Autumn greetings and images of waving palm trees to you.
Welcome to a late after-match report for the 23 April Banana Boat meeting.
Present were Matene, Ole Maiava, Chetan Patel, Stacey Leilua, Jonathan P Riley, Fasitua Amosa, Jenni Heka, Michelle Johansson, Eric Smith, Albert Belz, Stan Wolfgramm, Arnette Arapai, Victoria Schmidt and David Mamea.
Apologies were received from Lee Aholima and Nina Tapu.
Guest speaker playwright Albert Belz gave an inspiring talk to the group about his career to date, including his tour of duty with “Shortland Street”, his process of writing and rewriting, and challenging being pigeonholed as ‘a Maori playwright’.
Housekeeping included:
– a BIG REMINDER that the 2009 Pasifika Playwright Development Forum takes place on Saturday, 2 May;
– the weekend 2-3 May is the deadline for the 2010 Banana Boat season;
– a gentle reminder that Massive will have Lennie James in the country, a resource that Banana Boat would be silly to ignore;
– and a gentle reminder that the Jukebox deadline is a mere three months away.
Readings were generously provided by Ole Maiava and Eric Smith.
Ole’s third draft of his Jukebox submission, “Skin Deep”, showed the group how much a script can change through drafts.
Eric’s own Jukebox submission, “Aitu”, showed how some stories and inspiration can come from the strangest of places.
We had a further two scripts available for reading, by Chetan Patel and Phoenix Seve, but we had run out of time; they now have first dibs for the next meeting.
The next meeting will be on Thursday 28 May at the Toi Ora Live Art Studio, 6 Putiki Street, Grey Lynn. Please note the new street number – Toi Ora has shifted up the road, directly (and by destiny’s hand) behind McDonalds Family Restaurant on Great North Road.
Scripts to be read at the May meeting are welcome on a first-in, first-served and time-permitting basis. If you want them printed beforehand, they must by forwarded to David by end of day Thursday 21 May. Scripts emailed after this date will need to be printed and copied at the author’s expense. Only complete act for a full-length play, or complete one-act or short plays are read by the group.