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books & lyrics by

HOWARD ASHMANbased on the film by Roger Corman screenplay by Charles Grif fith

music by

ALAN MENKEN

EDUCATION PACK



Auckland Theatre Company

receives princ ipal and core

funding from

Subsidised school matinees are made possible by a grant from

ATC Education also thanks the ATC

Patrons and the ATC Supporting

Acts for their ongoing generosity.

The 2012 Education Packs are

made possible by a grant from

SPONSORS

CREDITS 4

ABOUT THE PL AY 6

Background 6

Synopsis 7

The B Movie 8

Production History 9

The Musical 10

ABOUT THE WRITERS 13

INTERVIEW WITH DIRECTOR - Simon Coleman 14

DESIGN: Set, Costume, Lighting, Audrey II 20

SUDDENLY SEYMOUR 28

ADDITIONAL RESOURCES 30

ABOUT ATC EDUCATION 31

CURRICULUM LINKS 31

VENUE: Q Theatre, 305 Queen Street, Auckland City

SCHOOLS’

PERFORMANCES: Tuesday 6 November at 6.30pm and

Thursday 15 November at 11am.

RUNNING TIME: 2 hours 20 minutes, including a 20 minute interval

SUITABILITY: This production is especial ly suitable for all Year

Levels 9 – 13.

ADVISORY: Contains occasional use of strong language, 'and

a strange, mysterious man-eating plant.

PLEASE NOTE:

• Schools’ performances are

followed by a Q&A Forum

lasting for 20 – 30 minutes in

the theatre immediately after

the performance.

• During school matinees

the refreshments bar at

the theatre may be closed.

We recommend studentsbring their own lunch but

eating and drinking in the

auditorium is prohibited.

• Please make sure all cell

phones are turned off prior

to the performance. Note

that photography of any kind

is strictly prohibited in the

auditorium.

CONTENTS

3



CASTTim Carlsen — Seymour Krelborn | Colleen Davis — Audrey

Andrew Grainger — Orin Scrivello / Ensemble | Paul Barrett — Mr Mushnik

Bronwyn Turei — Ronnette | Rosita Vai — Chiffon

Bella Kalolo — Crystal | Rima Te Wiata — Audrey II (voice) / Ensemble

Kyle Chuen — Audrey II (puppeteer) / Ensemble

CREATIVESimon Coleman — Direction | Jason Te Mete — Musical Direction

Howard Ashman — Book and lyrics | Alan Menken — Music

Tracey Collins — Set Design | Elizabeth Whiting — Costume Design

Brad Gledhill — Lighting Design | Rachel Marlow — Lighting Design (Assistant)

Sandra Rasmussen — Choreography

PRODUCTIONPaul Towson — Production Manager | Paul Nicoll — Technical Manager

Fern Christie — Senior Stage Manager

Stacey Donaldson — Assistant Stage Manager | Gabrielle Rhodes — Stage Hand

Rochelle Houghton — Lighting Operator | Rory Maguire — Sound Engineer

Sophie Ham — Wardrobe Technician | Diana Kovacs — Props Master2Construct — Set Construction

BANDJason Te Mete — Keyboard | Robert Drage — Bass

Tyson Smith — Guitarist | Andrew Rooney — Drums

EDUCATION PACKJames Wenley — Researcher and Writer | Lynne Cardy — Editor

Tracy Collins and Elizabeth Whiting — Design drawings

Michael Smith — Production Images | Claire Flynn — Design & Rehearsal Photos

5



ABOUT THE PLAY

BACKGROUNDLITTLE SHOP OF HORRORS combines

several different genres in telling the story:

it’s a comedy, horror, science-ction,

musical satire and all inspired by an early

60’s B Movie that was also a spoof.

“On the twenty-first day of the month ofSeptember, in an early year of a decade

not too long before our own, the human

race suddenly encountered a deadly

threat to its very existence. And this

terrifying enemy surfaced – as such

enemies often do – in the seemingly most

innocent and unlikely of places.”

This enemy – a giant, carnivorous, talking

alien plant – rst surfaced in the black

and white 1960 B Movie The Little Shop

of Horrors, a horror comedy directed by

Roger Corman. It was legendary for being

shot in only two days and one night,

reusing set from his previous lm A Bucket

of Blood.

