PINAY tickets are Live!!

Firecracker Outstanding newcomer award’ (Auckland Theatre Awards 2018) winner Marianne Infante makes her professional debut Pinay with signature Filipino flair. The first bilingual Filipino Kiwi play, Pinay amalgamates personal experiences of assimilation and migration with the geological occurrences of Philippines’ Mt Pinatubo volcanic eruption and the Christchurch earthquakes to collide the binaries of race, culture, relationships and religion to tell a story of the in-between.

Pinay follows Filipinas Mariella and Alex, a loving mother-daughter duo whose conflict comes to a head when Alex moves in with her Pakeha boyfriend Seth. Pinay is a moving, challenging and often hilarious play that explores the pains of navigating a difference of core values with our loved ones.

PINAY live development reading 2018. Photo: John Rata

With a unique performance style, Pinay integrates traditional Filipino elements of dance, karaoke and contemporary movement sequences to reflect the kaleidoscopic identity inherent in many New Zealanders today.

Directed by James Roque, written (and starring) Marianne Infante with an ensemble cast featuring Donna Dacuno, Richard Perillo, Lucas Haugh, Marwin Maui Silerio and Matiu Hamuera.

13 AUG - 24 AUG  

8:00PM

Basement Theatre

Book tickets HERE

PAT Chats: Bala Murali Shingade - what do we choose to reveal?

“What’s wrong with it?" 
“We have to make it more... Indian.”

Bala Murali Shingade has a lot of questions.

Having graduated from the University of Auckland with an MA in Screen Production last year, Bala has been working as a freelance writer, director and actor in Auckland both on stage and for screen. His theatre credits include Dara, First World Problems and A Fine Balance with Prayas Theatre Company. Recent screen credits include writing and directing Brown Boy Lies, his MA thesis film, and 800 Lunches, one of the six Someday Stories short films funded by the Outlook for Someday.

Taking up the challenge to write a full length play as part of PAT’s Fresh off the Page series, the filmmaker and storyteller asks his characters and the audience how they present themselves in different situations, and why;

“The central question of the story is about why people become different people in different contexts. What makes a person who they are? What is identity? This play will explore what exactly it is to be ‘Indian’ or ‘New Zealander’ in the 21st century, from 3 different generations. What makes you who you are? Just because you speak English well, does that make you more of a New Zealander? Just because you don’t go to the temple, does that make you less Indian?”

'What Have You Become?' is his response - an ensemble family dramedy that hopes to explore questions around identity and culture in the context of contemporary Auckland.

The surprise arrival of their grandparents forces a dysfunctional Indian New Zealand family to front an image painted by expectation - that of a normal, happy Indian family. In the ensuing weekend chaos, secrets are spilled, relationships are broken and true identities are revealed.

PAT chats to Bala about his first play below.

Catch the reading on June 5th at The basement, 8.30pm!

Free tickets available here

Photos: John Rata

What inspired you to write this play?

The people around me inspired me to write this play. It’s interesting to watch how people change the way they present themselves in different situations, with different people. I wanted to explore how and why people do this. I grew up watching the epic family drama films of late 90s/early 2000s Bollywood cinema, which were an influence on this piece. I also really enjoy ensemble stories with intertwining storylines and that seemed like a perfect way to explore a group of characters all in conflict with each other.

What were the challenges you faced during the process?

Making all the characters distinct, with their own storylines, their own ways of speaking and their own personalities was a huge challenge. It was also challenging to write a full-length piece – everything I’ve written previously has been short theatre or short screenplays.

What do you think makes a good story?

Compelling characters that we are made to empathise with, in conflict with each other trying to make difficult decisions is always interesting to watch/read about. I love pieces that are comedic but with a bit of serious drama in them too.

How do you want people to feel at the end of your play?

First and foremost, I want people to feel entertained. It would be a bonus for people to feel pleased at seeing characters like their own friends and whanau on stage. Hopefully, if they are satisfied with the story, it will make people reflect on themselves and the people in their lives, maybe question the way they interact with each other.

‘Who’ did you write your play for?

I wrote this play for the community – there is a growing collection of talented, passionate, eager Desi artists in Aotearoa New Zealand that need their own stories to tell that are specific to them and their experiences – stories that resonate with them and their own circles.

What character was the easiest to write? Why?

