the book of everything

THE BOOK OF EVERYTHING
ADAPTED BY RICHARD TULLOCH FROM THE NOVEL BY GUUS KUIJER
A SILO THEATRE & AUCKLAND ARTS FESTIVAL CO-PRODUCTION
CORE FUNDERS
4 - 22 MARCH 2015
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EVENT PARTNER
His Excellency Lt Gen The Right
Honorable Sir Jerry Mateparae,
GNZM, QSO, Governor-General
of New Zealand
BOARD OF TRUSTEES
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FROM THE AUCKLAND
ARTS FESTIVAL &
SILO THEATRE
SILVER SPONSORS
PATRON
The Auckland Arts Festival is
delighted to be partnering with
Silo Theatre to co-produce THE
BOOK OF EVERYTHING. When
we met with Artistic Director
Sophie Roberts and Jessica Smith
Executive Director, just over a year
ago, David and I asked about plays
they really wanted to do. Sophie
talked about THE BOOK OF
EVERYTHING, which we both knew.
It was almost an immediate yes,
let’s do it together. A few days later
budgets had been roughed out,
dates settled in the schedule and
we were on this journey together.
It is great to have such a solid
partnership with a local producing
theatre company and THE BOOK
OF EVERYTHING is a perfect
festival work, one that could only
be achieved by joining forces.
We know that it is going to be a
wonderful production – the play
is a beautiful one and director
Sophie Roberts has done such
a great job with her absolutely
fabulous cast and creative team.
The play is relevant, moving,
disturbing, funny and ultimately
uplifting as a community comes
together to ensure positive
change for one family.
Carla van Zon
Artistic Director
David Inns
Chief Executive Officer
Festivals are an extraordinary
moment in time for people to
gather, collaborate and share.
We are reminded of something
bigger than ourselves, a sense of
community on a massive scale.
Festivals also provide artists and
companies like Silo the opportunity
to stretch and the ability to create
in a different way. Part of this is to
do with the incredible support and
infrastructure that exists within
a major festival framework, but
even more importantly, there is
something special that happens
with audiences – festivals inspire
us all to break out of our comfort
zone and try something new.
We are super stoked to be
presenting this new co-production of
THE BOOK OF EVERYTHING as part
of Carla’s 2015 programme. Silo’s
partnership with the Auckland Arts
Festival is an integral one, and it is a
real privilege to be working amongst
such an amazing group of artists
and technicians from near and far.
Community sits at the heart of
THE BOOK OF EVERYTHING and
it is a work that Sophie has long
wanted to direct. This show wouldn’t
have been possible without the
backing of Carla, David and their
team or the gifted performers,
designers and crew who have
made this work come to life. Enjoy.
Jessica Smith
Executive Director/Producer
Auckland Arts Festival
FESTIVAL LOVERS
The St John Family
Jim Moser
Sophie Roberts
Artistic Director
Silo Theatre
Production Management
Kate Burton
Eliza with the Leather Leg
Michelle Blundell
Stage Management
Gabrielle Vincent
Jesus
Tim Carlsen
Rehearsal Stage Management
Anna Nuria Watcino
Thomas Klopper
Patrick Carroll
Violin
Jess Hindin
Father / Bumbiter
Sam Snedden
Props Master
Natasha Pearl
Mrs. van Amersfoort
Rima Te Wiata
Technical Operation
Mitchell Leslie
Margot Klopper
Olivia Tennet
Set Construction
2 Construct
Auntie Pie
Jennifer Ward-Lealand
Direction
Sophie Roberts
Set Design
John Verryt
Costume Design
Kirsty Cameron
Composition & Sound Design
Thomas Press
Lighting Design
Sean Lynch
Silo gratefully acknowledges
the support of
Alt Group
Auckland Live
Auckland Theatre Company
Friedlander Foundation
Rory Garbett
Abigail Greenwood
Jeff Henderson
Rachel House
Il Buco
Newton Central School
Q Theatre
Ripe
Dean Roberts
Sons & Co.
