Dorita Hannah: PERFORMANCE-DESIGN Selection

PRACTICE PORTFOLIO : PUBLIC EVENTS STREET PROMENADE LANDSCAPE SCENOGRAPHY SITE-RESPONSIVE EVENT D O R I TA H A N N A H ( P h D ) Pe r fo r ma n c e A r t _ A rc h i t e c t u r e _ D e s i g n : S c e n o g ra p h e r + Eve nt C u rat o r Qualifications: PhD (distinction): Tisch School of Arts, NYU, USA (2008) MA (distinction): Performance Studies, NYU, USA (2000) BArch (hons): Architecture, University of Auckland (1984) LTCL Speech/Drama, Trinity (1982) Exploring intersections between spatial, performing and visual arts, Dorita Hannah’s award-winning creative practice, in Aotearoa NZ and abroad, focuses on performance design and event-space in order to conceive, develop and shape cultural events and environments. Her projects range from theatre architecture (space-in-action) to participatory events (action-in-space), addressing the dynamics, politics and intermediality of the public realm. Hannah has published on Performance Design and Event-Space, while her creative work is regularly selected for exhibition in World Stage Design and the Prague Quadrennial of Performance Design & Space. . D O R I TA H A N N A H Dr Dorita Hannah is internationally recognized as a significant theatre architect, scenographer and costume designer who formulated and expanded the terms, performance design and event-space. Her designs have been widely published (World Scenography, Theatre Design & Performance, The Arousing Image) and internationally exhibited (Prague Quadrennial and World Stage Design), achieving multiple awards: including Chapman Tripp Theatre Awards, NZIA and DINZ awards, a UNESCO Prize (PQ 1999), and World Stage Design Awards: gaining a Gold Medal for Costumes and a Silver Medal for Set Designs (WSD 2009). This document presents a selection of projects where Hannah was scenographer and costume designer as well as installation artist, exhibition designer, theatre architect, performance director and event curator. SELECTED HIGHLIGHTS • The Made: Auckland Theatre Company, New Zealand (2022) • Atheneum Theatre: proposed renovation of heritage building into 350-seat auditorium • One Breath Away from Mother Oceania: Rovaniemi, Lapland, Finland (2019) • Island Icarus | PhoneHome: Fragments exhibition: Prague Quadrennial (2019) selected as NZ’s ‘living legend’ • PhoneHome: Chile’s Architecture & Urbanism Biennale (2017) also exhibited in NZ Architecture Festival (2018) • Dawn Sentinels: Intervening in the Anthropo(s)cene: Maria Island, Tasmania, Australia (2016) • Island Icarus: Remanence exhibition in Tasmania’s Ten Days on the Island Festival, Hobart, Australia (2017) • Container Globe: currently being workshopped under construction in Detroit. • Blyth Performing Arts Centre: Havelock North, NZ (2014) • Community Table: MONA Museum of Old and New Art, Hobart, Australia (2017) • Public Kitchen: Hobart, Australia (2016) • FLOOD: 2015 Prague Quadrennial, Czech Republic (2015) • US Pavilion: EXPO 2015: Milan, Italy (2015) • Fluid States: performances of un-knowing: Global PSi event (2015) • Sea-Change: performing a fluid Continent: Oceanic Performance Biennial, Rarotonga, Cook Islands (2015) • Island Bride: in Sea Change/Oceanic Performance Biennial , Rarotonga, Cook islands (2015) • US Pavilion: in EXPO 2015, Milan, Italy (2015) • 1000 Lovers: commissioned by Auckland Arts Festival, NZ (2013) • Tongues of Stone: commissioned as Dancing City event, Perth, Australia (2011) • Tuna Mau: Oceanic Performance Biennial, Auckland (2014) • Henry 8: A Sexual Sermon: premiere for Theatre at Large, Auckland and Wellington, NZ • Whaea Kairau: Mother Hundred Eater: premier Wellington, NZ • Ricordi: premiere commissioned by International Arts Festival, Wellington, NZ • Aarero Stone: premiere commissioned by International Arts Festival, Wellington, NZ (2006) • Her Topia: commissioned by Duncan Dance Centre, Athens, Greece (2006) • Nga Tangata Toa: The Warrior People: premiere for Te Roopu