It contained an early lm appearance by

Jack Nicholson. Seymour’s new unusual

plant ‘Audrey Jnr’ convinces him to start

killing people to feed him, which leads

to his own downfall though Mushnik

and Audrey survive. Film characters not

in the stage musical include Seymour’s

hypochondriac mother, two investigating

policeman, and a masochistic dental

patient.

The lm doesn’t instantly lend itself to a

musical imagining, for that it took the

talents of composer Alan Menken and

writer/lyricist Howard Ashman.

Ashman rst saw Little Shop on TV as a

child in his hometown of Baltimore, USA.

“It was way past my bedtime on a school

night and the beat-up black and white

TV was working overtime in my teenaged

den of iniquity, the pine-paneled clubroom

of our split-level home in Baltimore. The

plant monster, Audrey Junior, made a

deep and lasting impression. ‘Feed me,

Krelborn, Feed me now!’ The words

were never to leave my adolescent

consciousness. Here, at last, was a

monster I could quote! I mean, can you

remember any of Godzilla’s snappy one-

liners?” – Ashman

The lm would have a formative

experience on Ashman, who had neverseen a satire before. “It was fun to see

something that didn’t take its genre

seriously”. Ashman wrote a number of

musicals between the ages of 12-16,

including musical versions of To Kill

a Mockingbird and the life of Charlie

Chaplin. One of them was The Candy

Shop, about a man who falls in love with

an “evil talking plant”.

SYNOPSISSeymour Krelbourn is poor young man, an orphan living on

Skid Row who works tirelessly for Mr Mushnik in his failing

ower shop. In love with his co-worker Audrey, he dreams

of another life far away from the urban decay but knows it

will never happen. Until, that is, he nds a strange looking

plant during a total eclipse of the sun, which changes his

life and those he loves forever.

7



PRODUCTION HISTORY Alan Menken doesn’t recal l the rst time

Ashman broached him about making a

musical out of the lm. He remembers

his reaction – “fear” and “concern”. But

he was quickly inspired by his vision. The

writer and composer team set to work on

acquiring the rights and bringing the idea

to life.

“A musical about a man-eating plant?”

said Ashman’s agent, “Producers are

going to laugh me right out of their

ofces.” Luckily, they wouldn’t need

a producer, not yet anyway. Ashman

had a tiny 98 seat theatre Broadway

called the WPA (some said the initials

stood for ‘We’ll Produce Anything’). In

New York, there are different categories

of theatres – Broadway is where the

mainbill commercial productions appear,

Off-Broadway is for less expensive

shows. WPA was Off-Off Broadway, for

alternative Fringe productions.

The show was rehearsed in 4 weeks,

“on love and creativit y and no money,”

according to actress Ellen Greene who

played Audrey. It opened in 1982 to

critical acclaim and full houses; it was

moved to the Orpheum Theatre Off-

Broadway and became the highest

grossing Off-Broadway show of all time.

Despite its success, it never transferred to

Broadway during its original run; Ashman

felt the show would lose its effect in a big

Broadway theatre. According to Menken,

“What burst at the seams in a tiny, funky

theatre like the Orpheum would get lost

in a larger theatre at a higher ticket price;

our tiny band and tacky look might just

seem a little tacky, not smart and fun”.

The show nally reached Broadway

proper in 2003, with an $8 million revival

that expanded the orchestrations and

featured a plant that extended over the

audience.

Little Shop was adapted into a musical

lm directed by Frank Oz and released

in 1986. It starred Rick Moranis, Ellen

Greene (who had originated the role of

Audrey Off-Off Broadway), Steve Martin

and Bill Murray. It featured a new song

from Menken and Ashman – ‘Mean

Green Mother from Outerspace’ – and

was largely faithful to the stage version.

The lm’s original ending had Audrey II

destroying the city after eating Seymour

and Audrey. During test screenings

the audiences loved the lm’s humour,

but the reaction to the ending was

overwhelmingly negative. Reluctantly, the

lmmakers reshot a happy ending where

Audrey and Seymour didn’t die, though

an Audrey II plant is shown growing in the

garden of their new white picket fenced

house.

An unusual adaption of the story followed

in 1991: Little Shop, an animated cartoon

inspired by the lm that cast Seymour

and Audrey as kids and Audrey II (Junior)

as a friendly, rapping plant.