James Wilson
MEET THE WRITERS
THE BO OK OF EVERY THING
ADAPTED BY RICHARD TULLOCH
FROM THE NOVEL BY GUUS KUIJER
Mother
Mia Blake
RICHARD TULLOCH is one
of Australia’s leading writers
of books, plays and television
for young audiences. He has
been the principal writer of the
phenomenally successful TV
series BANANAS IN PYJAMAS
and wrote the screenplay for the
animated feature film, FERN
GULLY II: THE MAGICAL RESCUE.
He has written over fifty plays, which
have been performed throughout
Australia and overseas. He has
been nominated for Australian
Writers’ Guild awards eight times
and has five times won the award
for the Best Play for Children.
His adaptation of Guus
Kuijer’s THE BOOK OF
EVERYTHING premiered at Belvoir
Street Theatre in 2010, directed
by Neil Armfield. The play won
the Sydney Theatre Award for
Best Production for Children
and was nominated for a 2010
Helpmann Award for Best Play.
Richard has published over
thirty-five children’s books.
GUUS KUIJER (1942) debuted in
the mid-seventies, when children’s
books were rediscovered as a
weapon in the struggle for a
better world. As a disciple of
Annie Schmidt, he does not make
the children any better behaved
or the adults any more sensible
than they actually are. His style
is precise, graceful and his ability
to describe major issues with a
modicum of words is unsurpassed.
After an initial period when he was
awarded every prize possible and
after a number of animal stories
and socially committed novels for
young readers, nothing was heard
from him, until the Polleke series
debuted in 1999. Both the Polleke
and his earlier Madelief series have
been adapted for Dutch film and TV.
His book THE BOOK OF
EVERYTHING (2005) has
become a modern classic in
children’s literature, with more
than a dozen translations, an
international theatre-adaptation
and movie-rights recently sold.
Perhaps the most wondrous thing about THE BOOK
OF EVERYTHING is how it reveals the special in the
ordinary and how it captures the voice of a curious
nine-year-old without condescension.
Sam Brooks
ON THE BOOK
OF EVERY THING
Early last year, Silo Theatre and
the Auckland Arts Festival met up
to discuss a collaboration for 2015.
They’d already produced HUI at the
Festival the year before and wanted
to create something special for the
next one, and when THE BOOK OF
EVERYTHING was suggested, they
knew they had their play. For the
Festival’s Artistic Director Carla van
Zon, it was an exciting opportunity
to bring the show to Auckland, and
for director Sophie Roberts, it was
a chance to breathe life into a
script that had made her laugh and
cry within the first five pages. It’s
not hard to see why. As a piece of
writing, it is marvellously complex
and devastatingly simple, summing
up some of life’s most difficult
issues in a handful of words. It is
brutal. It is kind. It’s “the beautiful,
magical, surprising, touching,
terrifying, joyous, inspiring, funny,
and ultimately uplifting story of
timid nine-year-old Thomas Klopper,
finding strength to overcome fear
and achieve happiness, despite the
cruel, grey oppression in his family.”
That’s how author and playwright
Richard Tulloch succinctly sums
up his play, an adaptation of the
children’s book by Dutch author
Guus Kuijer. Kuijer’s books have
been famous for years in the
Netherlands, and in 2012 he won
the Astrid Lindgren Award, a prize
that Tulloch describes as the
equivalent of the Nobel Prize for
children’s literature. “I’ve been
lucky to live in Amsterdam, my
wife’s hometown, off and on for
over thirty years,” Tulloch explains,
and it was while he was there that
he discovered the book. “I knew
Guus Kuijer’s other work – his
children’s books were some of
the first I read when I was learning
Dutch, though I hadn’t heard of
him for some years.” He read
THE BOOK OF EVERYTHING
and loved it immediately. “Apart
from the power of the story,” he
tells us, “Kuijer writes beautiful,
clear, economical Dutch.” The
story also had incredible staging
opportunities: tropical fish in the
canals, a plague of frogs and,
most memorably, Jesus dropping
in and chatting to Thomas.