Whakaari, Taki Rua, Wellington, NZ • Watershed Theatres I and II: temporary venues on Auckland’s waterfront (1991 and 1993) THE MADE, Auckland Theatre Company, Waterfront Theatre (2022) Scenographer THE MADE, Auckland Theatre Company, Waterfront Theatre (2022) Scenographer ATHENEUM THEATRE, Proposal for 350-seat Community Theatre (2021) Scenographer Named after the opening lyrics of Bjork’s song, Oceania, this installation of three garlanded rubber rings on the icy surface of Lapland’s Kemijoki River refers to the remote Pacific Islands of Kiritimati, Manus and Nauru, which serve as detention centres set up by the Australian Government to incarcerate refugees attempting to reach its shores by boat. The public , who are invited to view the installation, listen to a soundscape of island drumming on their headphones, leaving behind footprints in the snow. You show me continents I see the islands -- Bjork SITES & SITUATIONS, Lapland, Finland (2019): site-specific installation on Kemijoki River, signaling distant Pacific Islands. Contributing Artist PHONEHOME: NZ Architecture Festival (2018) Architecture Biennial, Valparaiso, Chile (2017) Miniature refugee cabins stream videos on embedded smartphones that address issues of exile and detention visitors are obliged to kneel and peer through the barred windows Design Director Selected Artist ISLAND ICARUS | PHONEHOME: Prague Quadrennial, Czech Republic, (2019) selected as project by NZ’s ‘living legend’ in the PQ Fragments exhibition. PHONEHOME: Architecture & Urbanism Biennial, Valparaiso, Chile (2017) Designed for Chile’s Architecture & Urbanism Biennale on ‘unpostponable dialogues’, videos by 9 artists from Russia, Iraq, Lebanon, Kurdistan, Australia, NZ and the UK, address issues of exile and detention. Design Director Selected Artist ISLAND SENTINELS: INTERVENING IN THE ANTHROPO(S)CENE: Maria Island, Tasmania, Australia (2016) Landscape scenographers gather at dawn on the edge of the fossil cliffs to watch the sun rise through wind-whipped mylar. Collaborating Artist in Landscape Workshop ISLAND ISCARUS: REMANENCE Exhibition: Domain House: 10 Days on the Island Festival, Hobart, Australia (2017) Site-specific installation in which the view of a fiery figure in the landscape is restricted by layers of security fencing, detaining visitors at the exhibition borders. Dedicated to Iranian asylum seeker Omid Masoumali. Design Director Selected Artist CONTAINER GLOBE (currently under construction in Detroit) Silver in NY 2017 Driven by Design Awards, Honourable Mention in the 2017 American Architecture Prize (Architectural Design / Cultural and Special Mention in the 2017 Architizer A+ Awards. Design Director Theatre Architect CONTAINER GLOBE (currently under construction in Detroit) Silver in NY 2017 Driven by Design Awards, Honourable Mention in the 2017 American Architecture Prize (Architectural Design / Cultural and Special Mention in the 2017 Architizer A+ Awards. Design Director Theatre Architect PUBLIC KITCHEN, Hobart, Australia (2016) STONE SOUP / COMMUNITY TABLE, MONA Hobart, Australia (2017) collaborative creation of ‘stone soup’ by the public in the outdoor market place. Design Director Event Curator BLYTH PERFOMING ARTS CENTRE (in association with Stevens Lawson Architects) NZIA Medal 2015, NZIA Regional Award, DINZ Gold Pin Design Director Theatre Architect PUBLIC KITCHEN, Hobart, Australia (2016) Communal creation of a meal by the passing public who are invited in off the street to stand together at a raised table covered in fresh produce and collectively engage in dialogue. Design Director Event Curator PUBLIC KITCHEN, Hobart, Australia (2016) Communal creation of a meal by the passing public who are invited in off the street to stand together at a raised table covered in fresh produce and collectively engage in dialogue. Design Director Event Curator FLOOD: Prague Quadrennial, Czech Republic (2015): Flood enacts a fluid narrative utilizing biomorphic