image.com

The PumpHouse Theatre has been privileged to be the home of Tim Bray Theatre Company for 20 wonderful years. Together, we’ve celebrated milestones, overcome challenges, and created unforgettable memories. The sparkle that Tim Bray Theatre Company brings to The PumpHouse is irreplaceable, and their legacy will forever be a cherished part of our story.

Hairy Maclary, 2012

To Tim Bray and the TBTC whānau, thank you for your immense contribution to our community and for trusting us to be part of your incredible journey. While we will dearly miss seeing your artistry grace our stage, we hold you in our hearts and send our deepest aroha as you close this chapter. Your magic and impact will never be forgotten.

The Santa Claus Show, 2006

Love always and forever, The PumpHouse Theatre Whānau x

The impressive Tim Bray Theatre Company stats (and this is just for The PumpHouse Theatre – they’ve achieved even more across their other venues!):

  • Total PumpHouse tickets sold: 337,302
  • Total productions: 76

 

 

Production History of Tim Bray Theatre Company 

c/- The Operating Theatre Trust 

1991 – 2024 

113 professional theatre productions 

109 original New Zealand scripts or NZ adaptations 

100 productions for children – productions for children have a *

*113 / 2024 The Santa Claus Show ‘24 

By Tim Bray, songs by Christine White 

Director: Linda McFetridge 

Set design: Rachael Walker 

Venue: PumpHouse Theatre 

 

*112 / 2024 Mrs Wishy-Washy 

By Joy Cowley, adapted by Tim Bray, songs by Christine White 

Director: Linda McFetridge 

Set design: Rachael Walker 

Venues: PumpHouse Theatre, Due Drop Events Centre 

 

*111 / 2024 Five Go on an Adventure 

By Tim Bray, based on the stories by Enid Blyton 

Director: Tim Bray 

Set designers: Rachael Walker and Grant Reynolds 

Venue: PumpHouse Theatre 

 

*110 / 2024 The Great Piratical Rumbustification 

by Tim Bray, songs by Christine White 

Director: Tim Bray 

Designer: Rachael Walker 

Venues: PumpHouse Theatre, Due Drop Events Centre, Māngere Arts Centre 

 

*109 / 2023 The Santa Claus Show ‘23 

by Tim Bray, songs by Christine White, incidental music by Marshall Smith 

Director: Tim Bray 

Designer: Rachael Walker 

Venue: PumpHouse Theatre 

 

*108 / 2023 The Twits 

By Roald Dahl, adapted by Tim Bray, songs by Marshall Smith 

Director: Tim Bray 

Designer: Rachael Walker 

Venues: PumpHouse Theatre, Due Drop Events Centre, Māngere Arts Centre, Te Oro 

 

*107 / 2023 The Magic Faraway Tree 

By Enid Blyton, adapted by Tim Bray, incidental music by Marshall Smith 

Director: Tim Bray 

Designer: Rachael Walker 

Venues: PumpHouse Theatre 

 

*106 / 2023 The Lighthouse Keeper’s Lunch  

By Ronda & David Armitage, adapted by Tim Bray, song by Christine White, incidental music by Marshall Smith 

Director: Tim Bray 

Designer: Rachael Walker 

Venues: PumpHouse Theatre, Due Drop Events Centre, Māngere Arts Centre 

 

*105 / 2022 The Santa Claus Show ‘22 

by Tim Bray, songs by Christine White, incidental music by Marshall Smith 

Director: Tim Bray 

Designer: Rachael Walker 

Venue: PumpHouse Theatre 

 

*104 / 2022 The Whale Rider 

by Witi Ihimaera, adapted by Tim Bray 

Director: Tim Bray 

Designer: Rachael Walker 

Venues: PumpHouse Theatre, Due Drop Events Centre, Te Oro, Glen Eden Playhouse, Māngere Arts Centre 

 

*103 / 2022 Badjelly the Witch 

by Spike Milligan, adapted by Tim Bray, incidental music by Marshall Smith 

Director: Tim Bray 

Designer: Rachael Walker 

Venues: The PumpHouse Theatre, Māngere Arts Centre 

 

