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Review Excerpts

No Holds Bard (2016, Tauranga)
"compelling one-man play … hour-long tour de force … Hurst held the audience spellbound with a bravura performance … It could just be the most powerful performance of anything you will see all year". (Paul Chapman)

Trees Beneath the Lake (2014)  "Hurst's portrayal of a descipable conman is a finely nuanced performance" (NZ Herald)

An Unseasonable Fall of Snow (2014)  "Hurst is stirring and enervating as Arthr, and the text really relies on him to keep the play moving along ... Hurst keeps it interesting" (Lumiere Reader)

The Man Whose Mother Was a Pirate (2014)  "Michael Hurst relishes the role of buxom-but-nimble Pirate Mother and has us in the palm of his cross-dressed hand from the get-go" (Theatreview)

No Holds Bard (2013, Auckland)
"This is a one man inferno of energy blown through the prism of Shakespeare and forged with the skill of a craftsman.  Not only does Hurst perform the text with superb clarity, he captures the essence of the greatest of Shakespeare's male characters ... Physically this is the most demanding performance I have ever seen in a one man show.  Hurst does not hesitate to go further than anyone before." (Theatreview)

No Holds Bard (2013, Wellington)
" ... virtuoso performance. His technique is remarkable, the lift of an eyebrow, the pitch of voice, accent, tone and expression are utilised to snap him from character to character.  His one-man fight is fantastic ... and draws appreciative oohs and aahs from the audience ... Anger, terror, sorrow, regret, the stuff that plays are made of; Hurst conjures each with ease". (Theatreview)

King Lear (2013)  "Michael Hurst is also a joy to watch on stage.  Hurst plays the wise fool with ease, reacting to Lear's antics with light-footedness and sleight-of-tongue.  Hurst provides a playfulness to the more static scenes with his lithe movements and giddy spirit". (Craccum)

Frequently Asked Questions (2012, Canberra, Australia)  " ... a comedic tour de force of mighty mirth, brilliant timing, stunning slapstick pratfalls, hilarious parody and knockabout characterisation ... Hurst's performance alone will be enough to have you chortling in your chair or captivated by the actor's art." (Canberra Times)

Frequently Asked Questions (2012, Hamilton) "Michael Hurst's first solo show is terrific ... When it comes around, just go see it ... Hurst is famous for his fight choreography; the fights he stages with himself, complete with back flips and chair rolls, drew gasps from the audience. They are genius". (Theatreview)

Tribes (2012) "Hurst’s provocative and jollily insensitive Father makes you shudder in your seats with cringe".  (Theatre Scenes)

Bard Day's Night (2012, Auckland)
" ... a performance that would grace any stage in the world ... at the heart of this wonderfully jubilant piece is Hurst himself, mangling the text as Shakespeare would have wanted, eating it up, chewing it roundly, spitting it out with venom, passion, anger, lust and love ... In Michael Hurst, I believe we have a talented genius, as fine an actor as any in the world." (Theatreview)

Frequently Asked Questions  (2012, International Festival)  " ... Michael Hurst plays all the roles with relish, sending up styles of Shakespearean acting, poking fun at the language, and providing some gloriously funny physical comedy ... But miraculously he can also turn the comedy on a sixpence and change the mood almost without one being aware that he is doing so as he releases the emotional power of the poetry in some of the most famous speeches in the English language". (Dominion Post)

Red (2011)  "The Maidment Theatre's transformation is nothing in comparison to Michael Hurst's stunning transformation.  Hurst has always been the transformative actor and a transfixing presence onstage, hurling himself into roles, never willing to reuse the same old bag of tricks ... the transformation goes far beyond mimicry, Hurst creating life onstage as the complex Rothko, delivering his rants and insights on life and art with relish ... He's an actor still at the top of his game, and John Logan's Rothko is quite the showcase for his talent". (Theatre Scenes)

Cabaret (2010) "At the core of the play is Michael Hurst who plays the MC and other roles. He brilliantly creates parts which are sinister, evil and depraved'. (NBR)

Sweeney Todd (2010)  "Michael Hurst delivers a tormented mea culpa as the wicked Judge Turpin". (NZ Herald )

Christ Almighty! (2009) "Michael Hurst brilliantly captured the brittle emotions of a wayward angel locked into a love-hate relationship with his Creator". (NZ Herald)

Blackbird (2008)  "Michael Hurst was brilliant as the nervous wretched Ray, wringing emotion out of the character.  One has a sense of the man’s mind ticking over trying to make sense of his situation" (NBR)

The Mystery of Irma Vep (2007) "This is a match of two comedy talents, and some of the most delicious moments are watching them push each other to near wipe-out ... But for my money, Hurst was the comedy knock-out of the night thanks to his combination of serious acting chops and silly physical humour". (NZ Herald)