forms and a headphonic soundscape. This early morning site-responsive, dance-architecture event in and around the Vltava River, involves three mythopoetic figures moving in the landscape – the Bride, Tangaroa and Hine-ruhi who made the dawn appear, Co-Director Performance Designer FLOOD: Prague Quadrennial, Czech Republic (2015): Flood enacts a fluid narrative utilizing biomorphic forms and a headphonic soundscape. This early morning site-responsive, dance-architecture event in and around the Vltava River, involves three mythopoetic figures moving in the landscape – the Bride, Tangaroa and Hine-ruhi who made the dawn appear, Co-Director Performance Designer FLOOD: Prague Quadrennial, Czech Republic (2015): Flood enacts a fluid narrative utilizing biomorphic forms and a headphonic soundscape. This early morning site-responsive, dance-architecture event in and around the Vltava River, involves three mythopoetic figures moving in the landscape – the Bride, Tangaroa and Hine-ruhi who made the dawn appear, Co-Director Performance Designer FLOOD: Prague Quadrennial, Czech Republic (2015) Co-Director Performance Designer “Professor Hannah acted as a design critic, a generator of design ideas and a choreographer of onsite performances. She was not only a pleasure to work with but an integral and indispensable part of the design team.” (James Biber) “Dorita Hannah is an experienced collaborator who finds synergies with other bright, creative thinkers. And then she has the wherewithal, resourcefulness, and pragmatism to see the projects come to life”. (Mitchell Davis: Vice President: James Beard Foundation, NYC, USA) with Biber Architects, NYC US PAVILION: EXPO 2015, MILAN, ITALY (2015) Performative Design Consultant on winning proposal for US Pavilion: World Expo 2015: Milan, Italy Design Consultant Concept Team Member SEA-CHANGE: PERFORMING A FLUID CONTINENT, Rarotonga, Cook Islands (2015) in FLUID STATES 2015 for PSi Co-Curator of Fluid States, year-long globally dispersed festival of events for Performance Studies International. Co-Director of the Pacific Performance Biennale. Co-Director of Festival Performance Designer “Dorita Hannah’s brilliant three-part piece “The Island Bride,” had its eponymous figure, white-gowned and -veiled, appear at unexpected moments and places and beckon us to follow it. The figure embodied an uncanny mixture of elegance and abjection, entrapment and hope. It reflected the rich ambivalence—deliberately cultivated and willingly faced—of the situation we found ourselves in, as critically inclined artists and scholars in an ideologically constructed ‘Paradise’!“ (Prof Una Chaudhuri: NYU, USA) 8) ISLAND BRIDE in OCEANIC PERFORMANCE BIENNIAL, Rarotonga, Cook Islands (2015) ISLAND BRIDE in SEA-CHANGE: PERFORMING A FLUID CONTINENT, Rarotonga, Cook Islands (2015) Co-Director of Festival Performance Designer “Dorita Hannah’s brilliant three-part piece “The Island Bride,” had its eponymous figure, white-gowned and -veiled, appear at unexpected moments and places and beckon us to follow it. The figure embodied an uncanny mixture of elegance and abjection, entrapment and hope. It reflected the rich ambivalence—deliberately cultivated and willingly faced—of the situation we found ourselves in, as critically inclined artists and scholars in an ideologically constructed ‘Paradise’!“ (Prof Una Chaudhuri: NYU, USA) 8) ISLAND BRIDE in OCEANIC PERFORMANCE BIENNIAL, Rarotonga, Cook Islands (2015) ISLAND BRIDE in SEA-CHANGE: PERFORMING A FLUID CONTINENT, Rarotonga, Cook Islands (2015) Co-Director of Festival Performance Designer 1000 LOVERS: Wynyard Quarter, Auckland Arts Festival (2013) Drawing its title from Auckland's Māori name Tāmaki Makaurau – isthmus of many lovers – this performance moves from sea to city through the city’s Wynyard Quarter. Co-Director Performance Designer 1000 LOVERS: Wynyard Quarter, Auckland Arts Festival (2013) Drawing its title from Auckland's Māori name Tāmaki Makaurau – isthmus of many lovers – this performance moves from sea to city through the city’s Wynyard Quarter. Co-Director Performance Designer 1000 LOVERS: Wynyard Quarter, Auckland Arts Festival (2013) Drawing its title from Auckland's Māori name Tāmaki Makaurau – isthmus of many lovers – this performance moves from sea to city through the city’s Wynyard Quarter. Co-Director 1000 LOVERS: 2013 Performance Designer 1000 LOVERS: Wynyard Quarter, Auckland Arts Festival (2013) Drawing its title from Auckland's Māori name Tāmaki Makaurau – isthmus of many lovers – this performance moves from sea to city through the city’s Wynyard Quarter. Co-Director 1000 LOVERS: 2013 Performance Designer 1000 LOVERS: Wynyard Quarter, Auckland Arts Festival (2013) Drawing its title from Auckland's Māori name Tāmaki Makaurau – isthmus of many lovers – this performance moves from sea to city through the city’s Wynyard Quarter. Co-Director Performance Designer TUNA MAU: Auckland, Oceanic Performance Biennial (2013) Co-Director 1000 LOVERS: 2013 Performance Designer TONGUES OF STONE: Perth, Australia (2011) Co-Director Performance Designer TONGUES OF STONE: Perth, Australia (2011) Co-Director Performance Designer TONGUES OF STONE: Perth, Australia (2011) Co-Director Performance Designer TONGUES OF STONE: Perth, Australia (2011) Co-Director Performance Designer TONGUES OF STONE: Perth, Australia (2011) Co-Director Performance Designer NOW/NEXT: ARCHITECTURE SECTION: Prague Quadrennial (2011) DINZ Bronze Award 2011 for Environmental Graphics Architecture Commissioner Exhibition Curator/Designer NOW/NEXT: ARCHITECTURE SECTION: Prague Quadrennial (2011) DINZ Bronze Award 2011 for Environmental Graphics Architecture Commissioner Exhibition Curator/Designer NOW/NEXT: ARCHITECTURE SECTION: Prague Quadrennial (2011) DINZ Bronze Award 2011 for Environmental Graphics Architecture Commissioner Exhibition Curator/Designer AARERO STIONE: NZ International Arts Festival (2009) World Stage Design Awards 2009: Gold Medal for Costume Design. Silver Medal for Set Design Co-Director Performance Designer AARERO STIONE: NZ International Arts Festival (2009) World Stage Design Awards 2009: Gold Medal for Costume Design. Silver Medal for Set Design Co-Director Performance Designer AARERO STIONE: NZ International Arts Festival (2009) World Stage Design Awards 2009: Gold Medal for Costume Design. Silver Medal for Set Design Co-Director Performance Designer AARERO STIONE: NZ International Arts Festival (2009) World Stage Design Awards 2009: Gold Medal for Costume Design. Silver Medal for Set Design Co-Director Performance Designer Design of 440-seat theatre in association with Athfield Architects ‘an international centre of excellence for Maori and Pacific Island dance, drama and music’ WHITIREIA PERFORMING ARTS CENTRE: Porirua, Wellington (2009): Theatre Designer with Athfield Architects Design Director Theatre Architect HER TOPIA: Athens, Greece (2006) World Stage Design Awards 2009: Gold Medal for Costume Design. Silver Medal for Set Design Co-Director Performance Designer HER TOPIA: Athens, Greece (2006) World Stage Design Awards 2009: Gold Medal for Costume Design. Silver Medal for Set Design Co-Director Performance Designer HER TOPIA: Athens, Greece (2006) World Stage Design Awards 2009: Gold Medal for Costume Design. Silver Medal for Set Design Co-Director Performance Designer HER TOPIA: Athens, Greece (2006) World Stage Design Awards 2009: Gold Medal for Costume Design. Silver Medal for Set Design Co-Director Performance Designer HER TOPIA: Athens, Greece (2006) World Stage Design Awards 2009: Gold Medal for Costume Design. Silver Medal for Set Design Co-Director Performance Designer HER TOPIA: Athens, Greece (2006) World Stage Design Awards 2009: Gold Medal for Costume Design. Silver Medal for Set Design Co-Director Performance Designer HER TOPIA: Athens, Greece (2006) World Stage Design Awards 2009: Gold Medal for Costume Design. Silver Medal for