THE B MOVIEThe ‘B Movie’ is a low budget commercially released

lm that was originally distributed as the second lm in a

‘Double Feature’. From the 1950s, the term encompassed

cheaply produced Horror and science ction lms, of

which The Little Shop of Horrors was one of them, though

it spoofed the genre.

Director Roger Corman was the king of B Movies.

Other titles he has directed or produced include:

- Attack of the Crab Monsters (1957)

- The Saga of the Viking Women and Their Voyage

to the Waters of the Great Sea Serpent (1957)

- She Gods of Shark Reef (1958)

- Creature from the Haunted Sea (1951)

- Dinocroc vs Supergator (2010)

9



THE MUSICALMusicals have their origins in European

comic operetta, which featured spoken

dialogue and operatic singing. They

became a form of their own on the

Broadway stage, popular entertainment

appealing to wide audiences. Musicals

often present a romantic view of life –

presenting audiences not with the world

as it is, but how it should be. Thoughts,

feelings, and ideas are presented not just

in spoken word, but in song and dance.

“Intellectual attitudes give way to emotion,

passion prevails over decorum, and

above all, romantic love radiates from the

center of all things” – Richard Kislan.

LITTLE SHOP OF HORRORS is a

‘nostalgic’ musical in that its score

uses pastiches of 1950s and 60s styles

including Rock N Roll, Do Wop, R&B

and Gospel. Other ‘nostalgic’ musicals

include GREASE and DREAMGIRLS.

It is also a musical satire, spoong the

Horror and Science-ction Genres. The

Rocky Horror Show (1973) is another

example of this kind.

THE FAUST STORYThe narrative of LITTLE SHOP OF HORRORS can be related

to a Faustian morality tale. Faust was a German Doctor

who sold his soul to Mephistopheles, the Devil, in exchange

for youth, power and riches. He was punished with eternal

damnation.

Audrey II, like Mephistopheles, promises to deliver anything

that Seymour’s heart desires.

“Would you like a cadilac car? Or a Guest shot on Jack

Paar? How about a date with Hedy Lamar? You gonna git it!”

In return, the plant convinces Seymour to carry out

immoral acts – watching Orin laugh to death from his gas,

or encouraging Mr Mushnik to enter the plant. Seymour

becomes famous and gets the girl, but his pact leads to

their own deaths. LITTLE SHOP OF HORRORS can be read

as a morality tale warning against the false lure of fame and

riches in exchange for compromising your own values.

11



ABOUT THE WRITERS: ASHMAN AND MENKEN

LITTLE SHOP OF HORRORS was

Alan Menken (Composer) and Howard

Ashman’s (Lyricist) rst big hit. They

teamed up again to work on Disney’s

The Little Mermaid and Beauty and the

Beast. Unfortunately, Ashman died of

AIDs before the lm was released and

while they were working on Aladdin.

Menken completed the songs withlyricist Tim Rice. A Whole New World

won best song at the Oscars. Menken

continued to write scores for Disney

including Pocahontas, The Hunchback

of Notre Dame, Hercules, Enchanted

and Tangled.

Menken has won eight Oscars, more

than any other living individual. He says

that bigger than any Academy Award

was opening Little Shop at the WPA for

the rst time and realising they had a

hit. “For the rst time in my life I thought

maybe I won’t have to do jingles

anymore.”

“From the time that Howard and I

started working on Little Shop I felt it

was the most compelling idea for a

show because of the outrageousness

of the story, because of the fun of the

Roger Corman B Movie aspect, and

because of the heart of the story – this

nerdy guy in the orist shop and this

trampy girl, and this man eating plant” –

Alan Menken.

13

ASHMAN MENKEN



INTERVIEW WITH DIRECTOR – SIMON COLEMAN

In rehearsal Simon Coleman has

had an idea... He bursts out of his

seat and begins to dance and prance

around the stage, showing actor Paul

Barrett where he wants his character

(Mushnik) to go. Coleman is full of these

moments – he can barely sit still, full to

bursting with enthusiasm about LITTLE

SHOP OF HORRORS. It looks like great

fun to direct.

How seriously, I ask him, do you have

to take a musical about a big, talking,

people-eating plant?

“Not very”, says Simon, “It is a lot of

fun, its outrageous fun. We want the

characters and all to be believable, but

there is of course a heightened reality to

the whole production.”