The Pillowman (2007)  "Jonathan Hardy and Michael Hurst brilliantly carry off the grim humour of their good-cop-bad-cop routine while revealing surprising layers of complexity in their characters". (NZ Herald)

The Goat, or, Who is Sylvia? (2005)  " ... few roles in contemporary theatre ... are more demanding than the part of Martin Grey ... Michael Hurst rises to the challenge with a performance that draws on the full range of his remarkable talent ... In his determination to express the inexpressible Hurst imbues this unlikely character with a poignant, almost heroic sense of dignity". (NZ Herald)

The Duchess of Malfi (2005) "The moral dilemmas of the story are strikingly delineated by Michael Hurst's portrayal of Bosola, a malcontent who is torn between the impulse to do good and the corrupting influence of his position in society. Hurst is a commanding stage presence who displays a superb understanding of the language of the play".  (NZ Herald)

Jack and the Beanstalk (2005)  "The Widow Twankey is an inspired creation from a man who lives and breathes theatricality.  From the moment he tumbles on to the stage, Hurst commands attention with his brilliantly physical clowning, perfectly timed asides and unflagging energy". (NZ Herald)

Macbeth (2004)  "There can't be too many actors who can employ the wondrous phrase 'multitudinous seas incarnadine', part of a woeful, guilty lament by the murdering Macbeth, and make it sound contemporary.  Michael Hurst does this and more in a production that drills deep into the terrible psychological turmoil, the thin line that divides the brave soldier from the foulest murderer".  (Sunday Star-Times)

Goldie (2004)  " ... (Michael Hurst's) transformation--from optimistic, top-of-the-class returning expatriate at the start of the play to deranged, lead-poisoned has-been two and a half hours later--was remarkable". (Listener)

Aladdin (2003)  "Bounce, thwack.  Bounce, thwack. That's the sound of the Widow Twankey falling down the stairs.  Actually, that was the sound of Michael Hurst, pretending to be the Widow Twankey, falling down the stairs.  This was so deliciously funny that she/he did it again. And again ... The cast is universally, enthusiastically, terrific.  But Hurst's Widow Twankey . . . stands out". (NZ Herald)

Hamlet (2003)  "The year's best work on stage was the oldest.  Michael Hurst demonstrated his claim to being our 21st century version of the old-style actor-managers, directing and starring in a version of Hamlet which made it a sleek, dark drama about a dysfunctional family.  His performance was an unalloyed pleasure because he approached the text with such intelligence and sensitivity that even the famous soliloquies sounded as if we were hearing them for the first time.  Dizzyingly exciting, it was unquestionably the best reading of a Shakespeare tragedy and possibly the best local Shakespeare ever". (NZ Herald )

Waiting for Godot (2002)  "Hurst is a cleverly comic but very human Gogo, whose lack of memory condemns him to living utterly in the present, giving him a childlike dependence while robbing him of volition". (Listener)

The Rocky Horror Show (2002)  "As Riff-Raff, Michael Hurst was a mixture of comic brilliance and brutish sycophancy". (NBR)

Rosencrantz and Guildenstern Are Dead (2001)  "Michael Hurst shines as the Player ... he is a gritty, spunky street philosopher and 'comic pornographer'.  In a workman's leather jacket and motley tights, he hauls on a fag while delivering with relish and immaculate comic timing pearls of wit and wisdom". (NZ Herald)

Aladdin (1996)  "Right from his show-stopping entrance, Hurst is just magic--shamelessly hamming up the part for all he is worth and in the process completely stealing every scene he is in". (NZ Herald)

Hamlet (1994)  "Hurst is predictably excellent ... with every nuance of speech and gesture, Hurst brings the language and emotions of the play to a pleasing level of audience comprehension ... the language of Hamlet is woven into the fabric of our everyday language and his triumph is that he helps us understand what those words actually mean". (Auckland Star)

The Holy Sinner (1994)  "Michael Hurst ... is on stage for nearly all of the time and his energy and daring are amazing.  He climbs like a cat up the walls of Shed One, fights with heavy and dangerous swords, hurtles off balconies, scales a perilous metal pyramid and runs up and down the stage numerous times.  And somehow he is still capable of stillness, passion, humour and, even on so vast a stage, subtlety". (Evening Post)

Cabaret (1992)  "The MC, played by Hurst, is a strutting manic loon who seems to swell as the piece progresses and he ingests the poison of the gathering Nazi threat".  (NZ Herald)

Richard III (1991)  "From the time Michael Hurst limped, twisted in mind and body, on to the stage, he became Richard ... Each sly, cunning and often comic aside to the audience, each sharp and penetrating stare, each false and fawning avowal of honesty brought Richard to life ... His soliloquys were masterpieces, bringing Shakespeare and the language and sentiments of another era to life". (Auckland Star)

The Holy Sinner (1990)  "Hurst himself is stunning.  This is an actor of total integrity, extraordinary adaptability, controlled skill and commitment.  He muscles through 2-1/2 hours that would exhaust a prize fighter and still finds the reserves for the subtleties". (Listener)

