To maintain the family connection to a universally Kiwi occasion, pioneering New Zealand playwright Bruce Mason’s daughter Belinda Robinson introduces Steven Lovatt’s annual Christmas day recital of the ‘Christmas at Te Parenga’ section of Mason’s evocative semi-autobiographical masterwork The End of the Golden Weather.  Entering its second decade since the piece was first showcased what feels like a lifetime ago in 2006, this is my first time witnessing this special event in its natural habitat. 

Following a traditional spell of technological breakdown vis a vis the outdoor PA system, we begin with the introduction of the main play, lyrically describing the picturesque majesty of Te Parenga, even as its real-life inspiration Takapuna Beach basks and laps at the shore behind the performer. The greenish, greyish earth tones of Lovatt’s chosen pants-and-suit-jacket attire blend gracefully into the natural palette of the grass, trees, seashore, water and island that comprise the spectacular in-situ set.

While Mason chose to rename the location, presumably for the purpose of artistic distinction, the name of its rustically splendid jewel in the crown, Rangitoto, remains true, indeed pronounced with forthright accuracy by Lovatt.  His relaxed yet energetic delivery invokes various distinct characters – parents, siblings et al – but for the most part it presents as the spirited account of a grown-up ‘Boy’, inviting us to join him “on a voyage into that territory of the heart that we call childhood”.

Golden Weather is the most light-hearted and comedic of Bruce Mason’s concise but broad-reaching oeuvre. The text is bountiful with impeccable eloquence. So many people, places and experiences are articulated with such adroit passion as to be virtually cathartic: a kind of epiphany of recognition. It’s impossible not to draw comparisons to Dylan Thomas’s Under Milk Wood, with the notable difference that it’s set in tropical summertime literally half a world away. Tropical Thomas, if you like.

As an afterthought, producer and tireless Kiwi theatre champion Roger Hall took the mic to announce the inaugural New Zealand Theatre Month this coming September, being launched as one might presume at Takapuna’s Bruce Mason Centre, so keep your eye out for that everybody.
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On a personal note, this is my last Theatreview review for the foreseeable future, as ongoing budget constraints have led the Theatreview Trust to determine Auckland theatre can no longer be covered (see statement). It’s been a terrific eleven years for me overall, and an unprecedented opportunity to see hundreds of local and international shows that I could never have afforded to otherwise. I’m particularly appreciative that a significant majority of those works have been in some way worthwhile, often tremendously so.

So, a toast to my uncle John: at least Auckland’s loss is Wellington’s continued gain. Meanwhile, I can still be reached through this site for anyone with a vacant position for an out of work reviewer. All gigs considered, especially paid ones!

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Bruce Mason first performed his solo play, The End of the Golden Weather in 1959, going on to perform it over 1000 times. The play begins with the wonderful line “I invite you to join me in a voyage into the past, to that territory of the heart we call childhood.”And when Stephen Lovatt begins his performance with that line, the audience is very happy to join him on that journey.

Performing ‘Christmas at Te Parenga’ at the Takapuna Beach Reserve on Christmas Day for the 11^th time, Lovatt shows no signs of weariness with the material. In fact, the over-riding impression I take away is of his pleasure at performing this well-loved extract. With nothing but the backdrop of the ocean and some amplified sound to enable him to be heard throughout the crowd that is arranged in a large and slightly messy semi-circle in front of him, he dives into the scene with delight.

The scene begins with the invitation already mentioned, given by a man reminiscing, and here Lovatt is authoritative and mellow. He relishes the prose and allows it to drop clearly and precisely into the audience, reminding us that this description is of this very place where we sit on this cool and sometimes windy Christmas Day. We are made more aware of Rangitoto, of the pohutukawa trees and of being in a place where “no snow will ever fall at Christmas”. As the narrator in this prologue, Lovatt’s performance is imbued with gravitas and also gentle humour that draws the audience quickly and easily into this world which is both long-gone yet close at hand.

‘Christmas at Te Parenga’ is described from the point of view of a young boy and gives more scope for characterisation, as we encounter his family and friends through his eyes. Lovatt moves fluidly and seamlessly from boy to father to Reverend Thirle to many other people and back again, giving each character a recognisable voice or manner or gesture.

Although the wonderful writing does much of the work, Lovatt brings that writing to life for the audience. He fully and physically commits to each moment so eloquently described, using the space to take us through the different locations from living room to church to beach. He fleshes out each character, if only for a moment, and knows exactly when to emphasise, when to pause and when to just give us time to enjoy the story.

The audience does enjoy it very much indeed, sympathising with the boy as the Christmas Day concert is described in excruciating detail, leaving him in tears at and us in sympathetic laughter at the end. We feel for him and his extended family, and feel happily satisfied at the conclusion of the scene, as Lovatt concludes the performance wishing us all a Merry Christmas.

Although this is the first time I have attended, I suspect many of the audience have made this part of their own Christmas tradition. It is certainly a lovely way to keep this slice of New Zealand alive and to experience and recognise all the things that have changed and those that have stayed the same about Christmas and families and this specific location.

Stephen Lovatt performs this extract with joy and the audience receives it just as joyfully. 

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