The PumpHouse Theatre Ushers in New Leadership Team

After an amazing ten years as Chairperson, Peter Burn has retired from The PumpHouse Theatre Trust Board. Peter guided us through big projects like the roof and bathroom upgrades, the courtyard canopy, and the chaos of Covid and flooding. What a legacy – ka pai tō mahi, Peter!

Peter Burn & Fiona McMillan

Stepping up as our new Chairperson is Fiona McMillan, partner at Lane Neave and our Deputy Chair for the past two and a half years. She’s joined by Jilly Thomas (Deputy Chair), Brenda Magee (Treasurer) and Teresa Sokolich (Secretary).

“We’re all really excited about the year ahead,” says Fiona. “We’ve got some challenges to overcome, but with new faces on the Board and fresh energy, we’re confident about the future. Not to mention the fact our community support remains strong.”

Jilly Thomas, Brenda Magee, Teresa Sokolich, and Fiona McMillan

We’re also welcoming two fantastic new Board members:

Braydon Priest: a creative powerhouse who works across live events, broadcasting and marketing, producing community and music events, brand activations, television and radio shows and theatre productions. He has a strong background in communications, promotions and audience engagement, and over 20 years’ governance experience in the arts and education sectors. He also contributes both on stage and behind the scenes in community theatre, with a focus on organisational development and growth. Braydon is currently a Senior Producer and Account Director at marketing and brand activation agency Curious Nation.

Brendon Upson: a Hauraki local whose day job is in software and technology, predominantly for Mining and Construction companies. Self-employed with a Business degree, he enjoys bringing structure and strategy to the vibrant, ever-changing world of the arts. His connection to The PumpHouse extends back to the mid-eighties, competing in the Lake Pupuke two-mile swimming competitions. Brendon has a strong community focus, creating one of the first Special Needs football teams in Sydney and serving on various sports committees. Brendon enjoys playing guitar, composing, and is forever hopeful to write the next “Rocky Horror Show”.

Brendon Upson, Fiona McMillan, and Braydon Priest

Like many whare toi, we’re facing a tough financial year with a nearly $100,000 shortfall following the closure of our long-time partner, Tim Bray Theatre Company. But with our passionate team and a full calendar ahead, The PumpHouse spirit is stronger than ever!

School Holiday Theatre Fun!

This spring, our stage bursts to life with brilliant whānau-friendly theatre, guaranteed to keep tamariki (and their grown-ups) immensely entertained.

Among the highlights are two playful new productions from Improverished, a dynamic group of performers bringing fresh energy (and familiar faces!) to our school holiday line-up. Many of these talented artists cut their teeth with Tim Bray Theatre Company, carrying forward Tim’s legacy by creating magical theatre experiences for the next generation.

We caught up with Dylan, an actor in It’s Alive!, and Bridie, who’s in Can I Get an Underground Location and a Mythical Creature? to find out more about their work.

MEET DYLAN UNDERWOOD

My name’s Dylan! I was born and raised in Auckland, I loved playing sports and video games growing up and I’ve loved performing ever since I started doing it at school!

MEET BRIDIE THOMSON

I am a multi-disciplinary creative working as an Audio Describer for broadcast TV by day and then using what little time I seem to have left in the evenings to be a Comedian, Actor, Theatre maker and general lover of the arts. My fellow castmate Rebecca Mary Gwendolon and I also create inclusive, joyful comedy under the production company, Comedy Culture NZ. While I don’t have any formal training, my performing arts background is one full of whatever opportunities I’ve been able to throw myself into over the years, including puppetry, clowning and drag. If ever I can let my freak flag fly flamboyantly, I’ll do so!

What inspired you to start creating theatre specifically for tamariki and families?

DYLAN: I’ve worked with several children’s theatre companies over the years and what I’ve noticed is that not a lot of children get access to seeing live theatre, but the ones that do remember the experience for the rest of their lives! So many of the kids I’ve performed to have talked to me about how much they also love making stories and playing pretend and that they love using it as a way to connect with their friends and family. Inspiring and cultivating imagination and story-telling in our tamariki and allowing them to build relationships based on a shared experience, like live theatre, is something I passionately believe will enrich their lives, as it’s certainly enriched mine!

BRIDIE: I am a huge advocate for accessible theatre and making a show have something for everyone. Kids shows are fun, but have you ever seen a tween come into a show with their arms crossed, face unamused, and by the end, they’re screaming with glee to be on stage with you? That’s what it’s all about. Seeing the joy in people, no matter the age.

Many of you have strong ties with Tim Bray Theatre Company. Can you share how working with Tim influenced your approach to making theatre for young audiences?

DYLAN: My first professional gig as an actor was playing ‘Pig’ in a Tim Bray Productions show of Mrs. Wishy Washy in 2017. During this season I was totally enamoured with telling these wacky stories while playing wacky characters because of the way the kids related to them, invested in their stories and wanted to either help (or hinder) them! What really stuck with me was the way that once the kids realised that what they said or did had an impact on this made-up world, they were so keen to trust their instincts and actively engage with it, and I want them to carry that trust in themselves into the real world for the rest of their lives. What they say and do matters, it has an impact on the world and the world is a better place for it.

What’s the most rewarding part about performing for kids compared to adult audiences?

DYLAN: Kids are the most honest critics you could ever get. I love how you know exactly how a show is doing based on how the audience is reacting, which you don’t often get from adult audiences. Kids will laugh and shout with their whole heart if they’re enjoying a show, or they’ll start to fidget and moan when they’re not, it means you can adjust on the fly and know exactly what works and what doesn’t which is really useful if you’re trying to make a show good!