The Threepenny Opera (1988)  "However, the stand out, walk-away-with-it role belonged to Michael Hurst as Mack the Knife.  From the moment he strutted on stage like a prettier version of the young James Cagney, he commanded and seduced his audience.  There are few New Zealand actors who have this man's magnetism and presence, and his MacHeath was the ominous and lethal focus for the whole production". (Agenda Magazine)

Kiss of the Spider Woman (1987)  "Hurst ... is nothing less than masterful.  His command of emotion and his powerful presence continue to mark him as our finest actor". (NZ Herald)

The Three Musketeers (1987)  "(Hurst) amazed the audience with his boundless energy and feline agility as he leapt up stairs and fell from balconies over three levels of scenery.  He even took a convincing tumble down a flight of stairs.  He must have some bruises, surely?"

Mikado (1987)  "The unsurprising star is the dependable Michael Hurst whose Ko-Ko shows that he has another theatrical genre firmly in his grasp.  In the show's key role, his performance--a breath-taking blend of elastic expression, perfect timing, risky ad lib and crystal-clear diction--is as good as one could hope to see on any stage". (NZ Herald)

Macbeth (1986)  "Michael Hurst gives a riveting performance.  He perfectly captures Macbeth's psychological decline and portrays the Scottish tyrant with considerable dignity, strength and passion ... Hurst combines his vitality, intelligence and emotional credibility to great effect". (Inner City News)

Hedda Gabler (1986)  "Michael Hurst's passionate Eilert Lovborg is another first-rate performance". (Inner City News)

As Is (1986)  "Michael Hurst turns in a characteristically flawless performance as Saul ... his control of emotion, his command of expression confirm his unique and prodigious talent". (NZ Herald)

Pass It On (1986)  "Michael Hurst is such a convincing Gus that I could swear his head was shorn into a short-back-and sides". (Listener)

Torch Song Trilogy (1985)  "The play is actually Michael Hurst's, whose portrayal of Arnold is so real, that it is almost haunting.  During the back-breaking period that he is continually on stage, Hurst's magnificent performance impresses and enthralls". (Auckland Star)

Caucasian Chalk Circle (1985)  "In the demanding role of the Singer, Michael Hurst, whose stage presence is becoming something of an urban legend, weaves nimbly and gracefully through the action, by turns a smiling and malevolent chorus to the human drama he is creating". (NZ Herald)

A Street Called Straight (1983)  "This was an unusually passive role for Hurst who seems to specialise in aggressive protagonists.  His gravity and grief as the blows rain down on them all was most moving to watch.  His versatility as an actor is even more firmly established". (Metro)

King Lear (1983)  "Michael Hurst's mercurial Fool strikes a fine balance between pathos and comedy, always playing for more than the easy laugh". (NZ Herald)

The Lady from the Sea (1983)  "Michael Hurst's Lyngstrand ... [was a] first rate performance, beautifully spoken and un-mannered in spite of the awful temptations to overplay inherent in [the role]". (Metro)

The Trial (1983)  "Michael Hurst masterfully captures the evolving personality of K, from his initial arrogance to his ultimate bewilderment, despair and guilt-ridden pathos". (NZ Times)

Amadeus (1982)  "Michael Hurst's Mozart is his best performance yet.  He played another wayward genius--Rimbaud in 'Total Eclipse'--at Theatre Corporate this year, but this characterisation has twice the psychological depth". (NZ Herald)

Total Eclipse (1982)  "Michael Hurst is wonderful as Rimbaud ... he is all the things a genuine poetic genius could ever be--sniggering, beautiful, uncouth, angel, devil, brilliant, drunken schoolboy, uncompromising sloth, altogether 'a very bizarre character made up of bad luck and innocence.' ... it's Michael Hurst you want to watch". (Inner City News)

Beauty and the Beast (1981)  "None of the supporting cast puts a foot wrong, Michael Hurst in particular displaying impressive versatility". (NZ Herald)

As You Like It (1981) "there is … some broad and colourful clowning, the best of it from Michael Hurst as Touchstone". (NZ Herald)

Mother Courage and Her Children (1981) "a wirey priest from Michael Hurst … Hurst is as good as he's ever been". (NZ Herald)

She Stoops to Conquer (1977)  "Michael Hurst is the best Tony Lumpkin I have seen". (Christchurch Star)

The Adventures of a Bear Called Paddington (1976)  "(Michael Hurst) delivers a delightful comic impersonation of this trouble-prone bouncing bear.  Michael's characterisation is quite entrancing.  His comical antics are very funny--I was wiping away tears of laughter more than once". (Christchurch Star)

Time Out for Ginger (1976)  "Ginger's on-and-off boyfriend is given the proper mixed-up kid treatment by Michael Hurst, receiving a small ovation when he surprisingly flattens Jeannie's boyfriend ... with a short, sharp right hook to the jaw". (Christchurch Star)

West Side Story (1974)  "Baby John (Michael Hurst) ... earned special applause for his take-off on the effeminate psychologist in the 'Officer Krupke' scene".

