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DTSTART;TZID=Pacific/Auckland:20131122T080000
DTEND;TZID=Pacific/Auckland:20131130T170000
DTSTAMP:20260621T045205
CREATED:20250411T212557Z
LAST-MODIFIED:20250505T223013Z
UID:2637-1385107200-1385830800@bctt.org.nz
SUMMARY:A Life in the Theatre
DESCRIPTION:A Life in the Theatre by David Mamet was directed by Emanuel E Garcia in November 2013 with a cast of two. \n\n2013 A Life in the Theatre  –  David Mamet14 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\nPublicity 2013\nButterfly Creek Theatre Troupe presents a play which gives the audience snapshots of two theatre actors at very different points in their careers. Robert (played by John Marwick)\, is an old hand in the theatre\, and John (played by Avi Duckor-Jones)\, a relative new-comer and initially eager to learn. Robert’s guidance is welcomed by John at first but as the older man’s acting and mentoring skills start to falter\, John emerges as a confident and mature player. \nMamet has structured the play in a series of vignettes\, some taking place ‘backstage’ and others onstage\, representing scenes from a variety of actual plays. Some of these attempts are hilarious as things go wrong and they valiantly soldier on. But there is also poignancy in both the progress of the relationship\, and of the diminishing talents and disillusionment of Robert. Directed by Emanuel Garcia.
URL:https://bctt.org.nz/show/a-life-in-the-theatre/
CATEGORIES:Avi Duckor-Jones,David Mamet,Emanuel E Garcia,John Marwick
ATTACH;FMTTYPE=image/jpeg:https://bctt.org.nz/wp-content/uploads/2025/04/11580755385_09eea5b504_o.jpg
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DTSTART;VALUE=DATE:20110623
DTEND;VALUE=DATE:20110703
DTSTAMP:20260621T045206
CREATED:20250418T041003Z
LAST-MODIFIED:20250506T021413Z
UID:2722-1308787200-1309651199@bctt.org.nz
SUMMARY:Oleanna
DESCRIPTION:John Marwick directed David Mamet’s hard-hitting two-person play Oleanna.  \n\n2011 Oleanna – David Mamet9 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\nPublicity 2011\nA controversial American adult drama about a university lecturer and one of his young woman students. It’s about how a teacher who misuses his power can seriously damage a vulnerable student. Or maybe it’s about how political correctness can be carried to extremes and damage the lives of well-meaning people. It’s about sexual harassment – or maybe it’s about extreme feminism. \n80 minutes – no interval – latecomers not admitted. 8 pm start – bar open from 7.30 pm. Contains some coarse language and adult themes – not suitable for children. Presented in an intimate stage setting – seating limited – bookings essential. \nReview by Tanya Piejus\n\n\nGiven the hoo-ha raised this week over Alasdair Thompson’s inappropriate comments about ‘women’s sick problems’ once a month\, it’s apposite that Butterfly Creek Theatre Troupe is performing David Mamet’s controversial treatise on old-school male power versus radical feminism. \nMamet’s controversial script is based on the real-life case in the US of Anita Hill who alleged her supervisor Clarence Thomas had made provocative and harassing sexual statements while she was a student. It can be read in two ways: as a teacher who misuses his power and seriously damages a vulnerable student\, or as extreme political correctness that ruins the life of someone who only had good intentions. By the end of this production\, audience opinion was divided between the two with one commenting that it was a parallel statement of both. \nThis is testament to director John Marwick’s skill in delivering a startling two-hander to a modern audience. Mamet wrote the play in the early 1990s and Marwick has avoided the easy option of making it a period piece\, instead blurring the lines even more between who is right and who is wrong. \nTwo-handers are a challenge for any actor and this one is particularly so with its staccato\, cut-off dialogue and unrelenting theme. Both Damian Reid as university professor John and Sarah-Rose Burke as his deceptively naïve student Carol carry their roles with assurance and skill\, steadily weaving two solidly opposed characters who draw the audience’s sympathies back and forth between them. \nReid imbues John with an insufferable academic pomposity that is nevertheless well-meaning. His systematic ruin at the hands of Carol is painful to watch\, but you can’t help feeling by the end of the piece that he should have known better. \nBurke’s Carol is on the one hand vulnerable and helpless\, and on the other sly and domineering. Her deft portrayal raises as many questions as it answers\, as she twists and manipulates John’s intentions to her own agenda and that of the sinister ‘group’ she claims to represent. \nThe actors work on an intimate 60-seat traverse stage tucked away behind the blacks at Butterfly Creek’s usual performance venue\, Muritai School Hall. It’s a brave and wise choice of staging\, bringing the audience uncomfortably close to the one-room setting where all the action takes place. In fact\, the final violent act of the play was so close to the front row that it freaked out the audience member closest to it. \nThis simple setting could be too limiting\, but Marwick’s expert direction makes good use of the small space and the blocking never feels too static. However\, the same can’t be said of the lighting design which doesn’t vary between scenes and wastes an opportunity to emphasise the shifting timeframe and tone of each. \nThe other niggle is with the scene changes which are unnecessarily laboured.\nPresumably\, this is to give the two cast members time to change their costumes\, but this could have been handled better with simpler variations in wardrobe that wouldn’t have the audience resorting to chit chat to fill the gaps. The original music by Ray Dickinson was\, however\, an appropriate and atmospheric filler with its piano and ticking clock. \nBut these technical quibbles are very minor in what is otherwise an excellently performed and rendered production of a challenging script which will leave the audience arguing over long after they’ve left the auditorium. \nTanya Piejus \nFrom John Smythe (of Theatreview)\nSaw it tonight – very compelling\, the actors draw us into to their respective truths and command our understanding of – if not our agreement with – aspects of their behaviour. The discussion afterwards lasted out to the car and all the way home back to Wellington. One more show in Eastbourne – then a brief season at the Gryphon (in August?). Well worth it.
URL:https://bctt.org.nz/show/oleanna/
CATEGORIES:Damien Reid,David Mamet,John Marwick,Sarah-Rose Burke
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