Set Design Co-Director Performance Designer DISPLAY: re-membering a performance landscape, City Gallery, Wellington DINZ Bronze Award Exhibition Co- Designer HER TOPIA: Athens, Greece (2006) World Stage Design Awards 2009: Gold Medal for Costume Design. Silver Medal for Set Design Co-Director Performance Designer HEART OF PQ: A Performance Landscape for the Senses: Prague Quadrennial (2003) NZIA Award (Research) 2003 / Bliznakov Prize for Women in Architecture (2003) Co-Director Design Director HEART OF PQ: A Performance Landscape for the Senses: Prague Quadrennial (2003) NZIA Award (Research) 2003 / Bliznakov Prize for Women in Architecture (2003) Co-Director Design Director HEART OF PQ: A Performance Landscape for the Senses: Prague Quadrennial (2003) NZIA Award (Research) 2003 / Bliznakov Prize for Women in Architecture (2003) Co-Director Design Director WAIKATO UNIVERSITY PERFORMING ARTS ACADEMY. Theatre Designer/Planner on award-winning university facility with range of performance spaces. GALLAGHER CONCERT HALL WHARE TAPERE ITI PLAYHOUSE WAIKATO PERFORMING ARTS ACADEMY: Hamilton, NZ: Theatre Consultant with Warren & Mahoney Architects NZIA Award Co-Director Theatre Architect The Academy contains a Concert Chamber for 340 people and a Playhouse Theatre for up to 183, as well as a Dance Studio and Te Whare Tapere Iti (a room designed for Māori and cultural performing arts). There complex includes a large foyer specifically designed to allow for public exhibitions of art works, conferences and corporate events TE WHARE TAPERE ITI: Maori Kapa Haka Space DANCE STUDIO WAIKATO PERFORMING ARTS ACADEMY: Hamilton, NZ: Theatre Consultant with Warren & Mahoney Architects NZIA Award Co-Director Theatre Architect MANUKAU PACIFIC EVENTS CENTRE: Auckland: Theatre Consultant with Creative Spaces, 2005 Selected for Exhibition representing NZ in 2011 Prague Quadrennial Co-Director Theatre Architect In association with Creative Spaces (NZ) and Philip Cox Architects (Australia) Theatre Designer/Planner for flexible theatre in South Auckland with high Maori and Pacific Islander population. Flexible 700-seat theatre capable of achieving a number of formats, including end-stage, proscenium and flat floor meeting/banqueting. Cultural features include woven roof form, surrounding veranda space and accommodation for formal ceremonial events. MANUKAU PACIFIC EVENTS CENTRE: Auckland: Theatre Consultant with Creative Spaces, 2005 Selected for Exhibition representing NZ in 2011 Prague Quadrennial Co-Director Theatre Architect CLOSER: Auckland Theatre Company(1999): gained Best Production Design DINZ Awards DINZ Best Production Design Award Set/Costume Designer CLOSER: Auckland Theatre Company(1999): gained Best Production Design DINZ Awards DINZ Best Production Design Award Set/Costume Designer Ricordi, commissioned by the NZ International Arts Festival, was based on two Katherine Mansfield short stories telling of her New Zealand childhood. The design referred to the effect of tuberculosis on Mansfield while writing these stories, with Act I (FEVER) representing an agitated state and the hospital environment, while Act 2 (HORIZON) represented a state of both exhaustion and acceptance. Costumes for Act 1 were made of metals, plastics and rubber: rigid and constricting. Act 2’s costumes were collapsed, faded and frayed versions of the first scene… the colour seeping up hems as if dipped in the tide. The designs were selected for NZ’s exhibition at the Prague Quadrennial RICORDI: NZ International Arts Festival RICORDI: NZ International Arts Festival (1998) Selected for Exhibition at PQ 1999. Nominated Best Costume Design Co-Director Costume Designer Ricordi, commissioned by the NZ International Arts Festival, was based on two Katherine Mansfield short stories telling of her New Zealand childhood. The design referred to the effect of tuberculosis on Mansfield while writing these stories, with Act I (FEVER) representing an agitated