SEEyD
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SEEyD
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SEEyDSEEyD was written in 2000 in response to the question of introducing genetically modified produce into New Zealand. It is about an organic seed farmer who can’t get his wife pregnant. He is also dealing with a GE field trial secretly installed up the road from him, which he believes will threaten his organic status if wind and bee pollinated GE produce cross pollinates with his organic material.This excellent production approaches the topical issue of organic living in a world in which genetic engineering is becoming commonplace. SEEyD explores just what constitutes both progress and purity through the most intimate concerns of a relationship. Salient Magazine.SEEyD was a site specific work, devised over three months and performed in the basement area under The NZ Drama School in Wellington. Its instant success in the 2000 fringe festival paved the way for the formation of The SEEyD Theatre Company. It is a hugely human and very accessible play … because it wisely avoids any attempt to “know it all” or preach populist propaganda from either side, the journey it engages us in is totally compelling. National Business Review.In a year of excellence my pick is SEEyD… which served up topicality, innovation, and outstanding performances, set, sound, and lighting design. Lynn Freeman, Capital Times.Written and performed by Tim Spite, Scot Macky, Richard Edge and Genevieve McLean.Sound design By Peter EdgeLighting design by Ngaire Andrews Set design by the company and Sven Mehzoud
SEEyD
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inSalt
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inSaltThe 1850s: An English couple, Sara and Gabriel Plowright, arrive on New Zealand shores, bringing with them the desire for a new life, the body of their recently deceased father… and the latest development of a new technology, a collodion camera. Our colonists discover they are not the only Europeans to have come this way, a Roman Catholic Missionary has already begun his work with the local Maori. While Sara photographs the landscape, a Maori chief literally crashes into Sara’s picture, and his image is captured on glass.Cultural differences over the ownership of land, the clash of religious beliefs, and the spiritual significance of photography cause love between some, and tension between others in this moving, thought-provoking story.inSalt is easily one of the finest productions of the year... There's not room to do justice here to the conceptual and emotional depth of this work, but every aspect of this moving and beautiful production, feels carved from the same piece of native timber. Mark Amery Sunday TimesFirst performed in 2001 at Studio 77, Victoria UniversityWritten and performed by Tim Spite, Richard Edge, Rob Mokaraka, Nancy Brunning and Heather O’Carroll. Also input from Rachel House and Loren Horsley. Sound design By Peter EdgeLighting design by Ngaire Andrews. Set design by the company and Sven Mehzoud
inSalt
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SAnD
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SAnDSAnD is the conclusion to the SEEyD trilogy. Continuing with the themes of colonisation of different frontiers and fertility, SAnD looks at the issues surrounding nanotechnology. Set in NZ in 2039 when the death rate is now lower than the birth rate, Gabriel Plowright’s (from SEEyD) family are confronted by issues of control at the molecular level.Gabriel now has Alzheimer’s disease but is refusing medical intervention despite the fact that his daughter, a Nanotechnologist, can now rebuild his brain from the molecular level up and restore his memories by download. She is also having to deal with the ethical dilemmas of releasing microscopic sized machines into the water supply in order to clean up oestrogen hormone mimics, such as DDT, which are affecting her own, and a nation’s fertility....the most beautiful, moving and simplest piece of stage business I have seen in a very long time... highly recommended.Laurie Atkinson, The Evening Post.First performed in the old Herd Street Post Office in Wellington, the show ran from 28 September – 26 October 2002.Like its predecessors this is thinking theatre: conceptually ambitious, theatrically innovative and , as you’ll have guessed, not entirely irrelevant to our current GE anxieties... a must see. Harry Rickets, ListenerWritten and performed by Tim Spite, Richard Edge, Nick Blake, Nikki MacDonnell and Heather O’Carroll.Sound Design by Peter EdgeLighting design by Kristin MulcahySet design by the company
SAnD
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Trilogy
The TrilogyThe SEEyD trilogy is a reworking of SEEyD, inSalt and SAnD into one five hour play. It follows one family from 1850’s colonial New Zealand through to futuristic New Zealand in 2039. It follows unified themes of fertility and annexation of different frontiers; themes that only come into focus with the combination of the three plays. The Trilogy was never performed publicly; only three in-house performances for friends, family, reviewers, industry practitioners and prospective buyers. It was developed especially for the Wellington International Festival but was never taken up by anyone.It was performed in the basement area under The NZ Drama School, now known as The SEEyD Space, but not given a full production value.It was performed by Tim Spite, Richard Edge, Sarah Somerville, Rachael House and Taungaroa Emile. It was dramaturged by Miranda Harcourt and directed by Andrew Foster. The best show not officially included in last year's international arts festival was the SEEyD Theatre Company's five-hour trilogy, which had evolved over three multi award-winning years. John Smythe, NBR
Trilogy
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The Remedy Syndrome
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The Remedy SyndromeThis humorous and touching story centres on mismatched couple Rebecca and Joe as they face the issue of vaccinating their baby girl. Overwhelmed by all the information, they negotiate their own blueprint for parenting while their differences force them to question their compatibility. Yet again a small, independent, project group has invested its talents on spec and produced an exquisite 80 minutes of riveting theatre that deserves to be seen around the country and the wider world. Catch it if you can. John Smythe NBR…topical, highly entertaining, sleekly directed and performed. Laurie Atkinson, Dom Post…thought provoking, bold theatre, presented by two of Wellington's best actors. Lynn Freeman, Capital TimesThe work grew from interviews with both scientific/medical professionals and others from the NZ community. It was first performed at BATS Theatre from the 19th -30th April, 2005. Then the following year at Circa Two.Created by Tim Spite, Danielle Mason, Leo Gene Peters, Pedro Ilgenfritz. Performed by Tim Spite and Danielle Mason.Directed by Leo Gene Peters and Pedro Ilgenfritz.Sound design by Gil Eva CraigLighting design by Leo Gene Peters
