Head Boy, Lachie Dixon chats to Junior School boys
the roles. Most actors have had some form
of theatre-training at Toi Whakaari, the NZ
Drama School in Wellington or at Unitec
in Auckland. For this production a lot of
the young actors have come through ATC’s
Ambassador and Youth Theatre programmes.
The backstage people all tend to have done
courses in Theatre Production at one of the
above drama schools.
Kingsway:
Having worked all over the
world, what do you think is different
about theatregoers in New Zealand? Do
New Zealanders expect a different type
of experience than overseas?
I
find, increasingly, the New Zealand audiences
enjoy seeing themselves reflected in the stories
we tell on stage. That wasn’t the case when I
first started directing.
Kingsway:
You were originally an actor.
What made you decide to make the switch
to directing instead?
As an actor I did a lot of comedy roles. I was
never very good at high drama! What I enjoy
about directing is that it is a totally immersive
experience - much more satisfying.
Kingsway:
How did you get into
theatre? What training did you do when
you started out?
It was all I ever wanted to do - from the time
I was at primary school. When I left school
I worked several jobs for a few years until I
could save the money to go to drama school.
Kingsway:
What advice would you give
our boys now if they were thinking of a
career in the theatre?
You have to be passionate about wanting to do
it because the monetary rewards are minimal!
It’s an erratic kind of career - with ups and
downs and you have to be resourceful enough
to roll with that
.
Kingsway:
You have been Artistic
Director of the ATC for 10 years now.
What do you think the future of theatre
(and the Auckland Theatre Company) will
be in New Zealand?
Well, as I write this, our oldest theatre
company, Downstage Theatre in Wellington
has announced that it is to close - so there’s
nothing surefire in this industry. Having said
that I believe the professionalism, the talent
and the potential audiences for the future
of theatre in Auckland are all something
to celebrate.
Kingsway:
What has been your favourite
production to be involved in?
I guess it would have to be my production of
HEDDA GABLER, by Henrik Ibsen. It started
at Downstage, then went on to play at the
official Edinburgh Festival, the Covent Garden
festival in London, the first Ibsen Festival in
Oslo and the Festival of Sydney. It led to many
work opportunities for me in Europe and
Australia – and featured a magnificent, brave
and very unusual interpretation of Hedda
Gabler by Catherine Wilkin. But I enjoy most
of my productions for all different reasons.
Kingsway:
What do you do in your
spare time?
Chill with my family. I have a six year old
daughter who keeps me busy. I like to garden
when I have time – but mostly I’m reading,
reading, reading new scripts.
Kingsway:
Finally, I found one of your
quotes on the Arts Foundation website
that said:
“The challenge of my work is to
make it as invisible as possible”
. Can you
explain what you mean by that?
Well a director’s talent is getting others to
use theirs. At best, character, costuming,
lighting, design, mise en scene (staging) and
performance should be so seamless and
integrated that the director’s contribution is
invisible. A director is a creator of possibilities.
LORD
OF
THE FLIES
019
