About Us

The metaphor of Carving in Ice evokes the transience of theatre. Ice sculptures are crafted by artisans whose sculptures last only for a short while, then melt and disappear. Theatre too is ephemeral in its nature; once the season is completed, the existence of the play, the shapes, sounds, movement in space, the light on actors’ skin disappear from view – but as with ice sculptures the traces of the experience continue to live on in the minds of those who were present.

Carving in Ice Theatre’s commitment is to present contemporary meaningful theatre which deals with the sometimes murky, messy stuff of life and not to turn away from provocative or troubling material. Our rehearsal period tends to be extended to allow for a slow simmer rather than quick fix to production issues and layering of performances. We believe that the work is richer for the patience.

So far our productions have featured relatively large casts and treated such material as mental illness; ageing, memory loss and sexuality; identity crises; psycho-sexual damage; post-natal depression; redundancy; gender identity; suburban dysfunction and violence; medical ethics; forgiveness and death, family grief and loss, gender and emerging technologies. Theatre styles have included: Absurdist, Gothic, Naturalistic drama, Verbatim, and Devised.

This year Carving in Ice Theatre was awarded a University Blues award for Creative and Performing Arts Group of the Year.

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Previous Productions:


Cosi by Louis Nowra, 2007 (New Place Theatre, Hamilton and 16th Ave Theatre, Tauranga)

Half Life by John Mighton, 2007 (Gallagher Concert Chamber, WEL Energy Academy of Performing Arts, Hamilton)

Marmalade: three short New Zealand plays: Do You Speak English? by Gary Langford, Banging Cymbal, Clanging Gong by Jo Randerson, and The Joss Adams Show by Alma de Groen, 2008 (FUEL Festival, Dance Studio, WEL Energy Academy of Performing Arts, Hamilton)

Compleat Female Stage Beauty by Jeffrey Hatcher, 2008 (Telecom Playhouse, WEL Energy Academy of Performing Arts, Hamilton)

Attempts on her Life by Martin Crimp, 2009 (Meteor Theatre, Ignition Fringe Festival, Hamilton)

Neighborhood 3: Requisition of Doom by Jennifer Haley, 2009 (Telecom Playhouse, WEL Energy Academy of Performing Arts, Hamilton)

The Dispute by Pierre Marivaux, translated by Neil Bartlett, 2010 (Medici Court, Hamilton Gardens Arts Festival)

W;t by Margaret Edson, 2010 (Telecom Playhouse, WEL Energy Academy of Performing Arts, Hamilton)

Away by Michael Gow, 2011 (Camellia Lawn, Hamilton Gardens Arts Festival, Hamilton)

Aftershocks by Paul Brown and the Workers’ Cultural Action Committee, 2011 (Fundraiser: Red Cross Christchurch Earthquake Appeal, Gallagher Concert Chamber, WEL Energy Academy of Performing Arts, Hamilton)

In the Next Room or the vibrator play by Sarah Ruhl, 2011 (Playhouse, Gallagher Academy of Performing Arts, Hamilton)

Cow & Fold by Jo Randerson, 2012 (Playhouse, Gallagher Academy of Performing Arts, Hamilton)

Dracula by William McNulty, 2012 (The Meteor, Hamilton)

Rabbit Hole by David Lindsay-Abaire, 2012 (Playhouse, Gallagher Academy of Performing Arts, Hamilton)

Instructions for Life, 2013 (Playhouse, Gallagher Academy of Performing Arts, Hamilton and Gaslight Theatre, Cambridge)

The History Boys, 2013 (Playhouse, Gallagher Academy of Performing Arts, Hamilton)

Love and Information, 2013 (Playhouse, Gallagher Academy of Performing Arts, Hamilton)

 

ABOUT US

The metaphor of Carving in Ice evokes the transience of theatre. Ice sculptures are crafted by artisans whose sculptures last only for a short while, then melt and disappear. Theatre too is ephemeral in its nature; once the season is completed, the existence of the play, the shapes, sounds, movement in space, the light on actors’ skin disappear from view – but as with ice sculptures the traces of the experience continue to live on in the minds of those who were present.

CONTACT US

Email:
info@carvinginice.co.nz
director@carvinginice.co.nz
publicity@carvinginice.co.nz

 

 

ABOUT US

The metaphor of Carving in Ice evokes the transience of theatre. Ice sculptures are crafted by artisans whose sculptures last only for a short while, then melt and disappear. Theatre too is ephemeral in its nature; once the season is completed, the existence of the play, the shapes, sounds, movement in space, the light on actors’ skin disappear from view – but as with ice sculptures the traces of the experience continue to live on in the minds of those who were present.

CONTACT US

Email:
info@carvinginice.co.nz
director@carvinginice.co.nz
director@carvinginice.co.nz