BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Butterfly Creek Theatre Troupe - ECPv6.15.20//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-ORIGINAL-URL:https://bctt.org.nz X-WR-CALDESC:Events for Butterfly Creek Theatre Troupe REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:Pacific/Auckland BEGIN:STANDARD TZOFFSETFROM:+1300 TZOFFSETTO:+1200 TZNAME:NZST DTSTART:19870228T140000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+1200 TZOFFSETTO:+1300 TZNAME:NZDT DTSTART:19871024T140000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+1300 TZOFFSETTO:+1200 TZNAME:NZST DTSTART:19880305T140000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+1200 TZOFFSETTO:+1300 TZNAME:NZDT DTSTART:19881029T140000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+1300 TZOFFSETTO:+1200 TZNAME:NZST DTSTART:19890304T140000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+1200 TZOFFSETTO:+1300 TZNAME:NZDT DTSTART:19891007T140000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+1300 TZOFFSETTO:+1200 TZNAME:NZST DTSTART:19900317T140000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+1200 TZOFFSETTO:+1300 TZNAME:NZDT DTSTART:19901006T140000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+1300 TZOFFSETTO:+1200 TZNAME:NZST DTSTART:19910316T140000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+1200 TZOFFSETTO:+1300 TZNAME:NZDT DTSTART:19911005T140000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+1300 TZOFFSETTO:+1200 TZNAME:NZST DTSTART:19920314T140000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+1200 TZOFFSETTO:+1300 TZNAME:NZDT DTSTART:19921003T140000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+1300 TZOFFSETTO:+1200 TZNAME:NZST DTSTART:19930320T140000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+1200 TZOFFSETTO:+1300 TZNAME:NZDT DTSTART:19931002T140000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+1300 TZOFFSETTO:+1200 TZNAME:NZST DTSTART:19940319T140000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+1200 TZOFFSETTO:+1300 TZNAME:NZDT DTSTART:19941001T140000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+1300 TZOFFSETTO:+1200 TZNAME:NZST DTSTART:19950318T140000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+1200 TZOFFSETTO:+1300 TZNAME:NZDT DTSTART:19950930T140000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+1300 TZOFFSETTO:+1200 TZNAME:NZST DTSTART:19960316T140000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+1200 TZOFFSETTO:+1300 TZNAME:NZDT DTSTART:19961005T140000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+1300 TZOFFSETTO:+1200 TZNAME:NZST DTSTART:19970315T140000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+1200 TZOFFSETTO:+1300 TZNAME:NZDT DTSTART:19971004T140000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+1300 TZOFFSETTO:+1200 TZNAME:NZST DTSTART:19980314T140000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+1200 TZOFFSETTO:+1300 TZNAME:NZDT DTSTART:19981003T140000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+1300 TZOFFSETTO:+1200 TZNAME:NZST DTSTART:19990320T140000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+1200 TZOFFSETTO:+1300 TZNAME:NZDT DTSTART:19991002T140000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+1300 TZOFFSETTO:+1200 TZNAME:NZST DTSTART:20000318T140000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+1200 TZOFFSETTO:+1300 TZNAME:NZDT DTSTART:20000930T140000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+1300 TZOFFSETTO:+1200 TZNAME:NZST DTSTART:20010317T140000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+1200 TZOFFSETTO:+1300 TZNAME:NZDT DTSTART:20011006T140000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+1300 TZOFFSETTO:+1200 TZNAME:NZST DTSTART:20020316T140000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+1200 TZOFFSETTO:+1300 TZNAME:NZDT DTSTART:20021005T140000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+1300 TZOFFSETTO:+1200 TZNAME:NZST DTSTART:20030315T140000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+1200 TZOFFSETTO:+1300 TZNAME:NZDT DTSTART:20031004T140000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+1300 TZOFFSETTO:+1200 TZNAME:NZST