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# System prepended metadata

title: Pitch for Te Auaha Fringe 2023

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# Pitch for Te Auaha Fringe 2023

## Basic Info

##### Contacts
James Kiesel (james.kiesel@gmail.com, 027 579 2643)
Sabrina Martin (martin.sabrina@gmail.com, 022 )

##### Which space would you like to stage your work in?
Tapere Iti

##### Duration of show
~50 minutes

##### Preferred season dates and number of performances
5 Performances

- **First choice:** 1 March - 5 March 2023
- **Second choice:** 8 March - 12 March 2023

##### Intended ticket prices
$22 (full), $18 (concession), $20 (group)

##### Would you be happy to offer Te Auaha students $10 standby tickets?
Yes!

## Show info

##### Name of company

Amanita Theatre

##### Show Name
What Keith Did

##### Show Info

What Keith Did (working title) is a solo homage to anger, and the righteousness, pettiness, and (passive?) aggressiveness that goes along with it.
 
It’s the culmination of a year-long devising process between Wellington theatre artist James Kiesel (Haste Away Home) and deviser, physical performer, and London International School of Performing Arts graduate Alex Suha (Do Not Push), to be presented in the Wellington Fringe Festival 2023.
 
This brand new, never-before-performed work, informed by disciplines of clown, mime, and physical theatre, is a deep examination of a single tiny moment of ire, and how our relationship to our rage causes us to seethe, to sigh, or to act, often in ways we don’t expect and can’t control.

##### Crew

**Sabrina Martin** (producer)
**Aimée Sullivan** (publicist)
**Alex Suha** (director)
**James Kiesel** (performer)

##### Why do you think this show will work well in one of our theatres?

We have had a great experience of putting work on at Te Auaha; we brought Gag Reflex to Tapere Nui for NZ Fringe Festival 2022 and would love to come back and try out Tapere Iti for a slightly more intimate show.

Te Auaha has probably the best theatre facilities in Pōneke, we’d love to work in a great theatre  with this high quality of technical gear and expertise.  We have also enjoyed working with the staff in the past, finding Patrick Barnes, in particular, helpful, friendly and relaxed. We value working in a professional theatre with great systems and support in place, there’s nothing like being supported by a well-oiled-machine.
 
Being in this central hub right amongst the action is a great way for us to network, to connect to the theatre community and awhi other artists as well. We would be keen to team up with other shows to cross-promote and share resources - we’d love to see artists supporting each other and getting support from the venue as well.

##### How will audiences feel as they watch your show? How will they feel as they leave?

Like sex, anger is a relationship that everyone has, but no one talks about, (perhaps) for fear of being shamed, rejected, exposed, damaged, or damaging others. And, theatre is the perfect venue for talking about these hidden sides of ourselves, with the goal of having a cathartic experience like “Oh, I’ve never had a conversation about this with anyone! But a) now I have, and b) maybe I should more”
 
It’s also a timely piece; the modern world is completely inundated with things designed to make us angry, to compel us to act. (To name just a few of many: Save the animals! Donate to the war effort! Eat the rich! Save democracy! Stop the climate crisis! Impeach Trump! Etc, etc etc.) Against such a backdrop, it’s more important than ever to (as best we can) maintain a healthy dialogue with our inner selves about where our rage comes from, how we can relate to it, and what power it can grant us.
 
Wellington audiences (especially mid-to-post-pandemic, especially in the age of the 24 hour news cycle, especially in the heightened partisan political climate) are likely to respond to content about anger and how it affects them, especially when presented in such a light-hearted format prone to silliness and exaggeration.

##### Are you applying to present this show in any other venues? If so, which ones?
We're also applying to BATS currently

##### What does your set involve?

We're intending our set to be approximately 4 flexible tetris pieces that can be moved around the stage and constructed in various ways. They'll each be light enough to be lifted and maneuvered by one person.

(These are still being designed!)

##### What are your technical requirements?

We will have very simple requirements around lighting and sound. There is a chance we'll use a touch of projection as well.

##### Who will operate your sound and lights?

We haven't sourced an operator yet, but intend to do so closer to the season.

##### Who will manage your marketing and publicity?

Sabrina Martin (with support from Aimée Sullivan)

##### How will you market your show?

[Our marketing plan](https://docs.google.com/document/d/1Xy-6X1mvg6fSY_0CwIw4CWRvlCASnHGG8ixMMqNNXPI/edit?usp=sharing)

##### How will you fund your show?

[Our budget](https://docs.google.com/spreadsheets/d/1r3WfOrmb1ok9UxgnMMwNUV56bAWKL4zKFVzxkAaeHCk/edit?usp=sharing)