Perhaps the most wondrous
thing about THE BOOK OF
EVERYTHING is how it reveals
the special in the ordinary and
how it captures the voice of a
curious nine-year-old without
condescension. We get to see
his world with journalistic honesty
and innocent conviction. Thomas’
mother is “very kind to everybody”.
His sister is “stupid.” His neighbour
Mrs van Amersfoort is teased by
the other children because she
is, sadly, “a witch” and the titular
book is a nondescript brown papercovered diary in which Thomas
writes the mundane details of his
day and all his hopes and dreams
for the future.
Despite being set in post-World
War II Amsterdam – with names
and references that are very much
specific to that time and place –
THE BOOK OF EVERYTHING
feels immediately universal. Most
modern-day Christian upbringings
will reflect Thomas’ upbringing in
very few ways, but the specificity
of the story draws you in rather
than excludes. When Thomas
threatens to drown himself in
the canal upon receiving a letter
from the girl next door, it’s a sharp
reminder that being a child is full
of dramas, both outside and selfcreated, regardless of where you
live or when you were you born, and
Tulloch captures how simple and
yet deeply felt these reasons can be.
The undercurrent of World War II
runs throughout THE BOOK OF
EVERYTHING. It isn’t explicitly
mentioned, but it’s something the
characters, especially the adults,
are very aware of and the spectre
of this world-shifting event ripples
underneath the play. “Most of us
know something of the grim story
of Amsterdam in World War II
through films and books like The
Diary of Anne Frank,” says Tulloch.
“The lovely thing about THE BOOK
OF EVERYTHING is that we see its
characters recovering hope and
moving on from those dark days.”
It’s a stark contrast to a certain
genre of post-war writing where
people are wracked by guilt,
haunted by loss, and who now find
themselves in a world irrevocably
damaged. Though these truths
are undeniably present here, it’s
shadowed by deep, stubborn
resilience. “The scars are still raw,
but neighbourhood ‘witch’ Mrs van
Amersfoort, a former resistance
fighter, refuses to dwell on the past
because ‘it only gets you down.’
By forgiving without forgetting,
she frees herself to listen with
joy to Beethoven and read funny
German children’s books.”
For Tulloch, the malaise in 1951
Amsterdam echoes into the
current day. “In modern times
in which we may despair of
ever overcoming deep-seated
religious prejudice and sectarian
hatred, it’s encouraging to
see how Amsterdam emerged
from wartime occupation and
terrible oppression to become
the vibrant, peaceful, relatively
tolerant multicultural city it is
today. Wouldn’t we love such
changes to happen in Iraq,
Palestine, Ukraine and Syria?”
It’s in its treatment of religion
where THE BOOK OF
EVERYTHING announces itself
as a special piece of literature.
Within left-leaning – if not entirely
left-pandering – theatre, it’s not
difficult to critique religion, or to
outright slam it and the people who
have faith in it, to reduce them to
doctrine-following zombies and
send them on their way. What once
may have been a taboo topic is
now an easy target for comedians
as mainstream as Ricky Gervais or
novels as door-stop worthy as the
Da Vinci Code, and slamming it is
about as interesting as dishwater.
But what THE BOOK OF
EVERYTHING does is embrace
the role of religion in people’s
lives. It explores with generosity
and an open mind why people
might devote their lives to it and
the ramifications of that devotion.
Thomas’ father, for instance, is
an incredibly devout man who
punishes any deviation from his
faith-based routine with violence,
both physically and emotionally. In
many other stories, Father, as he
is named in the play, would be a
clear villain, but here he’s allowed
the complexities of being human.
He’s a man who genuinely loves
his family and his children, and
he goes about it in the best way
he can. The play never lets him
off the hook – it can’t – but the
compassion it shows towards
Father belies a breadth of
understanding of religion and
its devotees that much modern
art never tries to aspire to.
