Review Excerpts
The Woman in Black (2022) "Hurst ... had an almost chameleon-like quality to his acting ... His body, his walk, his quiet contemplation changed with each character. It was a joy to see".
The Life of Galileo (2021) "Michael Hurst as Galileo Galilei is magnificent. We know Hurst, we expect him to be great, but as Galileo he is especially so. ... At once vulnerable and flawed, hedonistic, enigmatic, wily and strangely likable ... His is an extraordinary performance" (Theatreview)
An Iliad (2019) "This work requires the actor to have a theatrical range from a lion's roar to a Godot-like emptiness ... Hurst held us in the palm of his hand through his courage and his vulnerabiity. He was the quintennential Fool, the prophet, the storyteller ... only the most heroic actor would take on such a task" (Radio13)
The Dayight Atheist (2019) "Hurst nails the part ... evoking the pathos of a profoundly tragic figure who willfully rejects the sustenance which comes from normal human intimacy ... superb production" (NZ Herald)
No Holds Bard (2018, Hamilton)
"What lifts this so far above the usual Shakespearian laugh machinery is that Hurst is a true voice, a genuine star in spoken, live theatre. … the wit, the parody, the iconoclastic blasts of pleasure which come from seeing Shakespeare in a light which has never shone quite this way before. Paradoxically, his speeches have the gravitas of classical Shakespeare, lines full of grace, perfect punctuation and breath control…the comedy erupts like thunder". (Waikato Times)
An Iliad (2018) " ... sublime theatre the like of which we rarely see, centred round a towering performance by Michael Hurst that may well itself pass into legend. ... Homer's masterpiece, flawlessly enacted by a master storyteller" (Theatreview)
Amadeus (2017) "Michael Hurst … is playwright Peter Shaffer's textual instrument, delivering with unfaltering energy and intelligence … Hurst is magnificent, sometimes coiled as a spring of Machiavellian manipulation and evil wound up and ready to erupt in an intense soliloquy (something of which he is a master) … the virtuoso performance of Michael Hurst as Salieri offering a master class in energy, character distillation and conviction. It will be one of the most talked-about theatre pieces of the year". (Theatreview)
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".
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| 2022 |
The Woman in Black (Stephen Mallatratt, adapted from a novel by Susan Hill), Masked Productions; Matt Baker, director; 'Arthur Kipps' (22 June-10 July) |
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| 2021 |
The Life of Galileo (Bertolt Brecht, translation by David Hare), Auckland Theatre Company; Colin McColl, director; 'Galileo' (22 June-10 July)
Birdland (Simon Stephens), Goya Theatre; Jordan Dickson, director; 'Alistair' (26-27 February) |
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| 2020 |
The Daylight Atheist (Tom Scott), Arts on Tour NZ tour to Stewart Island, Invercargill, Roxburgh, Alexandra, Cromwell, Arrowtown, Hawea, Dunedin, Oamaru, Twizel, Fairlie, Geraldine, Ashburton, Hokitika, Takaka, Picton, Upper Hutt, Norsewood, Eltham, New Plymouth, Te Awamutu, Matamata, Paeroa, Gisborne, Taupo, Whakatane, Thames, Putaruru, Hamilton; 'Danny Moffat' (20 July-23 August)
The Daylight Atheist (Tom Scott), fundraiser in Akaroa for The Landing at FrenchFest 2021; 'Danny Moffat' (3 August)
No Holds Bard (Natalie Medlock, Dan Musgrove, Michael Hurst), Auckland Fringe Festival; Natalie Medlock, director; Dan Musgrove, associate director; 'Hamlet,' 'Macbeth,' 'King Lear,' 'Othello' (25-29 February)
An Iliad (Lisa Peterson and Denis O'Hare), Bruce Mason Theatre; Jonathan Hendry, director; 'The Poet' (21 February)
An Iliad (Lisa Peterson and Denis O'Hare), Hamilton Gardens Arts Festival; Jonathan Hendry, director; 'The Poet' (19 February) |