DTSTART:20040320T140000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+1200 TZOFFSETTO:+1300 TZNAME:NZDT DTSTART:20041002T140000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+1300 TZOFFSETTO:+1200 TZNAME:NZST DTSTART:20050319T140000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+1200 TZOFFSETTO:+1300 TZNAME:NZDT DTSTART:20051001T140000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+1300 TZOFFSETTO:+1200 TZNAME:NZST DTSTART:20060318T140000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+1200 TZOFFSETTO:+1300 TZNAME:NZDT DTSTART:20060930T140000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+1300 TZOFFSETTO:+1200 TZNAME:NZST DTSTART:20070317T140000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:+1200 TZOFFSETTO:+1300 TZNAME:NZDT DTSTART:20070929T140000 END:DAYLIGHT END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=Pacific/Auckland:20060407T080000 DTEND;TZID=Pacific/Auckland:20060408T170000 DTSTAMP:20260513T213313 CREATED:20250423T043518Z LAST-MODIFIED:20250506T031521Z UID:2780-1144396800-1144515600@bctt.org.nz SUMMARY:The Merchant of Venice DESCRIPTION:After failing to cast a full-scale performance of this play for Bard in the Yard the Troupe agreed to John Marwick’s proposal to present a two-night run of a staged reading in early April inside the school hall.  Unusually\, the performance was presented in cabaret style using raised rostra on the floor of the hall while the audience sat at tables.  Florence Mcfarlane and Fran Baldock\, as Salanio and Salarino (or was it the other way round!) sang brief jazz classics between scenes to Bill Wollerman’s piano accompaniment. \nThe production was very well-received. Jerry Duckor was outstanding as Shylock. \n\n2006 Merchant of Venice13 photos\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n \n \n\n\n\n\n\nCAST\n\n\n\nSalanio\nFran Baldock\n\n\nJessica\nAmber Baldock\n\n\nBassanio\nAshley Bloomfield\n\n\nGratiano\nWill Clannachan\n\n\nShylock\nJerry Duckor\n\n\nDuchess\nSandra Gillespie\n\n\nMorocco & Tubal\nMichael  McDonald\n\n\nNerissa\nAnne Manchester\n\n\nAntonio\nJohn Marwick\n\n\nSalarino\nFlorence McFarlane\n\n\nLorenzo\nDan  Milward\n\n\nPortia\nHolly Robinson\n\n\n\n\n\n\nCREW\n\n\n\nDirector\nJohn Marwick\n\n\nStage manager\nKate Booth\n\n\nCostumes\nCarol Thompson\n\n\nAssistant\nJulie  Duckor\n\n\nTechnical help\nPeter Baldock\n\n\nLights\nTrevor  Rose\n\n\nFOH\nYvonne Gray\n\n\nFOH\nJanis Caddy\n\n\nSet\nBruce  Caddy\n\n\nProps\nJulia Stuart\n\n\n\n  URL:https://bctt.org.nz/show/the-merchant-of-venice-2/ CATEGORIES:Amber Baldock,Anne Manchester,Ashley Bloomfield,Dan Milward,Florence McFarlane,Fran Baldock,Holly Robinson,Jerry Duckor,John Marwick,John Marwick,Michael McDonald,Shakespeare ATTACH;FMTTYPE=image/jpeg:https://bctt.org.nz/wp-content/uploads/2025/04/13924250917_48aa5d7c0a_o.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Pacific/Auckland:20050623T080000 DTEND;TZID=Pacific/Auckland:20050702T170000 DTSTAMP:20260513T213314 CREATED:20250424T024125Z LAST-MODIFIED:20250705T025809Z UID:2799-1119513600-1120323600@bctt.org.nz SUMMARY:Blood of the Lamb DESCRIPTION:Mid-year 2005 the Troupe presented a short season of two small cast New Zealand plays. Both plays were presented with actors and an audience of about 50 on the Muritai stage. John Marwick produced Bruce Mason’s Blood of the Lamb using a traverse setting with audience on two sides of the action. \nThe play won awards in the Wellington District Theatre Federation Full Length Play competition 2005 for: \n\nBest equal direction in drama (John Marwick)\nOutstanding female actor (Rowan Macrae)\nOutstanding best young female actor (Elspeth Harris)\n\nCast & Production Team \n\n\n\nHenry\nRowan Macrae\n\n\nEliza\nJoanna Hulme\n\n\nVictoria\nElspeth Harris\n\n\nOboe\nRachel Cashmore\n\n\n\n\n\n\nDirector\nJohn Marwick\n\n\nProduction\nSandra Gillespie\n\n\nSet\nBruce Caddy\n\n\nStage Manager\nFran Baldock\n\n\nCostumes\nCarol Thompson\n\n\nProps\nJulia Stuart\n\n\nLighting\nPeter Baldock\n\n\nSound\nPeter Baldock\n\n\nFront of House\nYvonne Grey\n\n\n\nThe play was presented in February for a two-day run in Wellington’s