1 00:00:07,133 --> 00:00:10,453 Speaker 1: You're listening to the Saturday Morning with Jack Team podcast 2 00:00:10,573 --> 00:00:11,733 Speaker 1: from News Talks at b. 3 00:00:12,853 --> 00:00:15,733 Speaker 2: Queen of the Stage. Allison Quigan is a main stay 4 00:00:15,853 --> 00:00:18,213 Speaker 2: in New Zealand's performing arts scene. You will have seen 5 00:00:18,253 --> 00:00:21,493 Speaker 2: her all sorts of things over the years in all 6 00:00:21,533 --> 00:00:25,253 Speaker 2: sorts of theater productions, many of which she has written herself. 7 00:00:25,893 --> 00:00:28,173 Speaker 2: You might have seen her in Shortened Street playing fan 8 00:00:28,293 --> 00:00:31,733 Speaker 2: favorite Yvonne Jeffries. And Allison is back to her theatrical 9 00:00:31,773 --> 00:00:34,733 Speaker 2: ways directing a brand new production by Sir Roger Hall 10 00:00:34,853 --> 00:00:39,253 Speaker 2: called End of Summertime. And and what is a great 11 00:00:39,253 --> 00:00:41,293 Speaker 2: privilege for us, Allison is here in the studio with 12 00:00:41,373 --> 00:00:44,293 Speaker 2: us this morning. Kelder. Welcome to the show, kid. It 13 00:00:44,333 --> 00:00:46,253 Speaker 2: is so good to see you and thank you for 14 00:00:46,293 --> 00:00:48,053 Speaker 2: being here. So tell us about End of Summertime. 15 00:00:48,213 --> 00:00:50,653 Speaker 3: End of Summertime is a play by Roger Hall which 16 00:00:50,693 --> 00:00:53,973 Speaker 3: is part of a trilogy that he wrote. The first 17 00:00:53,973 --> 00:00:55,733 Speaker 3: one was called Come On Black, and then it was 18 00:00:55,733 --> 00:00:57,693 Speaker 3: You've got to be Joking and Dicky Hart is the 19 00:00:58,453 --> 00:01:01,333 Speaker 3: only character in it. Actually that's not true. There are many, 20 00:01:01,413 --> 00:01:04,773 Speaker 3: many characters and our wonderful actor Andy Granger is playing 21 00:01:04,813 --> 00:01:07,533 Speaker 3: all of the characters right. And so this particular time, 22 00:01:07,613 --> 00:01:11,213 Speaker 3: and Dicky Hart has gone from being a great farmer 23 00:01:11,333 --> 00:01:14,573 Speaker 3: in Taranaki, and then he goes to Wellington, goes from 24 00:01:14,573 --> 00:01:18,213 Speaker 3: the farm to the city. And now his wife Glinda 25 00:01:18,253 --> 00:01:21,653 Speaker 3: has says, right where, off to Auckland, the place he 26 00:01:21,773 --> 00:01:24,213 Speaker 3: doesn't want to live in any time of his life. 27 00:01:24,533 --> 00:01:27,013 Speaker 3: Auckland is full of all these people. Now all they 28 00:01:27,013 --> 00:01:29,653 Speaker 3: talk about is money, The traffic is terrible, all of 29 00:01:29,693 --> 00:01:33,613 Speaker 3: those things. And so he arrives curmudgeonly, and through the 30 00:01:33,693 --> 00:01:35,933 Speaker 3: play he falls in love with Auckland. 31 00:01:36,453 --> 00:01:36,933 Speaker 2: Wow. 32 00:01:37,093 --> 00:01:40,373 Speaker 3: OK, to me, that's the wonderful thing about Auckland is Auckland. 