 
2017 No Holds Bard (Natalie Medlock, Dan Musgrove, Michael Hurst), Artworks Community Theatre, Waiheke; Natalie Medlock, director; Dan Musgrove, associate director; 'Hamlet,' 'Macbeth,' 'King Lear,' 'Othello' (27-28 January)
   
2016

No Holds Bard (Natalie Medlock, Dan Musgrove, Michael Hurst), Hawke's Bay Arts Festival; Natalie Medlock, director; Dan Musgrove, associate director; 'Hamlet,' 'Macbeth,' 'King Lear,' 'Othello' (10 October)

No Holds Bard (Natalie Medlock, Dan Musgrove, Michael Hurst), Artworks Community Theatre, Waiheke; Natalie Medlock, director; Dan Musgrove, associate director; 'Hamlet,' 'Macbeth,' 'King Lear,' 'Othello' (23-24 September)

No Holds Bard (Natalie Medlock, Dan Musgrove, Michael Hurst), Titirangi Theatre; Natalie Medlock, director; Dan Musgrove, associate director; 'Hamlet,' 'Macbeth,' 'King Lear,' 'Othello' (16-17 September)

No Holds Bard (Natalie Medlock, Dan Musgrove, Michael Hurst), Tauranga Art Festival's Escape! Festival; Natalie Medlock, director; Dan Musgrove, associate director; 'Hamlet,' 'Macbeth,' 'King Lear,' 'Othello' (3-4 June)

2015

No Holds Bard (Natalie Medlock, Dan Musgrove, Michael Hurst), Tiny Theatre at Garnet Station; Natalie Medlock, director; Dan Musgrove, associate director; 'Hamlet,' 'Macbeth,' 'King Lear,' 'Othello' (10-12 September)

2014

Hauraki Horror (Chris Parker & Thomas Sainsbury), The Basement; Rachel House, director; 'Dick Rancid' (6, 12, 13, 15, 20 December)

The Blind Date Project (Bojana Novakovic & Mark Winter, with Thomas Henning), Silo Theatre; Tanya Goldberg, director; 'Brian' (29 November)

No Holds Bard (Natalie Medlock, Dan Musgrove, Michael Hurst), Arts Festival Dunedin; Natalie Medlock, director; Dan Musgrove, associate director; 'Hamlet,' 'Macbeth,' 'King Lear,' 'Othello' (15-18 October)

Trees Beneath the Lake (Arthur Meek), Auckland Theatre Company; Simon Bennett, director; 'William Campbell' (4-27 September)

An Unseasonable Fall of Snow (Gary Henderson), Theatre of Love; Matt Baker, director; 'Arthur' (29 July-9 August)

No Holds Bard (Natalie Medlock, Dan Musgrove, Michael Hurst), Baycourt Community and Arts Centre, Tauranga; Natalie Medlock, director; Dan Musgrove, Associate Director; 'Hamlet,' 'Macbeth,' 'King Lear,' 'Othello' (17-18 July)

The Man Whose Mother Was a Pirate (Margaret Mahy, adapted by Rachel Callinan), Auckland Theatre Company; Ben Crowder, director; 'Pirate Mother' (4-8 July)

No Holds Bard (Natalie Medlock, Dan Musgrove, Michael Hurst), Erupt! Lauek Taupo Festival; Natalie Medlock, director; Dan Musgrove, Associate Director; 'Hamlet,' 'Macbeth,' 'King Lear,' 'Othello' (8, 10 May)

2013

A Basement Christmas Carol (Nic Sampson, Barnaby Frederic), Basement Theatre; Sophie Roberts, director; 'The Mad Butcher' (7 December)

No Holds Bard (Natalie Medlock, Dan Musgrove, Michael Hurst), Basement Theatre; Natalie Medlock, director; Dan Musgrove, Associate Director; 'Hamlet,' 'Macbeth,' 'King Lear,' 'Othello' (2-15 June, 16-19 July)

No Holds Bard (Natalie Medlock, Dan Musgrove, Michael Hurst), One Night with Q fundraiser; Natalie Medlock, director; Dan Musgrove, Associate Director; 'Hamlet,' 'Macbeth,' 'King Lear,' 'Othello' (7 June)

No Holds Bard (Natalie Medlock, Dan Musgrove, Michael Hurst), Downstage Theatre; Natalie Medlock, director; Dan Musgrove, Associate Director; 'Hamlet,' 'Macbeth,' 'King Lear,' 'Othello' (16 May-1 June)

