Instructions for Life Company


Julianne Boyle

Once upon a time, Julianne thought that she’d grow up and live in a theatre. This did happen for several years and it was wonderful. Then, there must have  been some sort of spell involved because she fell asleep and woke up surprisingly old. Having always wanted to study theatre at university, she took the plunge, hopeful of getting back on stage while she could still move unaided. It’s been the best kind of fairy-tale experience, with magical productions including Don Quixote, The Convent of Pleasure and Flights of Absurdia. She’s had the privilege of working with all these lovely, amazingly talented people and sometimes has to pinch herself to make sure that it’s not, in fact, a dream.


Stephanie Christian

This is Stephanie's fourth show with Carving in Ice. She is especially proud to have been involved in In the Next Room or the Vibrator Play (2011) and Rabbit Hole (2012). During Instructions, Steph has loved the challenges that have been set for her in the process of creating this gorgeous piece of theatre. It has been an opportunity to enjoy and respect a group of amazing, talented people. As usual, theatre has brought together the dissimilar to create kindred spirits.

Rachel Clarke

Rachel has danced since she was eight years old. Her passion for theatre started in high school and she has continued to participate in the arts since finishing school in 2010. After attending the SGCNZ annual trip to the Globe Theatre in London in 2011, she became involved with Carving In Ice productions once becoming a student at the University of Waikato. Rachel's theatrical characterisations have included Stella in A Streetcar Named Desire, Big Mama in Cat on a Hot Tin Roof, Wendla in Spring Awakening and Lucy in Dracula. She looks forward to participating in the busy year that Carving and Ice has planned, in particular, Caryl Chuchill’s play Love and Information.


Will Collin

Will has been an avid thespian since an early age. He has had roles in performances such as; The Birthday Party by Harold Pinter (as Petey) and Pygmalion  by George Bernard Shaw (as Colonel Pickering). Will spent some time in Wellington, during which he performed in two Young and Hungry productions; Oyster by Vivienne Plumb (as Napoleon) and Hearts Encoded by Aaron Alexander (as Chorus). This is Will’s third venture with Carving and Ice, the others being Cow and Fold by Jo Randerson and Dracula by William McNulty. Will has enjoyed the camaraderie and challenges of the creation process immensely.


Charisse De Bruyn

Charisse is thrilled to be in her first production with Carving in Ice. She is enjoying not having to play a character for a production as it is new and exciting! Charisse is a double major student in Theatre and English at Waikato University. She is also currently a part of two other plays in the course of the year as acting is her passion. Last year Charisse was involved in The Best Thing, which was put on as a part of a Masters Thesis in Theatre. Charisse is thoroughly enjoying working with the cast of Instructions for Life as she is learning more about herself as the devised piece progresses.

Natalie Foster

Natalie is a third year student at the University of Waikato where she studies Law and Theatre. She is also a Sir Edmund Hillary Scholar for Theatre. She worked with Carving in Ice last year in Jo Randerson’s Cow & Fold. Previous theatre credits include: Flagons and Foxtrots (Fullhouse Productions), The Gingerbread Man (Fullhouse Productions), and Unbearable Things (Urban Vineyard). In her spare time Natalie enjoys dancing and looking at pictures of cats

Philip Garrity

Philip has been performing in local productions for the last four years. Earlier this year he played Ariel in Slip of the Tongue’s production of The Tempest. In 2012 Philip was a member of the SGCNZ Young Shakespeare Company and travelled to the Globe Theatre in London. This is Philip’s second show with Carving in Ice. Last year he was part of the cast of Rabbit Hole a show he is extremely proud of. He thoroughly enjoyed the rehearsal and devising process for Instructions for life which presented many new challenges. Philip is currently studying theatre at the University of Waikato as a Hillary Scholar.

Clive Lamdin

For a number of years Clive enjoyed occasional forays into the world of theatre, and in 2007 had the opportunity to join the then Department of Theatre Studies at the University of Waikato University as a mature student. One thing led to another and he has appeared in a number of Carving in Ice and university productions, including Cosi, Compleat Female Stage Beauty, W;t, Three Sisters and Dracula.  He has also had a lifelong interest in, and involvement with, music, and currently helps with the musical activities at Waikato Waldorf School, as well as conducting the Hamilton vocal group, MineAccord.

Conor Maxwell

After performing with Fullhouse Productions (Booom!) and Apocaypse Lounge (Tales of the Masquerade) at the Hamilton Gardens Arts Festival, Conor Maxwell returns to Team Carving in Ice for Instructions for Life, an original work forged in the deepest, darkest (and brightest) corners of the cast's souls. Conor originally auditioned for the role of Stephanie Christian, but was told he did not meet the physical or gender requirements for the part, so has had to settle with playing himself. To fully understand the role of Conor Maxwell and how to play him on stage, Conor has gone as far as staying in character during his day-to-day life. This shows Conor's true dedication to such a challenging role.

Mary Rinaldi

Mary has been living between reality and theatre for some time now. She has been acting, dancing and organising things for theatre from a very young age, and in her spare time she bakes cupcakes and goes and watches other people's shows. This is her second time performing in a Carving in Ice production, though a delightful array of her delicious baking starred in another Carving in Ice play last year. Mary has thoroughly enjoyed the devising experience with Gaye and the rest of the Instructions for Life company. It has been at times emotional, enlightening, hilarious, absurd and comforting.