33 00:01:40,413 --> 00:01:42,933 Speaker 3: People are terrible at selling their own city. 34 00:01:42,933 --> 00:01:43,533 Speaker 2: This is true. 35 00:01:43,613 --> 00:01:45,653 Speaker 3: And so when they arrived they say, oh sor about 36 00:01:45,653 --> 00:01:47,493 Speaker 3: that the traffic. I'm sure it must be awful for you. 37 00:01:47,773 --> 00:01:51,733 Speaker 3: But actually, when I arrived here after several times of 38 00:01:51,893 --> 00:01:53,773 Speaker 3: coming to live here, and I came with my family 39 00:01:53,813 --> 00:01:56,213 Speaker 3: to do Shortland Street in two thousand and four, people 40 00:01:56,293 --> 00:01:58,973 Speaker 3: said you'll hate it. And when I arrived here, we 41 00:01:59,053 --> 00:02:00,413 Speaker 3: loved it. The first weekend. 42 00:02:00,813 --> 00:02:02,333 Speaker 2: Wow, because it's impressive. 43 00:02:02,733 --> 00:02:05,653 Speaker 3: Well, it's because of the water is amazing, the volcanoes 44 00:02:05,653 --> 00:02:09,013 Speaker 3: are amazing, The city is gorgeous, and you survive by 45 00:02:09,013 --> 00:02:11,333 Speaker 3: the kindness of strangers. And that's what Auklands about. 46 00:02:11,333 --> 00:02:11,493 Speaker 1: See. 47 00:02:11,493 --> 00:02:13,613 Speaker 2: It's funny you say that because I'm born and raised 48 00:02:13,653 --> 00:02:16,293 Speaker 2: in christ Church and we're like all cards on the table. 49 00:02:16,533 --> 00:02:21,093 Speaker 2: AM still a parochial Cantabrian, And so when I grew up, 50 00:02:21,173 --> 00:02:23,773 Speaker 2: we always love beating Auckland and everything and all comes 51 00:02:23,813 --> 00:02:25,773 Speaker 2: of the worst it out. And then when I came 52 00:02:25,933 --> 00:02:27,813 Speaker 2: and moved to Auckland, I do think, well, you know, 53 00:02:27,853 --> 00:02:34,053 Speaker 2: you have two unique harbors, a city built around the water. 54 00:02:34,493 --> 00:02:38,413 Speaker 2: You have these conical volcanoes sticking up everywhere, which gives 55 00:02:38,413 --> 00:02:42,093 Speaker 2: it the most unique landscape. You've got the White Targeting Ranges, 56 00:02:42,093 --> 00:02:45,773 Speaker 2: which is this incredible backbone of native bush. You have 57 00:02:46,253 --> 00:02:49,173 Speaker 2: more Pacific people than any other place in the world. 58 00:02:49,213 --> 00:02:51,533 Speaker 2: It's really more salmon and people, more Tongan people than 59 00:02:51,573 --> 00:02:54,333 Speaker 2: in Somemore or tong It's really a Pacific capital exactly. 60 00:02:54,413 --> 00:02:56,253 Speaker 2: That's you know, there are some upsides to be in 61 00:02:56,253 --> 00:02:59,293 Speaker 2: Auckland as well. So I mean, people will hear the 62 00:02:59,373 --> 00:03:02,533 Speaker 2: name Dicky Hart and immediately be smiling because that is 63 00:03:02,573 --> 00:03:05,173 Speaker 2: a Sir Roger Hall classic. But what is it about 64 00:03:05,373 --> 00:03:08,493 Speaker 2: Sir Roger's plays you think connect with people in the 65 00:03:08,493 --> 00:03:09,013 Speaker 2: way they do. 66 00:03:09,373 --> 00:03:12,613 Speaker 3: It's because he understands his audience. He's been telling this 67 00:03:12,773 --> 00:03:16,773 Speaker 3: story of this particular generation for fifty years. Yeah, and 68 00:03:17,093 --> 00:03:19,093 Speaker 3: he is very loyal to them, and they are very 69 00:03:19,133 --> 00:03:22,613 Speaker 3: loyal to him. But he is a great observationist. He 70 00:03:22,613 --> 00:03:27,133 Speaker 3: will as he knows these people so so well. And 71 00:03:27,213 --> 00:03:31,813 Speaker 3: he because he's a great comedic writer and a tragedyan writer, 72 00:03:32,053 --> 00:03:35,533 Speaker 3: because in order to tell comedy you need to understand tragedy. 