No Holds Bard (Natalie Medlock, Dan Musgrove, Michael Hurst), TSB Showplace, New Plymouth (9 May), Clarence Street Theatre, Hamilton (10 May), Hawke's Bay Opera House, Hastings (11 May); Natalie Medlock, director; Dan Musgrove, Associate Director; 'Hamlet,' 'Macbeth,' 'King Lear,' 'Othello'

King Lear (William Shakespeare), AUSA Summer Shakespeare; Lisa Harrow, director; 'the fool'

2012

No Holds Bard (Natalie Medlock, Dan Musgrove, Michael Hurst), The Old Library Arts Centre, Whangarei (1 December), Turner Centre, Kerikeri (4 December), Dargaville Town Hall, Dargaville (7 December); Natalie Medlock, director; Dan Musgrove, Associate Director; 'Hamlet,' 'Macbeth,' 'King Lear,' 'Othello'

The Trees Beneath the Lake (Arthur Meek), Auckland Theatre Company, The Next Stage; Simon Bennett, director; 'William Campbell' (directed playreading; 17-18 November)

No Holds Bard (Natalie Medlock, Dan Musgrove, Michael Hurst), The Victoria Theatre, Devonport; Natalie Medlock, director; Dan Musgrove, Associate Director; 'Hamlet,' 'Macbeth,' 'King Lear,' 'Othello' (16-17 November)

Frequently Asked Questions (aka No Holds Bard; Natalie Medlock, Dan Musgrove, Michael Hurst), Nelson Arts Festival, Nelson; Natalie Medlock, director; Dan Musgrove, Associate Director; 'Hamlet,' 'Macbeth,' 'King Lear,' 'Othello' (26-27 October)

No Holds Bard (Natalie Medlock, Dan Musgrove, Michael Hurst), Howick Little Theatre, Howick; Natalie Medlock, director; Dan Musgrove, Associate Director; 'Hamlet,' 'Macbeth,' 'King Lear,' 'Othello' (19-20 October)

Frequently Asked Questions (aka No Holds Bard; Natalie Medlock, Dan Musgrove, Michael Hurst), The Street Theatre, Canberra, Australia; Natalie Medlock, director; Dan Musgrove, Associate Director; 'Hamlet,' 'Macbeth,' 'King Lear,' 'Othello' (11-21 July)

Frequently Asked Questions (aka No Holds Bard; Natalie Medlock, Dan Musgrove, Michael Hurst), Fuel Festival, Hamilton; Natalie Medlock, director; Dan Musgrove, Associate Director; 'Hamlet,' 'Macbeth,' 'King Lear,' 'Othello' (5-7 July)

Tribes (Nina Raines), Silo Theatre; Shane Bosher, director; 'Christopher'

Bard Day's Night (aka No Holds Bard; Natalie Medlock, Dan Musgrove, Michael Hurst), The Basement; Natalie Medlock, director; Dan Musgrove, Associate Director; 'Hamlet,' 'Macbeth,' 'King Lear,' 'Othello' (21-26 May)

The Good Times (Arthur Meek), Silo Theatre; 'Ray' (Working Titles playreading; 13 April)

Fix (Jess Sayer), Auckland Playwrights Collective; Scott Wills, director; 'Carter' (Read Raw playreading; 1 April)

Frequently Asked Questions (aka No Holds Bard; Natalie Medlock, Dan Musgrove, Michael Hurst), New Zealand International Arts Festival (Wellington); Natalie Medlock, director; Dan Musgrove, Associate Director; 'Hamlet,' 'Macbeth,' 'King Lear,' 'Othello' (2-11 March)

2011

Red (John Logan), Auckland Theatre Company; Oliver Driver, director; 'Mark Rothko'

Six Degrees of Separation (John Gaure), Writers & Readers Festival/Auckland Theatre Company; Colin McColl, director; 'Flanders Kittredge' (playreading)

Bare (Toa Fraser), Benefit for Christchurch; Ian Hughes and Toa Fraser, directors; 'sleazy producer'

Flintlock Musket (Kirk Torrance), The Edge; 'Mason' (workshop)

   
2010

Cabaret (Kander & Ebb), Auckland Theatre Company; Michael Hurst, director; 'emcee'

She Came to Stay (Dean Parker), Stepping Stone Project; Sylvia Rands, director; 'Pierre Labrousse' (wokrshop/playreading)

Sweeney Todd (Stephen Sondheim), Peach Theatre Company; Jesse Peach, director; 'Judge Turpin'

   
2009 Christ Almighty! (Natalie Medlock & Dan Musgrove), The Basement; Cameron Rhodes and Colin Moy, directors; 'Angel Gabrielle'
   
2008

The Eight: Reindeer Monologues (Jeff Goode), The Basement; Cameron Rhodes, director; 'Donner'

Blackbird (David Harrower), Auckland Theatre Company; Margaret-Mary Hollins, director; 'Ray' (watch rehearsal, interview here)