*102 / 2021 Vivaldi’s The Four Seasons 

by Tim Bray, Music by Antonio Vivaldi 

Designer: Rachael Walker 

Venue: The PumpHouse Theatre 

Plus excerpts at APO’s Kiwi Kapers concert – Kiri te Kanawa Theatre, Aotea Centre 

 

*101/ 2021 A Lion in the Meadow and Other Stories 

by Margaret Mahy, adapted by Tim Bray 

songs by Christine White 

Director: Tim Bray 

Designer: Rachael Walker 

Venues: The PumpHouse Theatre, Te Oro, Māngere Arts Centre, Glen Eden Playhouse, Vodafone Events Centre 

 

*100 / 2020 Greedy Cat (Auckland tour) 

by Joy Cowley, adapted by Tim Bray 

Designer: Rachael Walker 

Venues: PumpHouse Theatre, Māngere Arts Centre, Vodafone Events Centre 

 

*99 / 2019 The Santa Claus Show ‘19 

by Tim Bray, songs by Christine White 

Director: Tim Bray 

Designer: Rachael Walker 

Venue: PumpHouse Theatre 

 

*98 / 2019 The Little Yellow Digger  

by Betty and Alan Gilderdale, adapted by Tim Bray 

Director: Tim Bray 

Designer: Rachael Walker  

Venue: PumpHouse Theatre 

 

*97 / 2019 We’re Going on a Bear Hunt 

by Michael Rosen, illustrated by Helen Oxenbury, adapted by Tim Bray 

songs by The Sound Room 

Director: Tim Bray 

Designer: Rachael Walker 

Venue: The PumpHouse Theatre 

 

*96 / 2019 The Man Whose Mother was a Pirate (Auckland tour) 

by Margaret Mahy, adapted by Tim Bray 

songs by Christine White 

Director: Tim Bray 

Designer: Rachael Walker 

Venues: Te Oro, TAPAC, Māngere Arts Centre 

 

*95 / 2019 The Man Whose Mother was a Pirate 

by Margaret Mahy, adapted by Tim Bray 

songs by Christine White 

Director: Tim Bray 

Designer: Rachael Walker 

Venue: The PumpHouse Theatre 

 

*94 / 2018  Badjelly the Witch 

by Spike Milligan, adapted by Tim Bray 

Director: Tim Bray 

Designer: Rachael Walker 

Venue: The PumpHouse Theatre 

 

*93 / 2018 The Great White Man-Eating Shark and Other Stories (tour) 

by Margaret Mahy, adapted by Tim Bray 

songs by Marshall Smith 

Designer: Rachael Walker 

Venues: Whangarei, Kerikeri, Kaitaia 

 

*92 / 2018 The Great White Man-Eating Shark and Other Stories 

by Margaret Mahy, adapted by Tim Bray 

songs by Marshall Smith 

Designer: Rachael Walker 

Venue: The PumpHouse Theatre – then toured to Whangarei, Kerikeri, Kaitaia 

 

*91 / 2018 Pippi Longstocking 

by Astrid Lindgren, adapted by Tim Bray 

Songs by Christine White 

Designer: Rachael Walker 

Venue: The PumpHouse Theatre 

 

*90 / 2017 The Santa Claus Show ‘17 

by Tim Bray, songs by Christine White 

Director: Tim Bray 

Designer: Rachael Walker 

Venue: PumpHouse Theatre 

 

*89 / 2017 Mrs Wishy-Washy 

by Joy Cowley, adapted by Tim Bray 

Songs by Christine White 

Designer: Rachael Walker 

Venue: The PumpHouse Theatre 

 

*88/ 2017 The Great Piratical Rumbustification 

by Margaret Mahy, adapted by Tim Bray 

Songs by Christine White 

Designer: Rachael Walker 

Venue: The PumpHouse Theatre 

 

*87 / 2017 Puff the Magic Dragon 

by Tim Bray, based on the song by Leonard Lipton and Peter Yarrow 

Director: Tim Bray 

Designer: Rachael Walker 

Venue: The PumpHouse Theatre 

 