73 00:03:36,053 --> 00:03:39,613 Speaker 3: And so he understands the pitfalls of their lives, the 74 00:03:40,853 --> 00:03:44,733 Speaker 3: extraordinary things in their ordinary lives. And that's that's us 75 00:03:44,813 --> 00:03:48,253 Speaker 3: all over. And so he is he is a hes 76 00:03:48,293 --> 00:03:51,253 Speaker 3: a great storyteller of this country. 77 00:03:51,333 --> 00:03:54,893 Speaker 2: Yeah, his supposes are so much fun. I've been to 78 00:03:55,013 --> 00:03:57,893 Speaker 2: heaps of Roger Hall plays over the years, and you 79 00:03:58,013 --> 00:04:01,533 Speaker 2: always get a like barely laugh after bally laugh after 80 00:04:01,573 --> 00:04:03,653 Speaker 2: bally laugh, you know it is. It always kind of 81 00:04:03,693 --> 00:04:07,813 Speaker 2: delivers in that sense, I suppose. So tell us about 82 00:04:07,853 --> 00:04:10,613 Speaker 2: your role in directing this and how that compares to 83 00:04:10,653 --> 00:04:13,773 Speaker 2: your other theatrical roles over the years, because you write, 84 00:04:14,053 --> 00:04:18,493 Speaker 2: you perform, and you direct, yes and produce everything. Well, 85 00:04:18,533 --> 00:04:20,413 Speaker 2: after this long in the business, of course, you've done it. 86 00:04:20,813 --> 00:04:22,453 Speaker 2: I've swept the stage, and I've been on the board. 87 00:04:22,533 --> 00:04:25,253 Speaker 2: You know, you run the gamut. 88 00:04:25,293 --> 00:04:28,173 Speaker 3: And I started directing his plays in the late eighties 89 00:04:28,173 --> 00:04:29,973 Speaker 3: when I took over Center Point Theater and Palms to 90 00:04:30,053 --> 00:04:34,053 Speaker 3: North And because Rogers plays need to be in the 91 00:04:34,093 --> 00:04:36,373 Speaker 3: program because you know you'll bring in that audience and 92 00:04:36,413 --> 00:04:40,053 Speaker 3: that audience will sustain everybody everything else in the program. 93 00:04:40,333 --> 00:04:43,253 Speaker 3: And so yes, I've been telling his stories right from then. 94 00:04:43,453 --> 00:04:45,933 Speaker 3: I mean, this particular one is a solo show, and 95 00:04:45,973 --> 00:04:49,373 Speaker 3: so as a director for a solo actor, you were 96 00:04:49,373 --> 00:04:52,413 Speaker 3: actually trying to create all the other characters with the 97 00:04:52,453 --> 00:04:55,493 Speaker 3: actor and obviously with the writer. And so it is 98 00:04:55,493 --> 00:04:57,733 Speaker 3: a case of making sure that he can get from 99 00:04:57,773 --> 00:05:00,133 Speaker 3: A to B to C, tod all of that so 100 00:05:00,173 --> 00:05:01,493 Speaker 3: he can get through to the end of the play. 101 00:05:01,573 --> 00:05:05,933 Speaker 3: So there's a practical part of understanding how solo show works, 102 00:05:06,453 --> 00:05:10,613 Speaker 3: also reassuring and just loving what this other person can 103 00:05:10,653 --> 00:05:12,453 Speaker 3: bring to the play. It's well interpretation. 104 00:05:12,813 --> 00:05:15,093 Speaker 2: So does that how does that complexity with with a 105 00:05:15,173 --> 00:05:18,173 Speaker 2: one person play compare to a play that has more 106 00:05:18,213 --> 00:05:19,333 Speaker 2: moving parts and more actors. 