Rani (the grandma) was probably the easiest to write because she is the closest to being a caricature – everyone knows an aunty or grandma like her in our communities. So I had fun coming up with crazy stuff for her to do/say.

 Can you explain any ‘theatrical’ ideas/concepts utilized in the play?

Not sure if there’s an official ‘theatrical’ concept for this, but the entire play takes place in the dining room and kitchen of the Kumar household. The characters all enter and exit at various times and an entire party takes place in the other parts of the house but we only ever see this space and the interactions between our characters that take place there.

PAT Chats: Hweiling Ow on being 'Not Woman Enough'

“You know you’re trespassing right? You are an unwanted flatmate. And this is an eviction notice. For fuck sake, cant you see - you dumbass, if you take down your host, where will you go? You kill me, you kill you. The only option is to starve you. Me.”  

Photos: John Rata

Defining womanhood is a big task. First time playwright Hweiling Ow dives in the deep end with her debut work ‘Not Woman Enough’, a full length monologue play chronicling three woman’s journeys with their unique bodies, and how they connect to womanhood with the tangle of pressures they face.

As a prolific actor and producer, Hweiling’s own journey has taken her into writing and directing. A familiar face on shows like Shortland Street and Agent Anna and various theatre shows, she also currently has a short horror film called Vaspy in post production funded by NZ Film Com and has produced and acted in two webseries - Ao-terror-oa and AFK that are both NZ On Air funded, amongst other projects in the works.

Mentored by playwright Meilin Te Puea-Hansen, Not Woman Enough is part of PAT’s playreading series Fresh off the Page, where this year’s focus is the creation of new Asian works in NZ. Hweiling is the third of 10 writers who will debut new plays this year.

We ask Hweiling about her process and inspiration before her play is read to a live audience this month.

Catch the reading at 8.30pm at TAPAC, 100 Motions Road, May 22nd!

What inspired you to write this play?

I’ve never written a play before. So I thought I’d give it a go. I've always had an idea floating around; either for a short film or a play called Small Vagina. It didn't go anywhere further than the first scene in my head. There are some personally inspired stuff, but I've also heighten the character to places that isnt me. I was also hanging out with two diff friends who were going through the IVF process to get pregnant and really feel strongly about their journey through it.

The first things that came to mind was about these 3 women and the different things they have to face in life because they are ‘women’.

This play is also collection of thoughts, reading the media; and experiences from people I know as well as stuff I am drawing up from my own life. I spent a lot of time figuring out my existence, who I am, my role in society - expectations around being female in a Malaysian Chinese context.

I’ve spent a lot of time thinking about the expectations around women, particularly women’s body parts - and the pressures and objectification we are put through. The amount of responsibility that has been put on us by patriarcal, cultural and society structures are incredibly unfair but yet we take it. A lot of the times its disguise in nuances or passive aggressive statements.

What were the challenges you faced during the process?

I'm always fighting for time to write.

What do you think makes a good story?

New perspectives that people haven't seen before. Thinking outside the box of how a story can be presented. And of course, authenticity.

How do you want people to feel at the end of your play?

HAHAHAHA - never thought about that in any great detail. I can’t control how anyone feels, and everyone will feel something different from each other. I guess if they don’t walk out, and they come away feeling something, that’s all I can hope for.

‘Who’ did you write your play for?

Myself. It is an uninterrupted conversation from me to whomever.

What character was the easiest to write? Why?

They are all currently quite easy. I am the characters in some shape or form, and the characters are me - in an augmentation of certain behaviour.

Can you explain any ‘theatrical’ ideas/concepts utilized in the play?

To come!  This is probably the biggest thing I am struggling with.

PAT Chats: Natasha Lay's legacy as the next Great White Man

“As I set to put pen to paper, I felt something creep up behind me. I turned around to be greeted by a blinding light, and a giant, cavernous black void in the middle of the light. I stared into the abyss to find my 14-year-old self staring back at me - one hand on the microscope I was under, one hand holding a scalpel. “

Photo: John Rata

"Let's face it, Tash - You’re Cio-Cio San, you’re Miss Saigon, you’re the go-go dancer in Bangkok who giggles at white dudes twice your age butchering your language."
 