state and the hospital environment, while Act 2 (HORIZON) represented a state of both exhaustion and acceptance. Costumes for Act 1 were made of metals, plastics and rubber: rigid and constricting. Act 2’s costumes were collapsed, faded and frayed versions of the first scene… the colour seeping up hems as if dipped in the tide. The designs were selected for NZ’s exhibition at the Prague Quadrennial RICORDI: NZ International Arts Festival (1998) Selected for Exhibition at PQ 1999. Nominated Best Costume Design Co-Director Costume Designer Ricordi, commissioned by the NZ International Arts Festival, was based on two Katherine Mansfield short stories telling of her New Zealand childhood. The design referred to the effect of tuberculosis on Mansfield while writing these stories, with Act I (FEVER) representing an agitated state and the hospital environment, while Act 2 (HORIZON) represented a state of both exhaustion and acceptance. Costumes for Act 1 were made of metals, plastics and rubber: rigid and constricting. Act 2’s costumes were collapsed, faded and frayed versions of the first scene… the colour seeping up hems as if dipped in the tide. The designs were selected for NZ’s exhibition at the Prague Quadrennial RICORDI: NZ International Arts Festival RICORDI: NZ International Arts Festival (1998) Selected for Exhibition at PQ 1999. Nominated Best Costume Design Co-Director Costume Designer RICORDI: NZ International Arts Festival (1998) Selected for Exhibition at PQ 1999. Nominated Best Costume Design Co-Director Costume Designer RICORDI: NZ International Arts Festival (1998) Selected for Exhibition at PQ 1999. Nominated Best Costume Design Co-Director Costume Designer RICORDI: NZ International Arts Festival (1998) Selected for Exhibition at PQ 1999. Nominated Best Costume Design Co-Director Costume Designer RICORDI: NZ International Arts Festival (1998) Selected for Exhibition at PQ 1999. Nominated Best Costume Design Co-Director Costume Designer RICORDI: costumes exhibited at PRAGUE QUADRENNIAL (1999) Selected for Exhibition at PQ 1999. Nominated Best Costume Design Co-Director Costume Designer LANDING: Prague Quadrennial, Czech Republic (1999) UNESCO Award 2011. CHASA Citation 1999 Design Director Selected Artist LANDING: Prague Quadrennial, Czech Republic (1999) UNESCO Award 2011. CHASA Citation 1999 Design Director Selected Artist LANDING: Prague Quadrennial, Czech Republic (1999) UNESCO Award 2011. CHASA Citation 1999 Design Director Selected Artist LANDING: Prague Quadrennial, Czech Republic (1999) UNESCO Award 2011. CHASA Citation 1999 Design Director Selected Artist LANDING: Prague Quadrennial, Czech Republic (1999) UNESCO Award 2011. CHASA Citation 1999 Design Director Selected Artist Based on Brecht’s Mother Courage and set during New Zealand's 19th-century Wars. The setting refers to colonial sites for presenting circuses, combing a beer hall with a muddy field with a corduroy road made of timber planks. Costumes combined contemporary and historic references (eg: wonder bras and corsets) referring to a grotesque traveling circus of which Whaea/Mother was ring master. WHAEA KAIRAU: MOTHER HUNDRED-EATER: Taki Rua Theatre (1998) Awarded Best Set Design: Wellington Theatre Awards Co-Director Costume Designer Based on Brecht’s Mother Courage and set during New Zealand's 19th-century Wars. The setting refers to colonial sites for presenting circuses, combing a beer hall with a muddy field with a corduroy road made of timber planks. Costumes combined contemporary and historic references (eg: wonder bras and corsets) referring to a grotesque traveling circus of which Whaea/Mother was ring master. WHAEA KAIRAU: MOTHER HUNDRED-EATER: Taki Rua Theatre (1998) Awarded Best Set Design: Wellington Theatre Awards Co-Director Costume Designer WHAEA KAIRAU: MOTHER HUNDRED-EATER: Taki Rua Theatre (1998) Awarded Best Set Design: Wellington Theatre Awards WHAEA KAIRAU WHAEA KAIRAU: MOTHER HUNDRED-EATER: Taki Rua