Gryphon Theatre as part of the Wellington Fringe Festival. Here is the press release: \nPrize-winning Revival of Bruce Mason’s Last Play\nMedia Release for Fringe production  at Gryphon Theatre\, Wellington – February 2006 \nAudiences at February’s Fringe Festival will have a rare chance to see Blood of the Lamb – the last play by foremost New Zealand playwright Bruce Mason. \nThe play\, first performed 25 years ago\, was described by Mason biographer David Dowling as his ‘most complex\, daring and satisfying’ play. \nThis production had its first run in Eastbourne last year. It won best drama\, best actress and best young actress prizes in the 2005 Wellington Theatre Federation full-length play competition. \nThe play is set in 1979\, but much of the action takes place in the 1950s: ‘New Zealand at its bursting zenith.’ \nIt looks at strong\, adult and contemporary themes and deals with attitudes to sexuality that are as relevant today as when Mason wrote about them – even if New Zealand has changed dramatically in the half-century since the events that are recounted take place. \nIt is a powerful\, complex and humorous production that weaves sexuality\, family relationships\, truth and the appearance of truth into a challenging and thought provoking drama. \nEwen Coleman in the Dominion Post said the production ‘brings Mason’s play alive\, working up the dramatic moments with power and emotional intensity.’ Nerissa Moore\, competition adjudicator said it was a ‘most satisfying evening of theatre.’ \n\n2005 Blood of the Lamb – Bruce Mason44 photos\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n \n \n\n\nWhat the Critics Said\nWomen’s work for a new generation\nREVIEWED BY: EWEN COLEMAN DOMINION POST 25 JUNE 2005 \nReview of Eastbourne production \nThough he is considered by many as the doyen of New Zealand theatre\, little is heard of Bruce Mason these days\, and even less of his plays. Therefore it is pleasing to see Butterfly Creek Theatre Troupe give his last major work\, Blood of the Lamb\, an airing. \nSubtitled Cosi Fan Poche – thus do a few women – it was originally commissioned by the Court Theatre in 1980 with two specific women in mind for the leading roles of “Henry” and Eliza and so it is a big ask of any theatre group to emulate these two unique and demanding roles. \nAnd though this production is not without its fau1ts mainly in the traverse staging which denies much of the audience many moments of watching facial expressions when continually looking at the actors in profile\, it certainly brings Mason’s play alive\, working up the dramatic moments with power and emotional intensity. \nAnd while almost drowned at times by Mason’s eloquence and erudite writing\, especially once the main point of the play has been reached\, the story of how Victoria returns home from Australia for her wedding only to find that ft’s not Eliza but her stepfather “Henry” who is in fact her mother\, it is still an intriguing play. And though socially we have moved on a lot in the 25 years since it was written and the themes of two women living together and making their way in a male-dominated world stretches credibility at times\, the play still has many relevant and redeeming features. \nDirector John Marwick has assembled a strong cast of three women for this production\, each handling Mason’s quick-witted repartee with reasonable confidence\, bringing out much of the emotional turmoil each is going through as their story unfolds through the continual barrage of metaphor and allegory. \nRowan Macrea’s rough butch and bawdy “Henry” contrasts and compliments well Joanna Hulme’s homely and pedantic Eliza\, while Elspeth Harris portrays well daughter Victoria’s hard edge which slowly softens as the play progresses. \nDOING BRUCE MASON PROUD\nREVIEW JOHN SMYTHE WWW.THEATREVIEW.CO.NZ \nReview of Gryphon production \nA rare opportunity to see\, rather than read\, a Bruce Mason play comes with the Butterfly Creek Theatre Troupe’s production of his last play for stage\, Blood of the Lamb – a Wellington revival of last year’s Eastbourne season. Commissioned by the Court Theatre\, it