   
2007

The Mystery of Irma Vep (Charles Ludlam), Silo Theatre; Jennifer Ward-Lealand, director; 'Lady Enid Hillcrest', 'Nicodemus Underwood', 'Alcazar', 'Pev Amri'

The Pillowman (Martin McDonagh), Auckland Theatre Company; Simon Prast, director; 'Ariel'

   
2005

The Goat, or Who is Sylvia? (Edward Albee), Silo Theatre; Oliver Driver, director; 'Martin'

The Duchess of Malfi (John Webster), Auckland Theatre Company; Colin McColl, director; 'Bosola'

Jack and the Beanstalk (Michael Hurst), Auckland Festival 2005; Michael Hurst, director; ‘Mrs. Sidebottom’

   
2004

Macbeth (William Shakespeare), The Large Group; Michael Hurst, director; ‘Macbeth’

Goldie (Peter Hawes), Auckland Theatre Company, Colin McColl, director; ‘Charles F. Goldie’

   
2003

Aladdin (Michael Hurst), Auckland Festival 2003; Michael Hurst, director; ‘Widow Twankey'

Hamlet (William Shakespeare), The Large Group; Michael Hurst, director; ‘Hamlet’

   
2002

The Rocky Horror Show (Richard O’Brien), Auckland Theatre Company; Simon Prast, director; ‘Riff Raff’

Waiting for Godot (Samuel Beckett), Auckland Theatre Company; Colin McColl, director; ‘Estragon’

Travesties (Tom Stoppard), Auckland Theatre Company; Raymond Hawthorne, director; ‘James Joyce’

Love Letters (A. R. Gurney), Creation Entertainment; ‘Andrew Makepeace Ladd III'

The Selfish Giant (Oscar Wilde, adapted by Warwick Broadhead); Warwick Broadhead, director; singer (voice; recorded)

   
2001

Rosencrantz & Guildenstern Are Dead (Tom Stoppard), Auckland Theatre Company; Colin McColl, director; ‘The Player’

Sister Wonder Woman (Josie Ryan), Michael Hurst and Jennifer Ward-Lealand, directors; narrator (voice; recorded)

   
1996

Aladdin (Michael Hurst), Watershed Theatre; Michael Hurst, director; ‘Widow Twankey’

   
1994

Hamlet (William Shakespeare), Watershed Theatre; Michael Hurst, director; ‘Hamlet’

The Holy Sinner (Thomas Mann), Inside Out Theatre production at The New Zealand International Festival of the Arts (Wellington); Michael Mizrahi and Marie Adams, directors; ‘Wiligis’ and ‘Gregoris’

   
1993

Jack and the Beanstalk (Michael Hurst), Watershed Theatre; Michael Hurst, director; ‘Mrs. Sidebottom’

A Spectacle of One (from the Carson McCullers novel, The Heart Is a Lonely Hunter; Harry Sinclair, script consultant), Inside Out Theatre production at Watershed Theatre; Michael Mizrahi and Marie Adams, directors; 'Blaunt'

   
1992

Cabaret (Joe Masteroff), Watershed Theatre; Michael Hurst, director; ‘emcee’

   
1991

Richard III (William Shakespeare), Pumphouse Winter Shakespeare Festival; Paul Gittins, director; ‘Richard III’

The Sex Fiend (Danny Mulheron and Stephen Sinclair), Mercury Theatre; Chris Sheil, director; ‘Matthew'

Lovelock's Dream Run (David Geary), Playmarket; directed by Stuart Devenie; 'Jack Lovelock' (Playback Theatre reading)

   
1990

The Sex Fiend (Danny Mulheron and Stephen Sinclair), The Gods, Mercury Upstairs; Michael Hurst, director; ‘Matthew’

A Slice of Saturday Night (Neil, Lea, John, and Charles Heather), Mercury Theatre; Paul Minifie, director; ‘Eddie’

The Threepenny Opera (Bertolt Brecht), Inside Out Theatre; Michael Hurst, director; ‘Tiger Brown’

The Holy Sinner (Thomas Mann), Inside Out Theatre; Michael Mizrahi and Marie Adams, directors; ‘Wiligis’ and ‘Gregoris’

   
1989

The Rover (Aphra Behn), Mercury Theatre; Raymond Hawthorne, director; ‘Blunt’

Romeo and Juliet (William Shakespeare), Sydney Theatre Company; Richard Wherrett, director; ‘County Paris’

Ladies Night (Stephen Sinclair and Tony McCarten), Mercury Theatre; David Coddington, director; ‘Barry’

The Cherry Orchard (Anton Chekhov), Mercury Theatre; Raymond Hawthorne, director; ‘Trofimov’

King Lear (William Shakespeare), University of Auckland Summer Shakespeare; Michael Hurst, director; 'Gloucester'

   
1988

The Three Musketeers (Alexandre Dumas, adapted by Stuart Hoar), Mercury Theatre; Raymond Hawthorne, director; ‘Aramis’