*86 / 2017 The Whale Rider 

by Witi Ihimaera, adapted by Tim Bray 

Designer: Rachael Walker 

Venue: Te Papa Marae, Wellington – Capital E National Arts Festival 

 

*85 / 2016 The Santa Claus Show ‘16 

by Tim Bray, songs by Christine White 

Director: Tim Bray 

Designer: John Parker 

Venue: PumpHouse Theatre 

 

*84 / 2016 A Lion in the Meadow and Other Stories (tour) 

by Margaret Mahy, adapted by Tim Bray, songs by Christine White 

Director: Tim Bray 

Designer: Rachael Walker 

Venue: Whangarei, Kerikeri, Kaitaia, Hamilton and Taurang 

 

* 83 / 2016 A Lion in the Meadow and Other Stories 

by Margaret Mahy, adapted by Tim Bray 

songs by Christine White 

Director: Tim Bray 

Designer: Rachael Walker 

Venue: The PumpHouse Theatre

 

*82 / 2016 The Whale Rider 

by Witi Ihimaera, adapted by Tim Bray 

Designer: Rachael Walker 

Free entry event at Storylines Festival, Aotea Centre (in conjunction with Closing Ceremony of IBBY World Congress) 

 

*81 / 2016 Badjelly the Witch 

by Spike Milligan, adapted by Tim Bray 

Director: Tim Bray 

Designer: Rachael Walker 

Venue: The PumpHouse Theatre 

 

*80 / 2016 The Lighthouse Keeper’s Lunch  

by Ronda and David Armitage, adapted by Tim Bray 

song by Christine White 

Director: Tim Bray 

Designer: Rachael Walker 

Venue: PumpHouse Theatre 

 

*79 / 2015 The Santa Claus Show ’15  

by Tim Bray, songs by Christine White 

Director: Tim Bray 

Designer: John Parker 

Venue: PumpHouse Theatre 

 

*78 / 2015  The Velveteen Rabbit  

by Margery Williams, adapted by Tim Bray 

Director: Tim Bray 

Designer: Rachael Walker 

Venue: PumpHouse Theatre 

 

*77 / 2015 Grandma McGarvey with Grandpa’s Slippers  

by Jenny Hessell and Joy Watson, adapted by Tim Bray 

Director: Tim Bray 

Designer: Rachael Walker 

Venue: PumpHouse Theatre 

 

*76 / 2015 Greedy Cat  

by Joy Cowley, adapted by Tim Bray 

Designer: Rachael Walker 

Venue: PumpHouse Theatre 

 

*75 / 2014 The Santa Claus Show ’14  

by Tim Bray, songs by Christine White 

Director: Tim Bray 

Designer: John Parker 

Venue: PumpHouse Theatre 

 

*74 / 2014 The Little Yellow Digger  

by Betty and Alan Gilderdale, adapted by Tim Bray 

Director: Tim Bray 

Designer: Rachael Walker  

Venue: PumpHouse Theatre 

 

*73 / 2014 The Whale Rider (tour of Northland)  

by Witi Ihimaera, adapted by Tim Bray 

Director: Tim Bray 

Designer: Rachael Walker 

Venues: Te Ahu (Kaitaia), Turner Centre (Kerikeri), Forum North (Whangarei) 

 

*72 / 2014 The Whale Rider  

by Witi Ihimaera, adapted by Tim Bray 

Director: Tim Bray 

Designer: Rachael Walker 

Venue: PumpHouse Theatre 

 

*71 / 2014 The Owl and the Pussy-Cat  

by Edward Lear, adapted by Tim Bray 

Director: Amanda Rees 

Designer: Isobel Dryburgh 

Venue: PumpHouse Theatre 

 

*70 / 2013 The Santa Claus Show ’13  

by Tim Bray, songs by Christine White 

Director: Tim Bray 

Designer: John Parker 

Venue: PumpHouse Theatre 

 

*69 / 2013 Mrs Wishy-Washy  

by Joy Cowley, adapted by Tim Bray 

Director: Tim Bray 

Designer: Jessika Verryt 

Venue: PumpHouse Theatre 

 