107 00:05:20,293 --> 00:05:23,533 Speaker 3: Well, the complexity is that you're intensely involved with the 108 00:05:23,733 --> 00:05:27,973 Speaker 3: with the one actor and when when you're directing a 109 00:05:27,973 --> 00:05:31,933 Speaker 3: lot of people, every single person has a different requirement. 110 00:05:32,053 --> 00:05:34,773 Speaker 3: You know, some people you provoke, some people you tease out, 111 00:05:34,813 --> 00:05:37,693 Speaker 3: some people you just leave alone. But all the time 112 00:05:37,773 --> 00:05:39,893 Speaker 3: you're as a director, you're the person who's in the 113 00:05:39,893 --> 00:05:43,533 Speaker 3: middle of the theater going, I can't hear you, or 114 00:05:45,173 --> 00:05:48,013 Speaker 3: you know you're you're you're using the time to be 115 00:05:48,213 --> 00:05:52,293 Speaker 3: the audience for that particular part of the revessal and 116 00:05:52,373 --> 00:05:54,733 Speaker 3: the and as you get further and further into the play, 117 00:05:54,853 --> 00:05:57,493 Speaker 3: you're getting further and further away from the actors. I 118 00:05:57,493 --> 00:06:00,133 Speaker 3: said to anactor to somebody the other day, I said, 119 00:06:00,173 --> 00:06:03,133 Speaker 3: when you direct at first, there's only a piece of 120 00:06:03,773 --> 00:06:06,293 Speaker 3: masking take between you and the actor, right, and then 121 00:06:06,573 --> 00:06:08,973 Speaker 3: when you go into the theater there's several rows of seats, 122 00:06:09,133 --> 00:06:11,053 Speaker 3: and when the audience comes in, you're in the back row. 123 00:06:11,213 --> 00:06:14,733 Speaker 3: Yeah right, so you you first step all hands on, 124 00:06:14,933 --> 00:06:16,293 Speaker 3: yeah right, constantly. 125 00:06:16,453 --> 00:06:19,613 Speaker 2: Yeah. So you mentioned point you were artistic director for 126 00:06:19,653 --> 00:06:22,133 Speaker 2: eighteen years. I was, that's amazing. So how to talk 127 00:06:22,133 --> 00:06:24,893 Speaker 2: to us about the kind of significance of that place 128 00:06:24,933 --> 00:06:25,133 Speaker 2: for you. 129 00:06:25,653 --> 00:06:28,013 Speaker 3: I was born in Palmerston, North and I went back 130 00:06:28,013 --> 00:06:30,773 Speaker 3: because I had a twenty month old baby, and I 131 00:06:30,813 --> 00:06:33,493 Speaker 3: was off at a job basically that was it. I'd 132 00:06:33,533 --> 00:06:35,933 Speaker 3: worked there before, but the idea of going back to 133 00:06:36,013 --> 00:06:39,293 Speaker 3: Palston North was was one of those on oh no. 134 00:06:39,853 --> 00:06:41,573 Speaker 3: And then of course I was offered the job and 135 00:06:41,613 --> 00:06:45,093 Speaker 3: it was brilliant, and because it taught me how to dream, 136 00:06:45,533 --> 00:06:48,333 Speaker 3: because it taught me how to read an audience. I 137 00:06:48,373 --> 00:06:52,533 Speaker 3: had a marketing manager eventually, and there was only four 138 00:06:52,573 --> 00:06:55,493 Speaker 3: of us running the theater, so everyone was a manager. 139 00:06:55,973 --> 00:06:58,613 Speaker 3: And so he sort of said he didn't. He helped 140 00:06:58,653 --> 00:07:00,933 Speaker 3: me do a strategic plan, which taught me how to 141 00:07:01,013 --> 00:07:04,053 Speaker 3: dream and taught me how to do the things that 142 00:07:04,213 --> 00:07:07,413 Speaker 3: meant the most to me and therefore the audience, and 143 00:07:07,493 --> 00:07:10,573 Speaker 3: so it was. He was great at teaching me how 144 00:07:10,573 --> 00:07:12,453 Speaker 3: to do that. He was very young, yeah, straight out 145 00:07:12,493 --> 00:07:14,173 Speaker 3: of university. But he said, I'm good at this, and 146 00:07:14,213 --> 00:07:16,173 Speaker 3: I thought, fine, I'm hopeless. 