BRIDIE: Kids can stay with you in the moment, completely immersed in the world. They leave their worries at the door and often forget about them completely, just because their imaginations expand so far beyond day-to-day “adult stress” that you too as a performer, get to just have fun. There couldn’t be a more perfect audience than one full of kids with zero judgment. They won’t give you notes on your performance at the end, either.

If your show was an ice cream flavour, what would it taste like?

DYLAN: I think ‘It’s Alive!’ would taste like Goody Goody Gum Drops, it’s sweet but with all sorts of lollies in it and you don’t quite know what lolly you’re gonna find but you know you’re gonna enjoy it!

BRIDIE: ‘Can I Get an Underground Location and a Mythical Creature?’ would probably be like that rainbow swirly ice cream. You can’t tell what it tastes like by looking at it, you assume it’s probably vanilla, but when you taste it, it’s an explosion of sweetness that you know is going to send you on a sugar high and come crashing down after you’ve eaten too much.

How would you describe your show using only three words?

DYLAN: Fun, funny, funky

BRIDIE: Fast, Fun, Fearless

What do you hope tamariki (and their parents) will take away from your show?

DYLAN: An appreciation for science and how it’s often inspired by your own imagination and curiosity, a discovery that it’s fun to solve problems, and a shared experience that the whole family can remember and laugh about!

BRIDIE: That they need more whimsy in their lives and should go play DND together.

Book Tickets Here to see these two stars in action these school holidays!

Meet Our Kaimahi!

In honour of Te Wiki o te Reo Māori, we are highlighting our kaimahi at Te Whare Tapere I Te Taha O Pupukemoana (The PumpHouse Theatre) and their roles at the theatre and in life!

This year marks the 50th anniversary of Te Wiki o te Reo Māori. What began as a single Māori Language Day in 1972 grew into a full week by 1975, and 50 years on, we celebrate how far Te Wiki o te Reo Māori has come.

Have a read to get to know our lovely team!

HELENA

Helena is our Whakahaerenga (Administrator).

She is also Māmā, a Zumba lover, and has spent some time working as a Kiriwhakaari Tūpoto (Extra Actor).

Helena can be described as pārekareka (entertaining, enjoyable, engaging, compelling, fun!)

JAMES

James is our Kaiwhakahaere Whare Tapere (Theatre Manager).

He is also a tuakana (older brother), and he spends his free time being a Kaihautū (producer) and Kaitohu (Director) for many incredible theatre productions.

James can be described as tohunga (to be expert, proficient, adept).

MAGS

Mags is our Hapori Whakauru Whakahohe (Community Engagement Coordinator).

She’s a very talented Kaitohu (Director), Kaiwhakahaere Atamira (Stage Manager), and a Kaiako Whakaari (Drama Teacher). She is also a wahine, tuahine, rapu matauranga, and Kaitautoko rīki (league supporter of the mighty Wigan Warriors!)

Mags can be described as hōhonu (deep, esoteric, profound).

MARK

Mark is our Kaihāpai o Muri (Venue Tech) and Kaitiaki (Caretaker).

Some of you may have also seen them tread the boards as a Kaiwhakaari (Actor) or watched their show for Matariki – .co.nz – in which they were the Kaitito Whakaari (Playwright). Mark also enjoys ngā kēmu ātea (video games) in their spare time.

Mark can be described as whakatoi (cheeky/mischievous!)

TASH

Tash is our Kairuruku Pureitanga (Venue Hire Coordinator/Events & Programme Coordinator)

Tash is also Kaiāwhina Hōtaka (programme assistant) at Basement Theatre, pou mahi toi (supporter of the arts), kaituhi (sometimes!)

Tash has described herself as hōhā (wearisome, irksome, vexatious, a nuisance! [she’s not!])

MEG

Meg is our Kairuruku Hokohoko (Marketing Coordinator) and Kaiwhakahaere Tīkiti (Ticketing Manager).

Some of you may have also seen her tread the boards as a Kaiwhakaari (Actor) or watched some of her vibrant shows in which she has been Kaitohu (Director).

Meg can be described as ngangahau (spirited, zealous, vibrant, vivacious, lively, animated!)

We asked them all a few pātai!

What’s your unofficial job title?

Helena: Biscuit buyer

James: Kaiwhakaoti rapanga (problem solver)

Mags: Kaipupuri hitori (Historian)

Mark: Picker-upper/putter-downer

Tash: The Coach 💪

Meg: Marketing Witch/Chief Goober

What emoji sums up your job here?

Helena: 🤑

James: 💸

Mags: 🤪

Mark: ⚒️

Tash: 📋

Meg: 🎟️

What emoji best represents you?

Helena: 💃

James: 🚀

Mags: 🐧

Mark: 🍞

Tash: 💖 (at least according to my friends)

Meg: 🫧

What object in the theatre has the most dramatic energy? 

Helena: The Curtains

James: Always a mirrorball!

Mags: The backstage monitor, cos it has made my life 1000% easier.

Mark: The catwalk!!! (but truthfully, probably Meg)

Tash: The house rag

Meg: Probably me, ha!

What theatre show title best represents your life?

Helena: Comedy of Errors

James: Much Ado About Nothing

Mags: The Play That Went Wrong!

Mark: Fleabag

Tash: West Side Story (I live out West!)

Meg: Kinky Boots

Recap of our 2025 AGM

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

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

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

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!

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

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

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.

Sign up today for regular updates, special offers and the chance to win free tickets.

Sign up