*68 / 2013 Pippi Longstocking  

by Astrid Lindgren, adapted by Tim Bray 

Director: Amanda Rees 

Designer: Natasha Pearl 

Venues: PumpHouse Theatre 

 

*67/ 2013 The Dragon of an Ordinary Family 

by Margaret Mahy, adapted by Tim Bray,  

songs by Christine White 

Director: Tim Bray
Designer: Rachael Walker 

Venue: The PumpHouse Theatre 

 

*66 / 2012 The Santa Claus Show  

by Tim Bray, songs by Christine White 

Director: Tim Bray 

Designer: John Parker 

Venue: The PumpHouse Theatre 

 

*65/ 2012 Royal Performance Hairy Maclary    

by Lynley Dodd, adapted by Tim Bray 

song and character themes by Christine White 

Director: Tim Bray  

Designer: Rachael Walker 

Venue: Bruce Mason Centre 

 

*64 / 2012 Hairy Maclary  

by Lynley Dodd, adapted by Tim Bray 

song and character themes by Christine White 

Director: Tim Bray  

Designer: Rachael Walker 

Venue: The PumpHouse Theatre 

 

*63 / 2012  The Great Piratical Rumbustification  

by Margaret Mahy, adapted by Tim Bray 

songs by Christine White 

Director: Tim Bray 

Designer: Rachael Walker 

Venue: The PumpHouse Theatre 

 

*62 / 2012 The Wind in the Willows  

by Kenneth Grahame, adapted by Tim Bray 

Director; Tim Bray 

Designer: Jessika Verryt 

Venue: The PumpHouse Theatre, Amphitheatre and Killarney Park 

 

*61 / 2011 The Santa Claus Show  

by Tim Bray, songs by Christine White 

Director:Tim Bray  

Designer: John Parker 

Venue: The PumpHouse 

 

*60 / 2011 Hairy Maclary  

by Lynley Dodd, adapted by Tim Bray 

Director: Tim Bray 

Designer: Rachael Walker 

Venue: The PumpHouse 

 

*59 / 2011 A Lion in the Meadow and Other Stories  

by Margaret Mahy, adapted by Tim Bray 

Director: Tim Bray 

Designer: Michael Knapp 

Venue: The PumpHouse 

 

*58 / 2011 The Lighthouse Keeper’s Lunch  

by Ronda & David Armitage, adapted by Tim Bray 

Director: Tim Bray 

Designer: Vicki Slow 

Venue: The PumpHouse 

 

*57 / 2010 The Santa Claus Show  

by Tim Bray, songs by Christine White 

Director:Tim Bray  

Designer: John Parker 

Venue: The PumpHouse 

 

*56 / 2010 Snake and Lizard (Auckland regional tour)  

by Joy Cowley, adapted by Tim Bray 

Director: Tim Bray 

Designer: Michael Knapp 

Venue: Hawkins, Selwyn College, Manukau Genesis Theatre, Mangere Arts Centre 

 

*55 / 2010 Badjelly The Witch  

by Spike Milligan, adapted by Tim Bray 

Director: Tim Bray 

Designer: Michael Knapp 

Venue: The Pumphouse 

 

*54 / 2010 Greedy Cat  

by Joy Cowley, adapted by Tim Bray 

Director: Amanda Rees 

Designer: John Parker 

Venue: The Pumphouse 

 

*53/ 2010 The Man Whose Mother Was A Pirate  

by Margaret Mahy, adapted by Tim Bray 

Director: Amanda Rees 

Designer: John Parker 

Venue: The Pumphouse 

 

*52 / 2010 Snake and Lizard (tour) 

by Joy Cowley, adapted by Tim Bray, songs by Christine White 

Designer; Michael Knapp 

Venue: Bay of Islands Arts Festival, Kerikeri 

 

*51 / 2009 The Santa Claus Show  

by Tim Bray, songs by Christine White 

Director:Tim Bray  

Designer: John Parker 

Venue: The PumpHouse 

 

*50 / 2009 Snake and Lizard  

by Joy Cowley, adapted by Tim Bray 

Director: Tim Bray  

Designer: Michael Knapp 

Venue: The PumpHouse 

 