Nana (Emile Zola, adapted by Olwen Wymark), Mercury Theatre; Paul Minifie, director; ‘Steiner’, ‘Bordenave’, ‘Jupiter’

Yerma (Garcia Lorca), The Gods, Mercury Upstairs; Lee Grant, director; ‘Victor’

South Pacific (Rodgers & Hammerstein), Mercury Theatre; Raymond Hawthorne, director; ‘Luther Billis’

The Threepenny Opera (Bertolt Brecht), Downstage Theatre; Colin McColl, director; ‘Macheath’

   
1987

Ladies Night (Stephen Sinclair and Tony McCarten), The Gods, Mercury Upstairs; David Coddington, director; ‘Barry’

The Three Musketeers (Alexandre Dumas, adapted by Simon Phillips), Melbourne Theatre Company; Simon Phillips, director; ‘D’Artagnan’

The Sound of Music (Rodgers & Hammerstein), Mercury Theatre; Raymond Hawthorne, director; ‘Rolf Gruber’

Squatter (Stuart Hoar), Mercury Theatre; Sarah Peirse, director; ‘Olive’

The Mikado (Gilbert & Sullivan), Mercury Theatre; Raymond Hawthorne, director; ‘Koko’

Kiss of the Spider Woman (Manuel Puig), The Gods, Mercury Upstairs; David Coddington, director; ‘Valentin’

   
1986

Hedda Gabler (Henrik Ibsen, adapted by John Osborne), Theatre Corporate; Paul Sonne, director; ‘Eilert Lovborg’

Macbeth (William Shakespeare), Theatre Corporate; Roger McGill, director; ‘Macbeth’

As Is (William Hoffman), Theatre Corporate; Murray Lynch, director; ‘Saul’

The Trojan Women (Euripides), Public Works Art Collective; Sarah Peirse, director; ‘Agamemnon’

Pass It On (Renée), Theatre Corporate; Sarah Peirse, director; ‘Gus’

   
1985

Torch Song Trilogy (Harvey Fierstein), Theatre Corporate; Murray Lynch, director; ‘Arnold Beckoff’

Caucasian Chalk Circle (Bertolt Brecht), Theatre Corporate; Roger McGill, director; ‘the singer’

Trafford Tanzi (Claire Luckham), Theatre Corporate; Roger McGill, director; ‘Dean Rebel’

   
1984

Cabaret (Joe Masteroff), Theatre Corporate; Raymond Hawthorne, director; ‘master of ceremonies’

The Winter’s Tale (William Shakespeare), Theatre Corporate; Roger McGill, director; ‘Florizel’

   
1983

Rip Tide (Harry Sinclair and Michael Hurst), Theatre Corporate; Harry Sinclair and Michael Hurst, directors; various

Vinegar Tom (Caryl Churchill), Theatre Corporate; Judith Gibson, director; ‘Jack’

The Threepenny Opera (Bertolt Brecht), Theatre Corporate; Roger McGill, director; ‘the organ grinder’

A Street Called Straight (Seamus Quinn), Theatre Corporate; Roger McGill, director; ‘Jimmy Mackie’

King Lear (William Shakespeare), Theatre Corporate; Roger McGill, director; ‘the fool’

The Lady from the Sea (Henrik Ibsen), Theatre Corporate; Roger McGill, director; ‘Lyngstrand’

The Trial (Franz Kafka, adapted by Steven Berkoff), Theatre Corporate; Roger McGill, director; ‘Joseph K’

Jacques Brel is Alive and Well and Living in Paris (based on the lyrics and commentary of Jacques Brel; music, Jacques Brel), Theatre Corporate; Raymond Hawthorne, director; singer

   
1982

Amadeus (Peter Schaefer), Mercury Theatre; Simon Phillips, director; ‘Mozart’

Jesus Christ Superstar (Andrew Lloyd Webber and Tim Rice), Mercury Theatre; Simon Phillips, director; ‘King Herod’

Armageddon Revisited (Peter Hawes), The Gods, Mercury Upstairs; Simon Phillips, director; ‘Beastly’

Total Eclipse (Christopher Hampton), Theatre Corporate; Paul Minifie, director; ‘Arthur Rimbaud’

Accidental Death of an Anarchist (Dario Fo), Theatre Corporate; Murray Lynch, director; ‘Histriomaniac’

   
1981

The End of the Golden Weather (Bruce Mason, adapted by Raymond Hawthorne), Theatre Corporate; Paul Minifie, director; ‘The Boy’

Beauty and the Beast (Charles Perrault, adapted by Raymond Hawthorne), Theatre Corporate; Raymond Hawthorne, director; ‘Michel’, ‘a sea captain’, ‘bailiff’s man’, ‘page’, ‘eenie thing’

The Rose (Roger Hall), Theatre Corporate, Raymond Hawthorne, director; ‘the leader’