premiered in 1980 then toured the country and went to the Sydney Festival the following year\, where I first saw it in a cavernous old theatre with appalling acoustics that required the cast to overplay what is essentially a very intimate\, and highly verbal\, piece. Foolishly\, I blamed the play. \nAchieving credibility is the play’s big challenge. We are asked to believe that a girl grew up believing she had a mother and father when both of them – clearly to us in the audience – are women\, even if one does dress as a man. Sure\, Victoria spent most of her childhood in boarding school\, from the age of six. Sure\, Shakespeare’s plays and many operas\, both comic and tragic\, involve women masquerading as men. And sure\, our own history embodies real-life cases (see Lorae Parry’s 1996 play Eugenia\, about a woman who passed herself off as a man in the early 20th century). \nMaybe Mason subtitled his play ‘Cosi Fan Poche’ (thus do a few women)\, called his lesbian couple Eliza Higginson and Henry Higginson\, and described it as ‘a three-part invention in homage to W A Mozart and G B Shaw’ in order to emphasise its reach went well beyond itself. And it does. Set in real time on the patio of Higginson Lodge in Rangiora\, its sweep through a couple of decades of fast-changing New Zealand society both Pakeha and Maori\, compared and contrasted with the great classics – and Australia (well\, Sydney) – is epic. \nBut to take that as a cue to over-theatricalise the ebullience of the playful text\, richly articulated and replete with classical references\, would be a mistake. Its two and a half hour stretch (plus interval)\, consisting mostly of story-telling to explain how the present came to pass\, would soon pall and reek of pretension if we didn’t believe in\, and feel empathy for\, the three women involved. If we don’t tune into the very high stakes that compel the story-telling\, the play is lost. \nHappily director John Marwick and his astutely-cast actors do Mason proud. As conversant and comfortable with the verbal style as seasoned actors of Shakespeare are\, they keep firmly focused on the emotional truth of each moment. Thus we willingly suspend our disbelief of a Henry (Rowan Macrae) got up as Charlie Chaplin and Eliza (Joanna Hulme) sewing pearls on a bridal veil as they prepare for the return of their prodigal daughter\, who ran away five years ago to Australia and is now returning with her Aussie-Italian-Catholic swain to get married. What hooks our interest is not so much Henry’s manic behaviour and Eliza’s studied calmness\, as the source of the agitation that underpins it. \nIntrigue also surrounds what Victoria (Elspeth Harris) is up to. When she arrives from Christchurch\, stroppy\, smart-tongued\, yet yearning for something she cannot articulate\, and calls Henry “Dad” and Eliza “Mum”\, the questions this raises demand our continued attention. It is her question\, “Who is Gladys Mary Talbot?” – a name discovered on her birth certificate – that provokes the unfolding of the all-too-credible truth. Gothic the stories may be\, as ‘Vix’ exclaims\, but they stand as a vivid exposé of the phallocentric cultures\, both Pakeha and Maori\, that were so actively challenged throughout the 1960s\, 70s and well into the 80s. \nThe journey from the Dio boarding school where the women first bonded as friends\, through the landed gentry’s high country sheep station where innocence was lost in the blood of a needlessly slaughtered lamb\, to the subsistence settlement in Tolaga Bay where the plan was hatched for the refugees’ future survival\, and on to the haven of North Canterbury market gardens and a growing career in flowers and food\, is vividly painted by Mason in richly-toned text. How it has been for Victoria and why she ran away\, and the rationale behind the couple’s idiosyncratic lifestyle\, also emerge to answer our pent-up questions. \nIf there is one part Mason might be challenged on\, it is his preoccupation with “who has the clarinet?” in the lesbian relationship\, and what he wants to imply by having Henry play one so badly (off stage). On the other hand\, this