*49 / 2009 The Emperor’s New Clothes and The Ugly Duckling 

by Hans Christian Andersen, adapted by Tim Bray 

Director: Amanda Rees 

Designer: Michael Knapp 

Venue: The PumpHouse 

 

*48 / 2009 Peter Rabbit and other Tales  

by Beatrix Potter, adapted by Tim Bray 

Director: Tim Bray  

Designer: Sean Coyle 

Venue: PumpHouse Theatre 

 

*47 / 2008 The Santa Claus Show  

by Tim Bray, songs by Christine White 

Director: Tim Bray  

Designer: John Parker 

Venue: The PumpHouse 

 

*46 / 2008 The Dragon of an Ordinary Family  

by Margaret Mahy, adapted by Tim Bray 

Director: Tim Bray  

Designer: Sean Coyle 

Venue: The PumpHouse 

 

*45 / 2008 Pippi Longstocking (Auckland regional tour)  

by Astrid Lindgren, adapted by Tim Bray 

Director: Tim Bray  

Designer: Sarah Sauler 

Venues: TAPAC, Howick Little Theatre, Hawkins 

 

*44 / 2008 The Owl & the Pussy-Cat  

by Edward Lear, adapted by Tim Bray  

Director: Tim Bray  

Designer: Sean Coyle 

Venue: PumpHouse 

 

*43 / 2008 The Twits  

by Roald Dahl, adapted by David Wood 

Director: Tim Bray  

Designer: Sean Coyle 

Venue: PumpHouse  

 

*42 / 2008 The Wind in the Willows  

by Kenneth Grahame, adapted by Tim Bray  

Director: Tim Bray  

Designer: Tim Bray 

Venue: Outside Production at The PumpHouse 

 

*41 / 2007 The Santa Claus Show  

by Tim Bray, songs by Christine White 

Director:Tim Bray  

Designer: John Parker 

Venue: The PumpHouse 

 

*40 / 2007 Grandpa’s Slippers / Grandma McGarvey  

by Joy Watson / Jenny Hessell, adapted by Tim Bray  

Director: Tim Bray 

Designer: John Parker  

Venue: The PumpHouse 

 

*39 / 2007 Pippi Longstocking  

by Astrid Lindgren, adapted by Tim Bray 

Director: Tim Bray  

Designer: Sarah Sauler 

Venue: The PumpHouse 

 

*38 / 2007 The Man Whose Mother was a Pirate 

by Margaret Mahy, adapted by Tim Bray 

Director: Tim Bray 

Designer: Sarah Burren 

Venue: Bay of Islands Arts Festival – Kerikeri 

 

*37/ 2006 The Santa Claus Show  

by Tim Bray, songs by Jason Smith 

Director: Tim Bray  

Designer: Jude Bishop 

Venue: The PumpHouse 

 

*36/ 2006 The Lighthouse Keeper’s Lunch  

by Ronda & David Armitage, adapted by Tim Bray 

Director: Tim Bray 

Designer: Dale Taylor 

Venue: The PumpHouse 

 

*35/ 2006 The Man Whose Mother was a Pirate  

by Margaret Mahy, adapted by Tim Bray 

Director: Tim Bray 

Designer: Sarah Burren 

Venue: The PumpHouse 

 

*34/ 2005 The Santa Claus Show  

by Tim Bray, songs by Jason Smith 

Director: Tim Bray  

Designer: Jude Bishop 

Venue: The PumpHouse 

 

*33/ 2005 The Wind in the Willows  

by Kenneth Grahame, adapted by Tim Bray 

Director: Tim Bray  

Designer: Tim Bray 

Venue: Outside Production at The PumpHouse 

 

*32/ 2005 HanS Up! Stories by Hans Christian Andersen  

adapted by Tim Bray, songs by Christine White 

Director: Tim Bray  

Designer: Jude Bishop 

Venue: The PumpHouse 

 

*31/ 2004 The Santa Claus Show  

by Tim Bray, songs by Jason Smith 

Director: Tim Bray  

Designer: Jude Bishop 

Venue: The PumpHouse 

 