As You Like It (William Shakespeare), Theatre Corporate; Raymond Hawthorne, director; ‘Touchstone’

Mother Courage and Her Children (Bertolt Brecht), Theatre Corporate; Roger McGill, director; ‘the chaplain’

Who’s Randy (music by Randy Newman; devised by Raymond Hawthorne), Theatre Corporate; Raymond Hawthorne, director; singer

Piaf (Pam Gems), Theatre Corporate; Raymond Hawthorne, director; ‘the agent’, ‘the drug pusher’

Shards (late night studio theatre), Theatre Corporate; Judith Gibson, director; singer

   
1980

Wings (Arthur Kopit), Theatre Corporate; Chris Shiel, director; ‘Billy’, ‘doctor’

The Sleeping Beauty (Charles Perrault, adapted by Raymond Hawthorne), Theatre Corporate; Raymond Hawthorne, director; ‘2nd courtier’, ‘the frog’, ‘4th fairy’

The Nobodies from Nowhere (Gateway), Theatre Corporate; Paul Minifie, director; ‘Honk’

A Christmas Carol (Charles Dickens), Theatre Corporate; Jennifer Dalziel, director; ‘Tiny Tim’, 'young Scrooge'

Murder in the Cathedral (T.S. Eliot), Theatre Corporate; Raymond Hawthorne, director; ‘first tempter', 'knight’

Hamlet (William Shakespeare), Theatre Corporate; Raymond Hawthorne, director; ‘Laertes’

Bent (Martin Sherman), Theatre Corporate; Paul Minifie, director; ‘Rudy’

Tartuffe (Moliere), Theatre Corporate; Raymond Hawthorne, director; ‘Damis’

Nativity (Raymond Hawthorne), Theatre Corporate, Paul Minifie, director; various

Stationary Sixth Form Poetry Trip (Rachel McAlpine), Theatre Corporate, Sunney Amey, director; 'Jim'

   
1979

joined Theatre Corporate; performed in schools, and sometimes for adult audiences, throughout the North Island; plays included:

Story Theatre

Stuff ‘n’ Nonsense

Tomorrow’s World

Violence

Behind the Tatooed Face

Hamlet in Focus

Katherine Mansfield

   
1977/78

two-year theatre trainee program, Court Theatre (Christchurch); roles included:

Glide Time (Roger Hall), Randall Wackrow, director; ‘Michael' (1978)

Habeas Corpus (Alan Bennett); Yvette Bromley, director; ‘Sir Percy Shorter’ (1978)

Cinderella (Roger Hall), Randall Wackrow, director; ‘Bumble’ (1978)

Othello (William Shakespeare); Elric Hooper, director; ‘gentleman at arms’ (1978)

The Nuns (Edward Manet); Brian Aitken, director; ‘Sister Ines’ (1977)

The Misanthrope (Moliere); Randall Wackrow, director; 'waiter' (1977)

The Importance of Being Earnest (Oscar Wilde), Elric Hooper, director; ‘Merriman’ (1977)

She Stoops to Conquer (Oliver Goldsmith); David Smiles, director; ‘Tony Lumpkin’ (1977)

P.C. Plod’s Puny Little Life Show, Annette Facer, director; 'P.C. Plod' (1977)

Ritual for Dolls (George MacEwan Green); 'toy monkey' (1977)

Hamlet in Schools (William Shakespeare), Brian Aitken, director; various

Cupid in Transit (Nick Enright and actors of Melbourne Theatre Company), Robin Queerie, director; 'boy'

An Inspector Calls (J.B. Priestley), Bryan Aitken, director; 'Gerald'

Also performed in light lunchtime shows, including A Lot of Nonsense (1978).

   
1976

The Adventures of a Bear Called Paddington (Alfred Bradley and Michael Bond), Canterbury Children’s Theatre; Annette Facer, director; ‘Paddington’

Time Out for Ginger (Ronald Alexander), Canterbury Repertory Society; Brian Deavoll, director; ‘Tommy Green’

performed in schools throughout Canterbury as part of Court Theatre’s Theatre in Education Group

   
1975

The Importance of Being Earnest (Oscar Wilde), Papanui High Schoool; ‘Algernon Moncrieff’

performed two one-hour comedy shows for fund-raising, Papanui High School, Christchurch

   
1974 West Side Story (Leonard Bernstein, Stephen Sondheim, Arthur Laurents), Papanui High School, Christchurch; Allan Bunn, director; ‘Baby John’
   
1973 Joseph and the Amazing Technicolor Dreamcoat (Andrew Lloyd Webber and Tim Rice), Papanui High School, Christchurch; Michael Hurst, director; ‘Pharoah‘
   
1972 Jesus Christ Superstar (Andrew Lloyd Webber and Tim Rice; secondary school adaptation), Papanui High School, Christchurch; Michael Hurst, director; ‘Judas Iscariot’