147 00:07:16,613 --> 00:07:18,693 Speaker 2: Am I right? And thinking is a five? Go Bamie 148 00:07:18,693 --> 00:07:23,373 Speaker 2: and PARMI was a five? Go Bamie and Parmi, You wrote. 149 00:07:22,373 --> 00:07:24,973 Speaker 3: I mean we didn't. We hadn't written the play. We 150 00:07:25,053 --> 00:07:25,813 Speaker 3: wrote the title. 151 00:07:25,973 --> 00:07:28,053 Speaker 2: Yes, I can see that the title role. 152 00:07:29,173 --> 00:07:32,213 Speaker 3: You mentioned Ross Gumbly before Ross Gumblie was and so 153 00:07:32,333 --> 00:07:34,613 Speaker 3: he and I worked together and we said, okay, we'll 154 00:07:34,613 --> 00:07:38,053 Speaker 3: write a surprise Christmas show, right, and then somebody said, 155 00:07:38,093 --> 00:07:40,613 Speaker 3: oh god, the actors go crazy go Bami when they're 156 00:07:40,653 --> 00:07:42,773 Speaker 3: living in Parmi. And we went, oh, my god, did 157 00:07:42,813 --> 00:07:44,933 Speaker 3: you see that thing about the Famous Five? And so 158 00:07:45,213 --> 00:07:47,733 Speaker 3: it was five Go Bami and Parmi and we wrote 159 00:07:47,773 --> 00:07:49,373 Speaker 3: the title and people rang up and said what you 160 00:07:49,373 --> 00:07:51,413 Speaker 3: got on for Christmas? And we went, oh, the show 161 00:07:51,493 --> 00:07:53,413 Speaker 3: was called five Go Bami and Parmi. And we said 162 00:07:53,653 --> 00:07:56,013 Speaker 3: and they said, we know exactly what that's about. We go, 163 00:07:57,493 --> 00:08:00,013 Speaker 3: what is it about? So they told us, oh, it's 164 00:08:00,013 --> 00:08:02,453 Speaker 3: about the Famous Five. It's during the Second World and 165 00:08:02,493 --> 00:08:04,053 Speaker 3: they sold they sold a crime. 166 00:08:04,613 --> 00:08:05,733 Speaker 2: Good, good done. 167 00:08:06,693 --> 00:08:07,493 Speaker 3: That's written, then. 168 00:08:07,493 --> 00:08:09,733 Speaker 2: I should say for our audience. Ross Gumbli was, of 169 00:08:09,733 --> 00:08:11,613 Speaker 2: course the director of the Court Theater in christ Church, 170 00:08:11,653 --> 00:08:13,733 Speaker 2: which is where I grew up, and so I used 171 00:08:13,733 --> 00:08:15,853 Speaker 2: to absolutely love going and going to the Court Theater 172 00:08:15,933 --> 00:08:18,333 Speaker 2: and seeing Ross Gumbley's performances and plays as well. So 173 00:08:18,533 --> 00:08:20,933 Speaker 2: I know you and Ross have worked so closely together 174 00:08:21,013 --> 00:08:23,253 Speaker 2: over the years. I also wanted to ask you about 175 00:08:23,253 --> 00:08:25,813 Speaker 2: Shorten Street. I hope that's okay. Yes, you were Levonne 176 00:08:25,853 --> 00:08:29,933 Speaker 2: on Shortened Street was a firm fan favorite, and interestingly, 177 00:08:30,853 --> 00:08:34,533 Speaker 2: you had a younger love interest, Ben for several years. 