*30/ 2004 Mahy Magic  

by Margaret Mahy, adapted by the director and cast 

Music by Rochelle Bright 

Director: Lynne Cardy 

Designer: Jude Bishop 

Venue: The PumpHouse 

 

29/ 2004 Foibles  

written and performed by Tim Bray 

Director: Amanda Rees 

Designer: John Parker 

Venue: The Herald Theatre 

 

*28/ 2004 The Owl & the Pussy-Cat  

(From this production till current – Trading Name change to Tim Bray Productions from The Central Theatre) 

by Edward Lear, adapted by Tim Bray 

Music by Christine White 

Director: Amanda Rees 

Designers: Jo Clayton, Maggie Gardner, Marilyn Kam and Kneel Halt 

Venue: The PumpHouse 

 

27/ 2001 The Last Laugh   

written and performed by Tim Bray   

Director: Fiona Milburn 

Designer: John Parker 

Venue: Maidment Studio 

 

26/ 2001 Ponsonby Road  

by Tim Bray and Susan Battye,  

Director: Amanda Rees 

Designer: John Parker 

Venue: Maidment Studio 

 

25/ 2000  Ponsonby Road  

by Tim Bray and Susan Battye  

Director: Amanda Rees 

Designer: John Parker  

Venue: Maidment Studio 

 

24/ 2000  Me and My Vice  

written and performed by Tim Bray 

Director: Fiona Milburn 

Designer John Parker 

Venue: Galatos 

 

23/ 1998  Me and My Vice (tour)  

written and performed by Tim Bray 

Director: Stephanie McKellar-Smith 

Designer: John Parker  

Venue: Gilded Balloon, Edinburgh Fringe Festival 

 

22/ 1998  Me and My Vice  

written and performed by Tim Bray 

Director: Stephanie McKellar-Smith 

Designer: John Parker 

Venue: LAUGH! Festival, Town Hall 

 

21/ 1997 Me and My Vice  

written and performed by Tim Bray 

Director: Stephanie McKellar-Smith 

Designer: Simon-John Coleman  

Venue: Maidment Studio 

 

20/ 1996  Me and My Vice (tour)  

written and performed by Tim Bray 

Director: Stephanie McKellar-Smith 

Designer: Simon-John Coleman 

Venue: The Meteor, Hamilton 

 

*19/ 1995 Hunter Hound – Lifeguard!   

by Tim Bray 

Director: Tim Bray 

Designer: Marketing Works 

Venue: Hunters Plaza, Papatoetoe 

 

*18/ 1994  School for Clowns  

by F.K. Waechter, trans. by Ken Campbell  

Director: Tim Bray 

Designer: Jackie Knott  

Venue: Christian Heritage College 

 

*17/ 1994  Hunter Hound-Birthday   

by Tim Bray 

Director: Tim Bray 

Designer: Marketing Works  

Venue: Hunters Plaza, Papatoetoe 

 

*16/ 1993  The Twits  

by Roald Dahl, adapted by Tim Bray 

music by Paul O’Dwyer 

Director: Tim Bray 

Designer: Nicola Waldren  

Venue: Herald Theatre, Aotea Centre 

 

*15/ 1993 Goldilocks & the 3 Bears  

by Katherine Steemson, 

Music by Jason Smith 

Director: Simon-John Coleman  

Designer: Gay Cusack  

Venue: Christian Heritage College 

 

*15/ 1993 Teddy Bear’s Picnic  

by the cast 

Director: Fiona Milburn 

Designer: Jo Kelly  

Venue: Rainbow’s End, Manukau City 

 

*14/ 1993 Big Iggy  

by Kaye Umansky, adapted by Tim Bray 

Music by Jason Smith 

Director: Tim Bray 

Designer: Gay Cusack  

Venue: Herald Theatre, Aotea Centre 

 

*13/ 1993 Ready to knock, Turn the lock  

by the cast 

Music by Jason Smith 

Director: Fiona Milburn 

Designer: Jo Kelly  

Venue: Christian Heritage College 

 

*12/ 1992 The Santa Claus Show  

by Tim Bray 

Music by Jason Smith 

Director: Tim Bray  

Designer: Kyla Covic  

Venue: The Central Theatre, Greys Ave 

 