Even more impressive is how
the play handles a child’s
understanding of religion. Thomas
understands his faith like most
children who are brought up in
a religious household do; a core
part of his life, but without the
understanding of its nuances and
complexities. His existential angst
as he grapples with this – and the
events in his life - provides some
of the most primal and powerful
bursts of language in the play,
like when he asks, simply: “Dear
God, will you please exist?”
This balanced approach is a part
of the original text, according
to Tulloch. “The story is fiercely
critical of the severe ‘thou-shaltnot’ bible bashing that I believe
was part of Guus Kuijer’s own
CONNECTING THE CAST AND CREW
THE BOOK OF EVERYTHING is an achievement in
many ways, but its most significant achievement is
that it treats everybody as equals.
Sam Brooks
upbringing. But he’s balanced this
brilliantly by introducing Jesus as
a cool, attractive, down-to-earth
onstage character. Whether he’s
an imaginary friend or the Son
of the Creator of the Universe
doesn’t matter – he’s the sort of
gently humorous confidante any
of us would love to hang out with.”
The character of Jesus also has the
most devastating stage direction
in the play: “Jesus would like to
stay, but he has run out of things
to say.” If anything sums up the
New Testament better than that
simple sentence, I’ve yet to see it.
THE BOOK OF EVERYTHING is
an achievement in many ways, but
its most significant achievement
is that it treats everybody as
equals. Whether you’re the girl
next door with a leather leg, or the
woman who’s ridden a bike for
forty-eight years or the terrifyingly
devout father who is struggling to
make ends meet, you’re worthy
of compassion and respect.
It gives children the respect that
is often denied to them, and it
gives adults the gift of wonder that
is often denied to them. Tulloch
speaks emphatically of the
importance of this. “Guus Kuijer
takes children very seriously,
knowing that, just like adults,
they enjoy thinking about life’s
greatest questions.” His friend
and fellow writer Jonathan Shaw
agrees with the sentiment. “It’s
a play about a child that adults
can enjoy without condescension…
We adults are allowed to enjoy
it as if we are children. And
the children in the audience
are allowed to engage with big
themes: how do you deal with
abuse of power? Is there a God?”
Children are rarely challenged
to engage with big themes in
our theatre, or afforded the
opportunity to discuss these
themes afterwards. Theatre
is there for their delight, their
education, their wonder. THE
BOOK OF EVERYTHING is not
this theatre, and has no interest
in being this theatre. It invites
us – adults and children alike –
to engage with big themes, and
embraces us when we do, whether
we’re at the start of our life,
stumbling through it or towards
the end. This quality is special.
It is significant. It is needed.
It is everything.
In a new partnership for 2015
with Silo Theatre, The Pantograph
Punch will be exploring the ideas
core to each play, both on the
stage and on the page. They’ll
be covering the dangerous, the
difficult, the magical, and the
terrifying. They’ll be talking
to the playwrights, and going
behind the scenes to reveal the
beating heart of each production.
pantograph-punch.com
Sophie Roberts’ FIRST GIG FOR SILO WAS DIRECTING
Tim Carlsen IN 2011’S ‘I LOVE YOU BRO’. TIM CARLSEN’S FIRST AUDITION
OUTSIDE OF DRAMA SCHOOL WAS WITH Jennifer Ward-Lealand
FOR SILO’S ‘THAT FACE’. HE DIDN’T GET THE PART BUT JENNIFER SAID HE WAS
REALLY GOOD. JENNIFER WARD-LEALAND AND
Mia Blake HAVE PERFORMED
TOGETHER IN AUCKLAND THEATRE COMPANY PRODUCTIONS OF ‘THE GRADUATE’ AND
‘THE TALENTED MR. RIPLEY’. MIA BLAKE AND
Michelle Blundell BOTH
PLAYED BJÖRK IN THE BASEMENT’S 2012 CHRISTMAS SHOW, ‘MEGA CHRISTMAS’.