178 00:08:34,733 --> 00:08:37,133 Speaker 2: I think it was several years, right it was, I 179 00:08:37,213 --> 00:08:41,133 Speaker 2: recall it being yeah, okay, anyway, so Ben was played 180 00:08:41,173 --> 00:08:44,653 Speaker 2: by the one of the drama teachers at my high school, 181 00:08:44,893 --> 00:08:47,453 Speaker 2: which I just wanted to say to you. I cannot 182 00:08:47,493 --> 00:08:49,893 Speaker 2: tell you how much joy that gave the students of 183 00:08:49,933 --> 00:08:53,173 Speaker 2: Cashmere High School to see you and Ben's fledgling relationship 184 00:08:53,453 --> 00:08:55,973 Speaker 2: on screen every night at seven o'clock. Just what an 185 00:08:56,013 --> 00:08:58,613 Speaker 2: absolute joy that was. But do people still come up 186 00:08:58,653 --> 00:09:02,733 Speaker 2: to you and ask about Yvonne every day? Really every day? Amazing? 187 00:09:02,893 --> 00:09:05,493 Speaker 3: It is amazing. But usually they say I know you, 188 00:09:05,613 --> 00:09:07,613 Speaker 3: I know you don't where did you go to school? 189 00:09:07,653 --> 00:09:08,973 Speaker 2: And I'm thinking, oh, here we go? 190 00:09:09,053 --> 00:09:10,933 Speaker 3: Long is this going to take? It's worse when you're 191 00:09:11,053 --> 00:09:14,333 Speaker 3: having a smear tests and I don't have to have 192 00:09:14,373 --> 00:09:17,333 Speaker 3: those anymore, thank heavens, But yeah, it is. It is 193 00:09:17,373 --> 00:09:20,293 Speaker 3: the times where somebody you just know this is going 194 00:09:20,333 --> 00:09:22,533 Speaker 3: to be a long conversation. So sometimes I cut to 195 00:09:22,573 --> 00:09:24,533 Speaker 3: the chase and say Shorten Street and they go, oh, 196 00:09:24,573 --> 00:09:26,773 Speaker 3: He's like I'm so sorry, I'm so sorry, and no, no, no, 197 00:09:26,853 --> 00:09:29,693 Speaker 3: I'm glad that you remember it. I'm glad you watch Yeah. 198 00:09:29,813 --> 00:09:32,013 Speaker 2: Yeah, it's funny to kind of think about the place 199 00:09:32,053 --> 00:09:34,053 Speaker 2: of Shorten Street, you know, in this day and age 200 00:09:34,053 --> 00:09:36,893 Speaker 2: where three episodes a week now three three episodes a week. 201 00:09:36,893 --> 00:09:39,773 Speaker 2: Do you have concern about the kind of the pathways 202 00:09:39,813 --> 00:09:42,613 Speaker 2: for New Zealand writers and performers given the state of 203 00:09:42,613 --> 00:09:44,413 Speaker 2: the industry and the state of the kind of economy 204 00:09:44,413 --> 00:09:44,613 Speaker 2: at the. 205 00:09:44,573 --> 00:09:46,613 Speaker 3: Moment, of course I do. I mean, I think that 206 00:09:46,893 --> 00:09:49,013 Speaker 3: it is really important that we tell our stories and 207 00:09:49,053 --> 00:09:51,813 Speaker 3: we need to do it with our voices, with our writers, 208 00:09:51,853 --> 00:09:56,173 Speaker 3: with our concerns and our values, because the real problem 209 00:09:56,333 --> 00:10:01,213 Speaker 3: is that we could actually only hear American vowels, consonants, 210 00:10:02,173 --> 00:10:05,653 Speaker 3: accents on our screens, and that is a real problem 211 00:10:05,733 --> 00:10:09,413 Speaker 3: because then we lose our identity. What theater does, what 212 00:10:09,493 --> 00:10:12,773 Speaker 3: film and television does, is that reaffirms who we are. 213 00:10:13,413 --> 00:10:16,133 Speaker 3: And that's why it's really really important in education as 214 00:10:16,133 --> 00:10:18,333 Speaker 3: well that arts are there as part of part of 215 00:10:18,373 --> 00:10:19,013 Speaker 3: our education. 