THE DANGERWhen rst discussing his vision and

ideas for the ATC production of Little

Shop, Simon acknowledged that they

felt “dangerous”.

The show, ‘a lovely boutique piece of

theatre’ has been done many times by

schools and community groups and

is known and loved by many people.

“That was foremost in our mind when

we were re-imagining the show – we

didn’t want to follow the original design,

we wanted to re-imagine the plant and

the production”.

How a director interprets a play is often

met with interest. Will they set it in a

different time period to when it was

written? Will they change the gender

of the characters? In the Musical

Theatre genre however, there can be a

resistance to different interpretations.

Touring productions (such as Mary

Poppins and Jersey Boys at The Civic)are carbon copies of their Broadway

debuts.

One of the reasons, Simon believes,

is that “Musicals have a formula; good

musicals have a tried and true way of

doing things. We haven’t played with

the structure of the piece at all, it’s a

very well crafted piece of script and

score, it’s excellent – all the songs are

extensions of the dialogue. It’s just

fantastically crafted.”

Simon says he does like to play around

with musicals, avoiding copying other

people’s works. Little Shop’s design

over the years has remained largely

faithful to the original production,

including the Venus Fly Trap inspired

plant. Simon however has made some

key creative decisions that depart from

the conventional. “It felt very dangerous,

but that’s what theatre is about, taking

those risks.”

The iconic plant has an entirely new

design, and has become an inatable.

While Little Shop was inspired by

1960s lm and music, it was written in

the '80s with elements of '80s style,

which designer Elizabeth Whiting has

integrated into the costume design.

He’s got a different take too on the girls

– Crystal, Ronette and Chiffon – who

act as a quasi Greek Chorus in the

show, commenting on the action. In this

version, they are from another world.

“They are from the Mothership, andare here in Skid Row as guardians for

the plant to ensure it’s success. And

that works really well in the script, so

they have two alter-egos really. There

are the ‘aliens’ – fabulous green divas

from outerspace. And then they are

in disguise on Planet Earth as street

urchins, unemployed people hanging

out in the poorest part of town. So they

switch backwards and forwards. Its sort

of in the original play as well, the girls

would switch from grungy unemployed

people to fabulous divas, but we’ve

made more of that with their alter-egos.

Its working really nicely I think.”

PUTTING ON A MUSICALMusicals come with many unique

challenges with many more elements

like choreography and music that have

to all blend and happen together at the

same time.

“They say you direct a play and

organise a musical, because

there are so many elements that

all need to come together.”

The biggest challenge was casting,

which took 12 months to complete. “It

all stemmed off Andrew Grainger [who

plays Orin and a variety of smaller roles],

he’s such an outrageous performer,

we had to nd people who would t in

around him, match his energy.” Actors

needed to be able to sing, and move

as well.

Jason Te Mete had the idea of casting

Rima Te Wiata as the voice of the plant

Audrey II, which is traditionally played by

a male, Soul inspired, baritone. Simon’s

initial reaction was to ask if that was too

radical a change, a ‘step too far’.

“But then once I thought about it – she’s

such a clever mimic as well as being a

fabulous actor. She’s very clever with

her voice, so we had a workshop with

her and knew this would work... It was

15



IN REHEARSAL..

19



DESIGN

Simon and the creative team decided early on that they wanted the visual feel, of

LITTLE SHOP OF HORRORS to be ‘Comic Book Superhero’. Simon was inspired

by the aesthetic of retro Batman comics and this idea would inuence the various

design elements of the show.

SET

LITTLE SHOP OF HORRORS is set inSkid Row, New York so turning it into

a comic book Gotham city was a clear

choice. Set Designer Tracey Collins has

created a set that uses the full height of

Q theatre and really lls the space.

Little Shop needs few stage changes,

with most of the action taking place at

Mr Mushnik’s Flower Shop and on the

street outside.

Tracey has pared the set right back,

going for a non-naturalistic and open

setting. Three simple boxes on wheelsare able to be moved around onstage

by the actors in different congurations

to establish different locations.

The stage instead is dominated by

large comic book inspired patterns and

shapes.

A door at the back of the Q stage is

used to reveal the plant at different

stages of its growth.

21



COSTUMESOnce costume designer Elizabeth

Whiting saw Tracey Collin’s mono-

chromatic paintwork for the set, she

knew she had to take the costumes into

a world of bright colour in order to stand

out, and to accentuate the comic book

feel. It was useful during the design

process for Elizabeth to test each

costume design against a background

like the palette and pattern of the scenic

painting (see sketches below).