may be seen as a comment on the pressure the women felt to play out the hetero gender roles in public. And they do agree to drop the pretence and both come out as women at the wedding\, albeit with Henry in a trouser suit. But Henry’s final appearance is in mourning suit drag. Maybe the point is that it’s been such fun\, she won’t easily relinquish the make-believe. \nProof that all three actors have got it right comes with the credibility of Victoria’s final acceptance of her true mother. It’s a hard-won resolution and all the more touching for that. Blood of the Lamb has taken us on one helluva ride through humanised history and culture\, and Rowan Macrae\, Joanna Hulme and Elspeth Harris have excelled in keeping us with them all the way. URL:https://bctt.org.nz/show/blood-of-the-lamb/ CATEGORIES:Bruce Mason,Elpeth Cotsilinis,Joanna Hulme,John Marwick,Rowan McRae ATTACH;FMTTYPE=image/jpeg:https://bctt.org.nz/wp-content/uploads/2025/04/13185679655_f5edc854eb_o.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20040224 DTEND;VALUE=DATE:20040229 DTSTAMP:20260513T213315 CREATED:20250424T211835Z LAST-MODIFIED:20250509T020028Z UID:2820-1077580800-1078012799@bctt.org.nz SUMMARY:All's Well That Ends Well DESCRIPTION:Bard in the Yard in 2004 was Shakespeare’s lesser-known comedy All’s well That Ends Well directed by John Marwick. Part of the Fringe Festival. In April the director and cast took the play to Stratford (on Patea not Avon) and presented an afternoon performance in an outdoor setting. \n\n2004 All's Well That Ends Well35 photos\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n \n \n\n\nPublicity 2004\nEastbourne’s Butterfly Creek Theatre Troupe has chosen All’s Well that Ends Well for this year’s popular outdoor Bard in the Yard Fringe presentation. \nThis is the third year the Troupe has brought the Bard to Fringe audiences – though it will be the eighth year of Bard in the Yard for Eastbourne. They’re getting a name for strong performances often of lesser-seen Shakespeare. \nThe Dominion Post said last year’s show about women from the History plays was “an insightful look at a different aspect of Shakespeare.” \nThe group’s earlier production of The Winter’s Tale was said to show “great understanding and depth of knowledge about not only the play but also the subtleties of playing Shakespeare.” Another reviewer called it an “accessible and compelling production”. \nWellington hasn’t seen a recent performance of All’s Well. It hasn’t been done professionally and the university’s only remembered show was more than 30 years ago. \nFor many years the play was branded a ‘problem play’ and received only rare stagings around the world. But John Marwick\, who will direct the play in Eastbourne\, believes it deserves a much better name and a wider audience. \n“It’s an overlooked gem” Marwick says – and he seems to be in good company. Britain’s Royal Shakespeare Company’s production opened at Stratford-on-Avon in December starring Dame Judi Dench in what the Guardian’s theatre critic called an “exquisite production of this infinitely fascinating play”. \nMarwick\, creator and usual director of the Bard in the Yard series\, sees the play as an intriguing mix of reality and romance. Shakespeare he says has written characters with very real human frailties and set them in a fairy tale story. In the past that combination was thought to be unclear\, unworkable and too difficult\, so\, when it was produced\, directors tended to emphasise either reality or romance. \nBut modern theatre audiences are much more comfortable with ambiguity and shades of meaning. “We’re used to anti-heroes and black comedy\,” Marwick says “and we don’t always expect that everything will work out perfectly.” \nMarwick thinks that in this play Shakespeare deliberately pushes the boundaries of ambiguity. To underline this and the play’s uncertain ending Marwick has added a question mark to the title: All’s Well that Ends Well? \nAn intensive rehearsal period is just starting for the 12 strong cast most of whom are locals and have appeared in previous Bard in the Yard shows – though two are making the journey