the Remedy Syndrome
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The Brilliant Fassah
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The Brilliant FassahNathan Clenick, sceptic and math teacher, discovers he can channel an ancient spirit called Fassah. His wife Claudia and new neighbour Laughton convince him to make a business of this new found talent. Fassah starts a successful counselling business, and starts to make them serious money. However Fassah also starts an affair with Claudia unbeknownst to Nathan. After six months Fassah mysteriously ceases to appear. Laughton and Claudia convince a reluctant Nathan to fake it, which he does surprisingly well. An encounter with an angry client convinces Nathan to give it up and return to teaching but Laughton forces him to continue channelling as per their contractual agreement. When Nathan goes to the press, Laughton disappears with their money. Nathan leaves for the far north to resume teaching at a remote school. When Claudia turns up heavily pregnant he has to reconcile their estrangement with the fact she is carrying his/Fassah’s child.For ninety minutes The Brilliant Fassah delivers delight. And whether we then feel moved to explore it more is, I imagine, a question of faith. John Smythe, TheatreviewFirst performed at Circa Studio on 11th March 2006. Also adapted for radio in 2007.Written by Tim Spite, Gabe McDonnell and James Ashcroft.Performed by Tim Spite, James Ashcroft and Amy Tarleton.Set design by Sven Mehzoud and the cast.Sound design by Gil Eva CraigLighting design by Leo Gene Peters
the Brilliant Fassah
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TurbineThe controversial issue of wind farming provides the backdrop for The SEEyD Theatre Company’s sixth play Turbine. Mark Lachlan from the electricity company visits the self-sufficient Gusten household in Ohaunui to complete his consultation process before seventy turbines are erected in their ‘backyard’. At first the family are united in their opposition to the project, but a family secret, erotic fiction, an autistic son, global warming and a most unlikely love story combine to crack their resolve.Until the sheer effing brilliance of the performance came through; the Goonish humanity, the holes torn in the official curtain, the tumultuous relationships. SEEyD is Go! The research is impeccable, the resultant script is divine; the acting is superb and the staging magnificent. Peter Hawes, TheatreviewFirst performed November 30th 2006 at BATS Theatre. Then at Downstage Theatre and Centrepoint Theatre in 2009.Written and Performed by Tim Spite, Emma Kinane, Nick Dunbar and Rachael Forman.In the later seasons Rachael Forman was replaced by Lee Smith-Gibbons.Set design by Tim Spite and CompanySound design by Gil Eva CraigLighting design by Jen Lal In another tour de force, Spite embodies extreme anxiety with extreme numeracy, anarchic humour with a weird streak of poetry. Harry Ricketts, ListenerWith Turbine SEEyD once again blows a welcome gust of fresh, stimulating air through Wellington theatre. Laurie Atkinson, Dom Post
Turbine
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Paua
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PauaPaua is about a community dealing with a serial killer who is killing paua poachers. When government turns a blind eye to the killings it raises questions about what humanity will bare if there is a financial benefit to the community. Set in the small town of Waiwhero, it is part environmental wake-up call, part whodunit, part thriller and part slasher movie.What is so pleasing about Paua is that it brings back good old fashioned storytelling to theatre. While the storyline, which demands about 40 characters and numerous scenes that occur in a pub, a police station and a multiplicity of other places including a dinghy and a kayak out at sea, would seem to be ideal for and only possible on the screen, it is really the vibrant theatrical imagination at play that makes it such an exciting event. Laurie Atkinson, Dominion PostFirst performed at Downstage Theatre on 19th January 2008, Paua was devised with the unique architecture of Downstage in mind. A site specific piece that cannot be easily transposed to another theatre.Written and performed by Tim Spite, Emma Kinane, Nikki MacDonnell, Samantha Selliman, Rob Ringiao-Lloyd, Te Kohe Tuhaka and Aaron Cortesi.Additional scripting with Phil BraithwaiteSet design by Tim Spite and CompanySound design by Gil Eva CraigLighting design by Natasha JamesThis is a comedy-thriller with plenty of action and intrigue - and the complex plot plays out as a series of brilliantly conceived interludes, cleverly lit and staged - using the irregular shape of Downstage and the crafty minds of the actors/writers who devised this sequence of sketches; creating a theatrical work that manages to poke fun at CSI-styled TV shows, 20/20 infotainment news programmes and post-modern stabs of crime-noir (there are nods to Quentin Tarantino, Dan Brown and Robert Rodriguez) while serving something of a political/ecological message that is relevant to New Zealanders. Simon Sweetman, Sunday Star Times
Paua
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Lullaby Jock
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The Decmber Brother
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The December Brother is a new production by The SEEyD Theatre Company which will premier at Downstage Theatre on August 14th 2010.It is a collision of two extremely different stories. Firstly, the extraordinary story of how Tim Spite’s father, Tony, found his birth family in 1995 (Based on Tony’s memoir The December Brother) and secondly, an event that shocked New Zealand in1994, that of the Bain family Murders.The production will be in three parts.1) Tony Spite’s Memoir.2) Two versions of the Bain murders; Crown and Defence. 3) A fictitious story of our own devising which combines the first two parts: An adopted woman discovers she has a half brother who is accused of murdering his parents but is pleading not guilty. She tries to know more about her birth family through him and is swept into the furious public debate about his innocence.
the Decmber Brother
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