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Miriama Rowell-Tuhakaraina

Miriama is a vibrant girl who is no stranger to the stage. She frequently enjoys performing in Melville primary kapa haka group and had her first theatre experience with Dracula. Miriama likes to entertain herself in a range of different learning activities from violin, gymnastics, St Johns cadets and has recently perfected the pitch perfect cup song. She is an enthusiastic young girl who attempts to do her best at every opportunity she is given.

Cameron Smith

First Melville High, and then the world! Or so was the plan. Realising there was more to getting to the top than what he thought, Cameron went out in search of a place where he could learn the tricks of the trade. That's where he found Carving in Ice. And after much scrutiny, the great director Gaye Poole said: Yes... Allow him to be stayed... For he dost reply to yonder electronic mail and thusly appears with good time. And he did stay. And the result was his first performance with Carving In Ice. And may there be many more to come.

Amanda Wallace

Currently studying for theatre honours, Amanda usually finds herself backstage with a laptop or running around like a headless chicken rather than on-stage; so is relishing the opportunity to strut her stuff. Instructions for Life is Amanda's first Carving in Ice production; however, she has worked with Gaye Poole in Convent of Pleasure and Flights of Absurdia (another devised piece) through the University. She is particularly enjoying the process of creating a piece of theatre from scratch, loving the moments of absurdity, hilarity and camaraderie. Amanda has also worked on Booom! (production assistant), Accidental Death of an Anarchist (producer)The Best Thing (actor), Flagons and Foxtrots (producer) and Death of a Salesman (actor/props).


Production Team

Alan Jones

Alan is a teacher of intermediate-aged gifted and talented children in Hamilton.  An enthusiastic drummer, dancer, and theatre-goer, his first practical encounter with the stage began as a child, when he was encouraged to assist with the lighting in a school play.  These days Alan encourages his own students to involve themselves in arts-related activities and most particularly drama.  His own involvement with school productions continues to be an experience that he finds thoroughly enjoyable.  Alan has worked as Stage Manager for some of the more recent Carving in Ice productions and looks forward to continuing being involved with what is an exciting and variety-filled theatre company.

Ngaia Mason

Ngaia has been in the performing realm from an early age beginning with dance but soon finding her true passion of theatre. A current Hillary Scholar at Waikato University, Ngaia is combining her two passions through studying Theatre Studies and Primary Education. She has had a number of roles on stage in shows such as A Midsummer’s Nights Dream (Helena), Grease (Frenchy), Three Sisters (Irina) and Unbearable Things (Maddie). In 2012 Ngaia was given the opportunity to see a different side of the theatre through stage managing Carving and Ice’s production Cow and Fold. She enjoyed it so much, that she is once again stepping out of the actors role and into a production role under the Carving in Ice banner.


Kendall Spence

Kendall is a Sir Edmund Hillary scholar in her second year, studying a BA majoring in Theatre and French. Kendall has always enjoyed being on stage, and once theatre became available to her in her first year of NCEA she jumped at the chance instantly. Kendall contributed heavily to theatre in high school, earning herself distinctions along with cultural blues for her contribution to the arts. Instructions for Life is Kendall's second production with Carving in Ice (she performed in Cow & Fold in 2012), and her first time taking on a production role. She has thoroughly enjoyed the new experience.


Brendan Theodore

Born and raised in Melbourne, Brendan is a Sir Edmund Hillary Scholar at the University of Waikato, completing his Honours in Theatre Studies. Technical/production and venue management aspects of theatre are Brendan's theatrical passions. Although he has worked with various theatre groups in Hamilton, Brendan’s focal role has been Production & Stage manager for Carving in Ice Theatre for the last 3 years. Brendan has also worked with a number of venues/companies such as: Auckland Theatre Company and Claudelands Events Centre. He is currently employed at the Gallagher Academy of Performing Arts, and later this year will be taking an internship at Q Theatre in Auckland.

Gaye Poole

Gaye spent years as a professional actor with the Queensland Theatre Company (Brisbane), the Hole in the Wall Theatre (Perth), The Old Tote Theatre Company and Marian St Theatre (Sydney). Roles she recalls with particular affection: Eurydice in Jean Anouilh’s Point of Departure and Lady Teazle in Sheridan’s The School for Scandal. She also had huge fun doing pub theatre in Newtown, Sydney. Since moving to New Zealand Gaye has directed Carving in Ice shows Cosi, Half Life, Marmalade: 3 short New Zealand plays, Compleat Female Stage Beauty, Neighborhood 3: Requisition of Doom, The Dispute, W;t, Away, Aftershocks, and In the Next Room or the vibrator play. Read More

Ryan Wood

Ryan has possessed an interest in acting and theatre from an early age. He has appeared in several school productions, and took and Speech & Drama classes for many years. Some standout roles include the Katydid Kid (Mandy’s Garden) and Mike Teavee’s father (Charlie and the Chocolate Factory). He has previously worked with Carving in Ice as Props Consultant for Rabbit Hole. For Instructions for Life, he has the important and challenging role of Sound Operator. Later in the year he intends to appear as Crowther in Carving in Ice’s production of The History Boys.





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.






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.