In designing the style of the costumes,

Elizabeth was aware of the 60s style of

the music, but did not want to be bound

into it either. She has been inuenced

by the amboyance of the 80s but was

careful not to make it a period piece.

“Rather than revealing through costume,

this design task was more one of

serving the characters (which are clearly

drawn in the script) and making sure

the costumes evolved as the actors

added their quirks to the characters.” –

Elizabeth Whiting

For Ronnette, Chrystal and Chiffon, she

has been creating outts for their two

alter-egos – the glamorous alien divasand the street urchins. However, the

girls alter egos are not entirely distinct.

There will be points at which they realize

they have not made a full transition and

have to change lipstick on stage. This

process is an evolving one in rehearsal.

23



LIGHTINGBrad Gledhill’s lighting design is inuenced by the strong shadows, graphics, boxy

shapes and angles of the comic book genre. The lighting complements the music

– and when the music really takes off it becomes a rock concert, a spectacle of

lighting, colour and movement.

DON'T FEED THE PLANT – DESIGNING AUDREY II

Audrey II, the 'mean green Mother from

outer space', is looking a little different.

For the ATC production, the plant has

been entirely re-imagined by Simon and

designer Tracey Collins.

For a long time, the two tossed up

whether they should stay true to the

original design. But they were intrigued by

doing something a bit darker, something

more alternative. What clinched it was aconversation they had about the different

stages of the plant.

"At rst the plant is a baby, then a terrible

toddler, then a rambunctious teenager

that grows up to be a killer."

With ATC Artistic Director Colin McColl

giving the team the blessing to go “down

and dirty with it”, they began work on a

new Audrey II.

It was decided that the big plants would

be inatables – easier said than done. It

needed to be expressive, and come alive

as a true character onstage. Oh, and eat

people.

Tracey researched different types of

exotic plants as well as deep sea sh and

creatures – the otherworldly, hideous

creatures at the bottom of the ocean,

which, along with her research on what

was possible to do with inatables, fed

into the designs. Tracey then went to

work making many different models

and rening the design direction. Four

different puppets or ‘pods’ have been

created to show the plant’s development.

OPERATING AUDREY II The man behind Audrey II is Kyle Chuen,

who has previously operated puppets in

musical Avenue Q. Puppetering for Little

Shop, however, is on a much larger scale.

During rehearsals, Kyle had to improvisewithout the actual puppets. For the

smaller hand controlled Audrey II, a

puppet of a boy had to stand in for a

plant, making for an amusing rehearsal

picture when Seymour pretended to feed

him blood. For the bigger puppets, Kyle

had fashioned together bamboo sticks to

emulate the mouth opening and closing.

In the third week of rehearsals, the cast

had a ‘Plant Orientation’ where the

large inatable Audrey was blown up for

25



everyone to see for the rst time. Though

still unpainted it made for an imposing

sight – creepy tentacles with spikes, four

pods that the eaten actor’s faces could

be seen in, and a large buttock-like head.

The actors had great fun exploring the

insides of the plant like an adventure

playground. Paul Barret (Mushnik)

described the sensation as like going

inside the vaccum of an airplane, his ears

popping as he ventured out.

Inside the big plant, there are handles

on the canvas that allow Kyle to move itaround.

“Because it’s inatable it's got a lot of

stretch to it, it's got a lot of give. It's not

like the classic little shop puppet where

its big and hard to use. This one has a lot

of freedom to it.”

The most important thing for Kyle when

operating the plant is being in synch

with the voice of Audrey II, Rima Te

Wiata. He has learnt all the dialogue

and in rehearsals he mouths the words

as he moves the bamboo mouth. “Any

movement is inuenced by how she is

making it sound.”

VOICING AUDREY IIRima has approached the voice of

Audrey II from both a male and female

perspective. “It gives me more to

work with in terms of aggression and

seduction.”

With the voice of Audrey II conventionally

played by a man, Rima is an off-the-

wall choice that is really paying off.

None of Audrey II’s songs have had to

be rescored to cater for a female voice.

“She’s singing the same notes that’s it

is scored for, which is a baritone voice,

and she’s right down there, she can sing

lower than I can” says Simon.