from Wellington. Parts are keenly sought after and actors keep coming back for more. This despite the difficulties of Shakespeare’s language\, learning lines in only six weeks\, and presenting ‘in the round’ and outdoors (though they move inside if the weather turns bad). \nAs in previous years the format for the shows is to strip the plays down to bare essentials. The venue is literally a yard – in this case the Muritai School Yard. Audience are seated around the acting area with only simple lighting and minimal set. Even costume is minimised so that the whole attention focuses on Shakespeare’s language\, his story and the people in it. \nMarwick says that when he follows this format and trusts to Shakespeare’s genius and understanding of human nature “we always find the magic of the plays.” \nThe play\, as one of the characters says\, is about life as a mingled yarn of good and ill together. There will be moments to smile and laugh and times to cry and wonder at our fellow man. \nAs usual the world’s greatest playwright “holds the mirror up to nature.” \nThe Cast \nRowan McRae is playing the heroine\, Helena. She has previously played a\nnumber of Shakespeare’s leading comedy parts – Rosalind in As You Like It\,\nBeatrice in Much Ado About Nothing. Helen will be a particular challenge\nbecause she is such an interesting mix of the reticent and the forthright.\nShe’s a pretty modern woman in many ways – when she knows what she wants she\ngoes after it big time. \nFran Baldock plays the Countess – a gracious part that has never failed\nany of the long line of distinguished Shakespearean actresses who have\nplayed it – Edith Evans\, Fay Compton\, Peggy Ashcroft and Dame Judi Dench who\nis playing the part at Stratford-on-Avon at present. \nPeter Baldock is the main comic character\, Parolles\, a braggart\, coward\,\nliar and fop who nevertheless shows a very human side in the end.  Peter\nplayed the jealous king in Troupe’s millennium production of The Winter’s\nTale and was an hilarious Pistol in last year’s Bard in the Yard. \nThe king is played by Michael McDonald who has been persuaded to return\nto the Eastbourne stage after a considerable absence. Michael has a great\nknowledge of Shakespeare and the Troupe is pleased to welcome him back. \nJerry Duckor is yet again taking a part and\, along with his wife Julie\,\nhelping with the production and direction side. Jerry and Julie are New\nYorkers who spend four months of every year in Eastbourne. \nOther local in the cast are Reuben Hardie\, Will Clannachan\, Sandra\nGillespie\, Anne Manchester\, and Cam Packer.  They are joined by Ben Cain and\nMarie Hodson who are coming out from Wellington to take part. \n  URL:https://bctt.org.nz/show/alls-well-that-ends-well/ CATEGORIES:Anne Manchester,Ben Cain,Fran Baldock,Jerry Duckor,John Marwick,Michael McDonald,Peter Baldock,Rowan McRae,Sandra Gillespie,Shakespeare,Will Clannachan ATTACH;FMTTYPE=image/jpeg:https://bctt.org.nz/wp-content/uploads/2025/04/13924507918_982ba63480_o.jpg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20030225 DTEND;VALUE=DATE:20030302 DTSTAMP:20260513T213315 CREATED:20250425T212658Z LAST-MODIFIED:20250509T022232Z UID:2832-1046131200-1046563199@bctt.org.nz SUMMARY:Beauties\, Barmaids and Battleaxes DESCRIPTION:For Bard in the Yard for 2003 John Marwick and Jerry Duckor devised a production featuring a collection of scenes chosen for the way they portray Shakespeare’s women. \n\n2003 Beauties Barmaids & Battleaxes29 photos URL:https://bctt.org.nz/show/beauties-barmaids-and-battleaxes/ CATEGORIES:Anne Manchester,Ashley Bloomfield,Barry Mawer,Florence McFarlane,Jerry Duckor,Jerry Duckor,Joanna Hulme,John Marwick,John Marwick,Peter Baldock,Rowan McRae,Sandra Gillespie,Shakespeare,Trevor Rose,Will Clannachan ATTACH;FMTTYPE=image/jpeg:https://bctt.org.nz/wp-content/uploads/2025/04/14130719333_a97636e19b_o.