11/ 1992 The Open Couple   /  An Ordinary Day  

by Dario Fo and Franca Rame 

Director: Fiona Milburn  

Designers: Amanda Lane and Peter Worrell  

Venue: The Central Theatre, Greys Ave 

 

*10/ 1992 Mahy Magic  

by Margaret Mahy adapted by the cast and director 

Director: Fiona Milburn  

Designer: Maria Addison  

Venue: The Central Theatre, Greys Ave 

 

9/ 1992 The Nice Show  

by Tim Bray 

Director: Tim Bray 

Designer: Jo Kelly  

Venue: The Central Theatre, Greys Ave 

 

8/ 1992 The Sneeze  

by Anton Chekov, adap. by Michael Frayn 

Director: Stephanie McKellar-Smith 

Designer: John Parker  

Venue: The Central Theatre, Greys Ave 

 

7/ 1992 Mothers & Fathers  

by Joseph Musaphia  

Director: Fiona Milburn 

Designer: Jo Kelly  

Venue: The Central Theatre, Greys Ave 

 

*6/ 1992  The Twits  

by Roald Dahl, adapted by Tim Bray 

Music by Paul O’Dwyer 

Director: Tim Bray  

Designer: Jackie Knott  

Venue: Herald Theatre, Aotea Centre 

 

*5/ 1992 The Owl & the Pussy-Cat   

by Edward Lear, adapted by Tim Bray  

Music by Jason Smith 

Director: Fiona Milburn  

Designer: Nicola Waldren  

Venue: The Central Theatre, Greys Ave 

 

*4/ 1991 The Santa Claus Show  

by Tim Bray 

Music by Jason Smith 

Director: Tim Bray  

Venue: The Central Theatre, Greys Ave 

 

*3/ 1991  Alfie  

by Shirley Hughes, adapted by Tim Bray 

Director: Tim Bray  

Designer: Tim Bray & Tim Raby  

Venue: The Central Theatre, Greys Ave 

 

*2/ 1991 A Blooming Nuisance (tour)  

Original by the cast and director 

Music by Paul O’Dwyer 

Director: Tim Bray 

Venue: The PumpHouse, Takapuna 

 

*1/ 1991 A Blooming Nuisance  

Original by the cast and director 

Music by Paul O’Dwyer 

Director: Tim Bray 

Venue: The Central Theatre, Greys Ave

Spotlight on James Bell: A Director’s 40-Show Achievement

By Meg Andrews on 18 November 2024

This year, James celebrates not one but two incredible milestones: 10 years as The PumpHouse’s Business Manager and directing his 40th production.  Recently, we asked him to reflect on his journey, his favorite moments, and what it takes to create magic on and off the stage.

Congratulations on directing your 40th show! What does reaching this milestone feel like for you?

I didn’t realise until I started counting just how many shows I’d directed! It’s a great sense of accomplishment and I feel really privileged to have had the opportunity to work on so many fantastic shows with hundreds of amazing actors and creatives.

What inspired you to start directing?

I started in theatre doing lighting and sound, so I got to watch the shows every night and see how the audience responded, and how actors would make subtle changes each night – refining and perfecting their performance.

When a local theatre company decided to offer new directors a chance to direct a one-act play I thought I’d have a go – even though I’d never acted before – and found I really enjoyed putting all the elements together to tell an engaging story.

James’ 40th show: Pride and Prejudice

Do you have any unique pre-show or directing rituals that help you get into the zone?

I like to have a quick check-in with the cast before each show. We’ve started to incorporate a pre-show karakia to bring everyone together to ground and focus the team for the performance ahead.

I like to watch the first and last performances of a season to see how the show has developed, but during the season I’ll often just listen at the door for how the audience is reacting.

Looking back, is there a particular show you directed that feels like a personal best, or one that taught you the most?

The great thing is that I feel I’m always improving. There are little bits of each show that I really like though – for “Proof” we rebuild the exterior of a house in a very small theatre using wood reclaimed for a renovation project, for example.

The Proof Set

The Crucible in 2021 was a highlight. A sold-out season, a fantastically dedicated cast, and we managed to finish the day before a COVID lockdown!