216 00:10:19,133 --> 00:10:22,133 Speaker 2: That's such a valuable message. Okay, the show is accessible, 217 00:10:22,133 --> 00:10:25,053 Speaker 2: so you've got cheaper tickets for seniors and for under thirties. Yes, 218 00:10:25,093 --> 00:10:29,013 Speaker 2: you've got New Zealand sign language interpreters audio described performances. 219 00:10:29,293 --> 00:10:31,893 Speaker 2: So how are you trying to adapt and trying to 220 00:10:31,893 --> 00:10:33,693 Speaker 2: bring in more people to live theater. 221 00:10:34,893 --> 00:10:37,733 Speaker 3: I think theatre will always survive because we need to 222 00:10:37,773 --> 00:10:40,133 Speaker 3: see things as a group, We need to see it 223 00:10:40,253 --> 00:10:44,373 Speaker 3: as a community. We laugh louder, we cry deeper when 224 00:10:44,413 --> 00:10:46,973 Speaker 3: we see something together because that's when we know we're 225 00:10:46,973 --> 00:10:49,733 Speaker 3: not alone. Because when COVID taught us a lot of 226 00:10:49,733 --> 00:10:54,613 Speaker 3: things about being isolated, and theater actually teaches us about 227 00:10:54,613 --> 00:10:55,653 Speaker 3: being a community. 228 00:10:55,733 --> 00:10:57,013 Speaker 2: It's a collective experience. 229 00:10:57,053 --> 00:10:59,973 Speaker 3: Absolutely, you laugh with something with a whole room full 230 00:10:59,973 --> 00:11:02,573 Speaker 3: of people and you go, it wasn't just me, Oh 231 00:11:02,573 --> 00:11:05,893 Speaker 3: my god, that is so you. And then if you 232 00:11:05,933 --> 00:11:09,213 Speaker 3: watch the same same thing at home on your couch, 233 00:11:09,853 --> 00:11:11,573 Speaker 3: then you go, oh that's nice. 234 00:11:11,693 --> 00:11:11,933 Speaker 1: Yeah. 235 00:11:11,933 --> 00:11:14,973 Speaker 3: But when you laugh together, you break the seating. 236 00:11:15,333 --> 00:11:15,933 Speaker 2: Yeah, you know. 237 00:11:16,013 --> 00:11:18,413 Speaker 3: And that's when I worked at Mangoa Art Center. That's 238 00:11:18,413 --> 00:11:21,333 Speaker 3: what I learned there was that when they really enjoy 239 00:11:21,373 --> 00:11:24,733 Speaker 3: in the South Aukland, they love something, they throw themselves 240 00:11:25,213 --> 00:11:29,133 Speaker 3: physically at the show and love it to that to 241 00:11:29,213 --> 00:11:31,453 Speaker 3: that extent, and that's what that's. 242 00:11:31,453 --> 00:11:34,253 Speaker 2: Who we are. Fantastic, Hey, thank you so much for 243 00:11:34,293 --> 00:11:36,693 Speaker 2: being here. We really appreciate it all the very best 244 00:11:36,733 --> 00:11:39,613 Speaker 2: with the end of Summertime and you can't wait to 245 00:11:39,653 --> 00:11:43,093 Speaker 2: see it great. Thanks Allison. That's Allison Quigan. She's directing 246 00:11:43,173 --> 00:11:47,013 Speaker 2: End of Summertime. Tickets are available at ATC dot co 247 00:11:47,173 --> 00:11:51,053 Speaker 2: dot NZ ATC for Auckland Theater Company. We'll make sure 248 00:11:51,053 --> 00:11:53,413 Speaker 2: we've got all the details up on the News Talks 249 00:11:53,533 --> 00:11:55,053 Speaker 2: EDB website. 250 00:11:54,813 --> 00:11:57,933 Speaker 1: For more from Saturday Morning with Jack Tame. Listen live 251 00:11:58,013 --> 00:12:01,173 Speaker 1: to News Talks EDB from nine am Saturday, or follow 252 00:12:01,253 --> 00:12:02,813 Speaker 1: the podcast on iHeartRadio.