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Pacific/Auckland:20020217T080000 DTEND;TZID=Pacific/Auckland:20020221T170000 DTSTAMP:20260513T213316 CREATED:20250425T215801Z LAST-MODIFIED:20250509T023928Z UID:2837-1013932800-1014310800@bctt.org.nz SUMMARY:Much Ado About Nothing DESCRIPTION:In February 2002 John Marwick directed the first Shakespeare production to be held in Muritai School yard. Much Ado About Nothing was presented with a little bit of a ‘tango twist’. The play was part of the Wellington Fringe Festival that year. \nThe Cast\nDON PEDRO Laurie Atkinson\nDON JOHN Chris Morey\nCLAUDIO Dan Caddy\nBENEDICK Ashley Bloomfield\nLEONATA Sandra Gillespie\nANTONIO Jerry Duckor\nCONRADE John Marwick\nBORACHIO Reuben Hardie\nFRIAR FRANCIS Trevor Rose\nDOGBERRY Trevor Rose\nVERGES Jerry Duckor\nHERO Holly Robinson\nBEATRICE Rowan Macrae\nMARGARET Yvonne Bishop\nURSULA Anne Manchester \n\n2002 Much Ado About Nothing24 photos\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n \n \n\n\nPublicity 2002\nTeasing\, Treachery and the Tango\nFor the first time Eastbourne will host a Fringe Festival play this week when Butterfly Creek Theatre Troupe stages Much Ado About Nothing – one of Shakespeare’s best-loved comedies. \n“It’s got love and deception\, laughter and drama\,” says John Marwick the director. But this production has got a little extra as well. “Tango\,” says John “the passionate and sensual dance of Buenos Aires\, fits this play beautifully.” \nThe play has a masked ball in one scene and ends with another dance. So\, instead of the usual formal dance steps\, the cast have been learning the Tango. \n“I learnt the dance only last year myself” says the director\, “but I’m really hooked.” He says that\, though the play has only had a short summer rehearsal period\, cast members have taken to the Tango enthusiastically. \nThis will be the fifth time that Marwick has directed Butterfly Creek Theatre Troupe members in summer Shakespeare. The shows have previously been semi-private productions mounted in Troupe members’ gardens and called Bard in the Yard. \nThis year will be the Troupe’s first time as part of the Fringe Festival and\, with the prospect of bigger crowds\, they have moved to a larger venue. But\, the production is still outdoors – and still Bard in the Yard since it is in the Muritai schoolyard. \nThe production will be staged completely ‘in the round’ – audience on all sides of the action to give everyone an excellent view. If the weather is unkind the whole production moves inside to the floor of the school hall. \nMany of the cast of 13 have been in previous Bard in the Yard productions or took part in Marwick’s full-scale millennial production of The Winter’s Tale – winner of best play in the 2000 Wellington Theatre Federation Awards. They are joined on this occasion by two musicians who\, with violin and guitar\, will provide the tango music. \nThe play starts at 7.30 pm and runs for about two hours (including one interval) from Sunday 17th to Thursday 21st February at the Muritai Schoolyard\, Muritai Road\, just past the village in Eastbourne \nTickets at $12\, $10 (senior citizens and students)\, and $8 (children) include a complimentary glass of wine and are available from Ticketek\, Eastbourne Hammer Hardware\, and at the door. \n  \nIf you’re planning to go remember to wrap up well – unfortunately\, balmy summer evenings cannot be guaranteed this year ! URL:https://bctt.org.nz/show/much-ado-about-nothing-2/ CATEGORIES:Anne Manchester,Ashley Bloomfield,Chris Morey,Dan Caddy,Holly Robinson,Jerry Duckor,John Marwick,Reuben Hardie,Rowan McRae,Sandra Gillespie,Shakespeare,Trevor Rose,Yvonne Bishop ATTACH;FMTTYPE=image/jpeg:https://bctt.org.nz/wp-content/uploads/2025/04/13924193307_fe99fa8610_o.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=Pacific/Auckland:19880410T080000 DTEND;TZID=Pacific/Auckland:19880410T170000 DTSTAMP:20260513T213317 CREATED:20250427T004031Z LAST-MODIFIED:20250429T010135Z UID:2956-576662400-576694800@bctt.org.nz SUMMARY:The Hollow DESCRIPTION:The Hollow\, a classic Agatha Christie murder mystery was directed by John Marwick. \n\n1988 The Hollow17 photos URL:https://bctt.org.nz/show/the-hollow/ CATEGORIES:Agatha Christie,David Carew,Debbie McColl,Don McIlroy,John Marwick,Peter Hector,Rowan McRae,Sandra Gillespie,Stacey Waterhouse,Will Clannachan END:VEVENT END:VCALENDAR