The Crucible, directed by James Bell

If you could direct any play or project with unlimited resources, what would it be and why?

I’ve always been a fan of Hamlet. It’s got such great storytelling elements all the way through. Performing Hamlet inside some castle ruins would be amazing.

I’d like to have a go at directing a musical one day, too.

Are there any standout moments or favourite memories from your 10 years at The PumpHouse?

For me, I’m most proud that we’re keeping The PumpHouse going for future generations.

The fact we are still going strong despite budget cuts and COVID shows just how important theatre – and The PumpHouse – is to our local community.

We’ve developed such a great diversity of shows too – there really is something for everyone.

Measure for Measure, directed by James Bell

 

How has working at The PumpHouse Theatre influenced your perspective on the local arts community?

Working with hundreds of different producers, it’s really clear what the challenges are – whether it be funding, finding volunteers, or effectively promoting a show.

But equally every group has passionate people working to bring amazing stories to life despite the challenges.

How do you approach directing a show versus managing business operations—are there similarities?

It’s quite similar I think. I’ve always thought “director” is the wrong term – it should be “co-operator” because you are really just bringing together many skilled and talented people and helping them work together.

It’s a bit like being the conductor of an orchestra, making sure all the musicians are working towards the same goal and staying on track.

What is something people might be surprised to know about you outside of theatre?

I don’t really have an “outside of theatre”.

If I’m not at work, I’m usually working on directing or producing a show somewhere or helping on a theatre committee.

I like to travel and take photos when I get a chance.

Uplifting Local Talent This International Artist Day

By Meg Andrews on 23 October 2024

Celebrating International Artist Day at The PumpHouse Theatre!

This International Artist Day, we’re taking a moment to shine the spotlight on some of the local artists, theatre companies, and community groups that make The PumpHouse Theatre the vibrant, creative space it is today. While International Artist Day often celebrates well-known creatives, we want to turn the focus towards the hardworking, passionate people in our community who bring theatre to life on our stage.

At The PumpHouse, we are lucky to host a wide variety of performances, from cutting-edge dramas to family-friendly shows and everything in between. Our local artists pour their hearts into each production, creating experiences that resonate deeply with audiences.

How You Can Support Our Local Artists

Here are a few simple ways you can uplift and celebrate our local theatre and community groups:

  1. Attend a Show! There’s nothing quite like the magic of live theatre! Check out the events calendar on The PumpHouse Theatre website and make plans to see a local production. Your ticket purchase directly supports the artists involved.
  2. Volunteer Your Time! Many theatre groups rely on volunteers to help behind the scenes. From ushering to assisting with costumes, there’s always a need for extra hands. Plus, you get to experience the creative process firsthand!
  3. Leave a Review! If you’ve enjoyed a performance, let others know by leaving a review online. Positive feedback not only helps spread the word but also boosts the morale of the artists involved.
  4. Follow & Share! Social media is a crucial platform for artists. Follow local theatre groups and individual artists on platforms like Facebook, Instagram, and TikTok. Share their posts, comment on their work, and spread the word about upcoming shows. Your engagement helps build momentum for their projects.

Here is just a few of the wonderful groups who use our space, who you should totally go and follow on social media (click their name and it’ll take you directly to their Facebook/Instagram page!

FACEBOOK

TIM BRAY THEATRE COMPANY

SHORESIDE THEATRE

TADPOLE PRODUCTIONS

I-START CHINESE THEATRE

PHOENIX THEATRE

LATE NIGHT KNIFE FIGHT

FOOLISH WIT

NORTH SHORE CONCERT BAND

CHOCOLATE & CARNAGE THEATRE

NZ THEATRE COMPANY

CASUAL FIRST DATE

INSTAGRAM

TIM BRAY THEATRE COMPANY

SHORESIDE THEATRE

TADPOLE PRODUCTIONS

I-START CHINESE THEATRE

PHOENIX THEATRE

LATE NIGHT KNIFE FIGHT

FOOLISH WIT

CHOCOLATE & CARNAGE THEATRE

NZ THEATRE COMPANY

CASUAL FIRST DATE

 

 

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