In rehearsals, Rima has had a

microphone to use to experiment with

and develop Audrey II’s voice.

“Having a microphone in rehearsals has

helped us as a team of actors because

it catapults the imagination, and makes

the voice come through speakers, which

is not an organic sound, it helps me

feel enormous and alien. It helps me

experiment with ways to use my voice. I

have decided to capture aspects of hard

rock and metal, as well as black funky

sounds, depending on whether it serves

the scene. I love it!”

27



SUDDENLY SEYMOUR

Simon and the cast have found new

images to reinvent the characters

slightly. Different inuences were

selected to guide the interpretations

of the characters. Seymour was

imagined as a Pee Wee Herman

type, Audrey as Betty Boop, and

Mushnik as Christopher Lloyd from

Back to the Future.

Tim Carlsen plays Seymour.

He talked to James Wenley

about building his character and

approaching his rst performance

in a musical.

How have you approached the

character of Seymour?

The approach I’ve made is rstly

knowing the world that he lives in, and

the way he lives and carries out his

life. For example he lives on Skid Row,

which is volatile and dangerous, so that

effects the way he might be physically.

He might be alert and on the look out

for danger.

Seymour is constantly looking for

connection, and particularily he is

looking for love; love through Audrey,

trying to get love through Mushnik.

That’s something I can relate to

because I go through life and also want

to nd connections and my place in

the world, so that’s no different from

Seymour. So using observations from

my own life and using that to build the

way I approach Seymour.

How have you had to adjust to

performing in a musical?

The most challenging part for me has

been trying to tell the story through the

song, not to separate the acting from

the singing, really they are same kind

of thing in the way they are performed.

There’s also a reason why they go into

singing, and so its been nding that as

well. Not just going ‘acting, acting’ and

then ‘I’m going to sing a song’, which

is what I have been struggling with

because it’s so new to me.

Tim Carlsen is a graduate of Toi Whakaari:

NZ Drama School (2009). He has performed

lead roles in: I LOVE YOU BRO, TARTUFFE(Silo), END OF THE GOLDEN WEATHER

(Auckland Theatre Company) and

EVERYTHING IS OK (STAB). Tim recently

toured his solo show, ONE DAY MOKO, to

Wellington's BATS Theatre, which received

critical acclaim. In 2009, Tim completed an

internship with renowned theatre company

THE WOOSTER GROUP, in New York City,

that fostered his interest and development

in making theatre. In 2011, Tim won 'Best

Newcomer' at the Hackman Theatre Awards.

29



ABOUT ATC EDUCATION ATC Education promotes and encourages teaching and participation in

theatre and acts as a resource for secondary and tertiary educators. It is a

comprehensive and innovative education programme designed to nurture

young theatre practitioners and future audiences.

ATC Education has direct contact with secondary school students

throughout the greater Auckland region with a focus on delivering an

exciting and popular programme that supports the Arts education of

Auckland students and which focuses on curriculum development, literacy

and the Arts.

Auckland Theatre Company acknowledges that the experiences enjoyed by

the youth of today are reected in the vibrancy of theatre in the future.

ADDITIONAL RESOURCES Alan Menken interviews:

http://www.youtube.com/watch?v=x8WJPNH-UZY

http://www.youtube.com/watch?v=M3Q6qvkEn4A

Howard Ashman article 1983

http://howardashman.com/blog/by-howard-ashman/

Alan Menken on building a Little Shop

http://howardashman.com/blog/building-a-little-shop/

CURRICULUM LINKS ATC Education activities relate directly to the PK, UC and CI strands of the

NZ Curriculum from levels 5 to 8. They also have direct relevance to many

of the NCEA achievement standards at all three levels.

All secondary school Drama students (Years 9 to 13) should be

experiencing live theatre as a part of their course work, Understanding the

Arts in Context. Curriculum levels 6, 7 and 8 (equivalent to years 11, 12 and13) require the inclusion of New Zealand drama in their course of work.

The NCEA external examinations at each level (Level 1 – AS90011, Level 2

– AS90304, Level 3 – AS90612) require students to write about live theatre

they have seen. Students who are able to experience fully produced,

professional theatre are generally advantaged in answering these questions.

31



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AUCKLAND THEATRE COMPANY

487 Dominion Road Mt Eden PO Box 96002 Balmoral Auckland 1342

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