14-year-old Natasha had an ambition -  to leave a legacy like the white men in history books. She also made a vow - to never sleep with, let alone date, a cisgender, heterosexual white man.  After being Shortlisted for Playmarket's 2018 Playwrights B4 25 award for the clever and heart wrenching Maniac (On The Dance Floor), Natasha Lay presents her sharp new play 'How to be a Great White Man'; a romp through issues of identity, reflecting on the ways we look at ourselves and others, and an attempt at measuring the space between our past and future selves.

We chat with Lay about why and how she’s unleashing this narrative on the world, as part of our Fresh off the Page new writer’s season.

Catch the debut reading of How To Be A Great White Man this April!

When: Wednesday, April 17th, 8:30pm
Where: Basement Theatre, Studio
Free Event - R16 - Open to all

What inspired you to write this play?

I was a really strange, isolated, nerdy kid. When I was about 14, I got obsessed with the idea of being One of the Greats and leaving a legacy, and for some reason, I ended up with a pantheon of Great White Men as my role models. Ironically, this was around the same time I was learning about feminism, and how the personal is political and whatnot, and I made a vow with myself to never, ever date a cishet white dude. I've always thought this was a hilarious chapter of my life and something worth writing about.

What were the challenges you faced during the process?

I came into the process wanting to really push myself, but I still found myself asking questions like, "Will this make my audience too uncomfortable?", "Is this just plain self-indulgent?" and "Is this too confusing?" Really letting myself explore those boundaries both in form and in content has been a HUGE challenge!

What do you think makes a good story?

A good gimmick - whether that's a unique hook, good craftsmanship, or interesting execution.

How do you want people to feel at the end of your play?

Exhausted, but wanting to pick up a torch and pitchfork regardless.

‘Who’ did you write your play for?

For my 14-year-old self, for everyone who has ever felt like a bad person, and for everyone who's afraid of dying.

What character was the easiest to write? Why?

Not quite a character, but definitely the self-critical parts of the chorus. I'm a lot better at tearing down my arguments than I am at supporting them.

Can you explain any ‘theatrical’ ideas/concepts utilized in the play?

I wanted to see a chorus divided - the chorus as both a group and a collection of individuals, fighting with itself. On a lighter note, I also thought it would be fun to utilise actors of identities different to me (non-Asians, non-female, etc.) as mouthpieces for the rather personal side of this story about identity politics.

PAT CHATS: Shriya Bhagwat Chitale and ripping up the Kamasutra

“Well, the Kamasutra or love is not for the faint hearted or the sane, really. But that’s just my opinion.”

Images: John Rata

Shriya Bhagwat Chitale tears up the legendary sexual self-help book in her new play ‘Kamasutra Chronicles’, challenging ancient and contemporary myths around sex and relationships.

The explosive first play in Proudly Asian Theatre’s new series, where Asian playwrights debut their new works each month of the year, Shriya gives some insight about why she’s flipping the script on the ancient text in her debut work as a playwright.

Catch the debut reading of The Kamasutra Chronicles this March:

When: Wednesday, March 20, 8:30pm
Where: Basement Theatre, Studio
Free Event - R16 - Open to all

What inspired you to write this play?

A feeling of solitude that I got more and more comfortable with during the process of writing the play inspired me to continue. Initially, it was curiosity about the Kamasutra and if it held anything more than just sexual poses. When I read the translations (and I read more than one), I found it to be a fascinating window into how people lived, dated and socialised all those years ago.

What were the challenges you faced during the process?
Making space for writing this with competing priorities of adult life heaped with self-doubt and being tremendously shy of calling myself a writer.

What do you think makes a good story?
I think that this is a good story because it takes the mundane domesticity of everyday life and turns it into something magical and full of possibilities. Also the problems faced by the couple in the play are at once specific and universal.  

How do you want people to feel at the end of your play?
I want people to feel good about themselves, thoughtful and more than anything else, hopeful.

Who did you write your play for? 
I wrote this play first and foremost for myself. Then it is a play for anyone who has sex, wants to have sex or thinks about sex. It’s for people like you and me and of course people who love theatre.

What character was the easiest to write? Why?
The muse, the mighty Vasant Sena was the most interesting and the easiest to write. I think this was because she is asking the questions that many of us may ask ourselves in the privacy of our own heads.

Can you explain any ‘theatrical’ ideas/concepts utilized in the play?

Ishita’s direct address would be a theatrical concept I’ve used in the play. She will create a very special relationship with the audience and co-opt them into the funk she finds herself in.