Theatre (1998) Awarded Best Set Design: Wellington Theatre Awards WHAEA KAIRAU WHAEA KAIRAU: MOTHER HUNDRED-EATER: Taki Rua Theatre (1998) Awarded Best Set Design: Wellington Theatre Awards WHAEA KAIRAU WHAEA KAIRAU: MOTHER HUNDRED-EATER: Taki Rua Theatre (1998) Awarded Best Set Design: Wellington Theatre Awards WHAEA KAIRAU HENRY 8: A SEXUAL SERMON: Taki Rua Theatre, Wellington CHASA Citation Set in the court of Henry VIII the play follows his relationships with the church (Cardinal Wolsey) and women (Catherine of Aragon, Mary & Jane Boleyn). The white passage represents asylum hallway, hospital corridor and catwalk for royalty on parade. The theatre’s black walls are sweating, desiccating and crumbling, representing corruption in court, miscarrying queen and a syphilitic monarch. The transversal court format sets up a spatial confrontation between the audience and because the Queen is in another room, the ideal view is privileged. The costumes were influenced by Cecil Beaton’s photography of the British royal family. Cross-casting with corseted bodies highlighted the gendered politics. Co-Director Set/Costume Designer HENRY 8: A SEXUAL SERMON: Taki Rua Theatre, Wellington CHASA Citation Co-Director Set/Costume Designer HENRY 8: Taki Rua Theatre, Wellington CHASA Citation Co-Director Set/Costume Designer NGA TANGATA TOA: Watershed Theatre, Auckland NGA TANGATA TOA: Taki Rua Theatre, Wellington Best Set Design, CHASA Citation Co-Director Set/Costume Designer Based on Ibsen’s Vikings of Helgeland, the play was set in an isolated East Coast Maori Community in 1918. Costumes, influenced by colonial NZ photography, were between Victorian and Edwardian styles; acknowledging the isolation. The colours were burnt like the charred environment of an abandoned Marae (meeting house), which formed a universal landscape, shifting from exterior to interior. NGA TANGATA TOA: THE WARRIOR PEOPLE: Taki Rua Theatre, Wellington Selected to represent NZ in 1995 Prague Quadrennial Set/Costume Designer Based on Ibsen’s Vikings of Helgeland, the play was set in an isolated East Coast Maori Community in 1918. Costumes, influenced by colonial NZ photography, were between Victorian and Edwardian styles; acknowledging the isolation. The colours were burnt like the charred environment of an abandoned Marae (meeting house), which formed a universal landscape, shifting from exterior to interior. NGA TANGATA TOA: THE WARRIOR PEOPLE: Taki Rua Theatre, Wellington Selected to represent NZ in 1995 Prague Quadrennial Set/Costume Designer Based on Ibsen’s Vikings of Helgeland, the play was set in an isolated East Coast Maori Community in 1918. Costumes, influenced by colonial NZ photography, were between Victorian and Edwardian styles; acknowledging the isolation. The colours were burnt like the charred environment of an abandoned Marae (meeting house), which formed a universal landscape, shifting from exterior to interior. NGA TANGATA TOA: THE WARRIOR PEOPLE: Taki Rua Theatre, Wellington Selected to represent NZ in 1995 Prague Quadrennial Co-Director Set/Costume Designer NGA TANGATA TOA: THE WARRIOR PEOPLE: Taki Rua Theatre, Wellington Selected to represent NZ in 1995 Prague Quadrennial Co-Director Set/Costume Designer NGA TANGATA TOA: THE WARRIOR PEOPLE: Watershed Theatre, Wellington Selected to represent NZ in 1995 Prague Quadrennial Co-Director Set/Costume Designer NGA TANGATA TOA: Watershed Theatre, Auckland NGA TANGATA TOA: Taki Rua Theatre, Wellington Best Set Design, CHASA Citation Co-Director Set/Costume Designer TRAVELS WITH MY AUNT: Auckland Theatre Company (1996) TRAVELS WITH MY AUNT: Auckland Theatre Company (1996) TRAVELS WITH MY AUNT: Auckland Theatre Company (1996) NGA TANGATA TOA: TRAVELLING BOX: Prague Quadrennial 1995 Set/Costume Designer NGA TANGATA TOA: TRAVELLING BOX: Prague Quadrennial 1995 Set/Costume Designer WATERSHED THEATRE #2 (Auckland 1991) WATERSHED THEATRE #2 (Auckland 1993) WATERSHED THEATRE #1 (Auckland 1992)