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| 2019 |
An Iliad (Lisa Peterson and Denis O'Hare), Hawkes Bay Arts Festival; Jonathan Hendry, director; 'The Poet' (23 October)
An Iliad (Lisa Peterson and Denis O'Hare), Taranaki Arts Festival; Jonathan Hendry, director; 'The Poet' (23 August)
An Iliad (Lisa Peterson and Denis O'Hare), Herald Theatre; Jonathan Hendry, director; 'The Poet' (29 May-11 June)
Who Killed Blair Peach? (Dean Parker), Grey Lynn RSC (playreading, 22 April)
The Daylight Atheist (Tom Scott), Auckland Theatre Company; Colin McColl, director; 'Danny Moffat' (7-23 February) |
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| 2018 |
No Holds Bard (Michael Hurst, Natalie Medlock, Dan Musgrove), Arts on Tour NZ tour to Hamilton, Thames, Coromandel, Whitianga, Paeroa, Tauranga, Gisborne, Taupo, Norsewood, Wellington, Picton, Nelson, Takaka, Hokitika, Christchurch, Ashburton, Geraldine, Oamaru, Alexandra, Roxburgh, Arrowtown, Invercargill, Twizel, Opunake, New Plymouth, and Whangarei; Natalie Medlock, director; Dan Musgrove, associate director; 'Michael Hurst', 'Hamlet,' 'Macbeth,' 'King Lear,' 'Othello' (29 July-31 August)
An Iliad (Lisa Peterson and Denis O'Hare), Fortune Theatre; Jonathan Hendry, director; 'The Poet' (7-21 April)
Judge, Jury & Cookie Monster: an interactive comedy trial (John Burrows), Burrowed Time; John Burrows, director; 'guest plaintiff' (3 March) |
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| 2017 |
Peter and the Wolf (Sergei Prokofiev, adapted by Sophie Roberts & Leon Radojkovic), Silo Theatre; Sophie Roberts, director; narrator (7 December)
Amadeus (Peter Shaffer), Auckland Theatre Company; Oliver Driver, director; 'Antonio Salieri' (2-20 May)
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) |
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| 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)
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| 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)
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| 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)
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| 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'
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| 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 at Watershed 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
Wherrell,
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 |
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:
Cinderella (Roger
Hall), Randall
Wackrow, director; ‘Bumble’ (1978)
Cupid
in Transit (Nick
Enright and
actors of
Melbourne
Theatre Company),
Robin Queerie,
director;
'boy'
Glide
Time (Roger
Hall), Randall
Wackrow,
director; ‘Michael' (1977); tour, 1978:
James Hay Theatre, Christchurch
Community Centre,Westport
Regent Theatre, Greymouth
Theatre Royal, Timaru
Tinwald Memorial Hall, Ashburton
Habeas
Corpus (Alan
Bennett);
Yvette Bromley,
director; ‘Sir
Percy Shorter’ (1978)
Hamlet
in Schools (William
Shakespeare),
Brian Aitken,
director;
various
The
Importance
of Being
Earnest (Oscar
Wilde), Elric
Hooper, director; ‘Merriman’ (1977)
An
Inspector
Calls (J.B.
Priestley),
Bryan
Aitken,
director;
'Gerald'
The Misanthrope (Moliere); Randall Wackrow, director; 'waiter' (1977)
The
Nuns (Edward
Manet); Brian
Aitken, director; ‘Sister
Ines’ (1977)
Old Time Music Hall (Court Theatre Company); Peter Tulloch, director (1976)
Othello (William
Shakespeare);
Elric Hooper,
director; ‘gentleman
at arms’ (1978)
P.C.
Plod’s
Puny Little
Life Show,
Annette Facer,
director;
'P.C. Plod' (1977)
Ritual
for Dolls (George
MacEwan Green);
'toy monkey' (1977)
She
Stoops to
Conquer (Oliver
Goldsmith);
David Smiles,
director; ‘Tony
Lumpkin’ (1978)
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’ |
|