Sam Snedden WERE BOTH TAUGHT SINGING SOLOS
WITH JENNIFER IN 2006. SAM SNEDDEN AND Patrick Carroll BOTH WENT TO TOI
MICHELLE BLUNDELL AND
WHAKAARI: NEW ZEALAND DRAMA SCHOOL, BUT 10 YEARS APART. PATRICK CARROLL AND
Rima Te Wiata HAVE PLAYED QUINCE IN DIFFERENT PRODUCTIONS OF
‘A MIDSUMMER NIGHT’S DREAM’. RIMA TE WIATA AND Olivia Tennet HAVE
BOTH PERFORMED AS SALLY BOWLES IN DIFFERENT PRODUCTIONS OF ‘CABARET’.
Gabrielle Vincent ARE BOTH EPSOM GIRLS GRAMMAR
SCHOOL OLD GIRLS. GABRIELLE VINCENT AND Natasha Pearl WORKED
OLIVIA TENNET AND
TOGETHER ON ‘360: A THEATRE OF RECOLLECTIONS’. NATASHA PEARL WORKED ALONGSIDE
Sam Brooks
The Pantograph Punch
Sean Lynch ON SILO’S 2014 PRODUCTION OF ‘ANGELS IN AMERICA’. SEAN
LYNCH AND John Verryt’s FIRST SILO PRODUCTION TOGETHER WAS 2005’S
‘PLENTY’. JOHN VERRYT LIVES NEXT DOOR TO CHOREOGRAPHER DOUGLAS WRIGHT
WHOSE NEW PRODUCTION WILL FEATURE COSTUMES BY
Kirsty Cameron.
KIRSTY CAMERON DESIGNED THE COSTUMES FOR THE NZ FILM ‘THE WEIGHT OF
ELEPHANTS’ WHICH
Sophie Roberts HAD A SUPPORTING ROLE IN.
#SILOFAMILY
Patrick Carroll
Rima Te Wiata
Michelle Blundell
Mia Blake
Sam Snedden
Tim Carlsen
Olivia Tennet
Jennifer Ward-Lealand
“Touching but
brilliantly funny”
4 - 22 March
Bravo
Figaro!
The Times, London
“leading light of
Britain’s alternative
comedy scene”
Mark Thomas
United Kingdom
The Guardian, UK
Stand-up comedian
Mark Thomas shifts gear
for this close-up, personal
and hilariously honest
story about dads, love,
death and opera
16 – 22 March
Rangatira, Q Theatre
4 - 22 March
FELA!
The Concert
Hikoi
Broadway
stars
Written and Directed by Nancy Brunning
Aotearoa/New
Zealand
hit The
Civic to
celebrate the
4 – 7 March
rhythms of Africa
andRangitira,
the life of
Q
Theatre
musician
and
activist Fela Kuti
USA
19 – 22 March
The Civic
“If I had
superpowers
it would be
the power to
talk Ma- ori”
May
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Soak up the atmosphere and
entertainment in the
TimeOut Festival Garden, packed
with action, visual arts, free music,
food, bars and more
4 - 22 March
TimeOut
Festival Garden
4 – 22 March, Aotea Square
Open daily 10.30am – late
Family Day
Wha-nau Wha-nui
qtheatre.co.nz
09 309 9771
Sunday 22 March, 10.30am to 3.30pm
TimeOut Festival Garden, Aotea Square
Family Day is back! Our day dedicated
to whanau
fun times has heaps of free
and ticketed arts events for parents, kids,
cuzzies and just about everyone to get
into. There are so many ways to play up!
25 - 28 march 2015
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Silo Patrons are awesome individuals who thrill at
our work, are part of our community and feel strongly
about establishing a visionary creative culture in
Auckland. They are our extended family – they listen,
advise, congratulate, share in our mission and cheer
us on. They are the triumphant heroes of Silo.
2015 SEASON TICKET
OUR KIND
OF PEOPLE
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