Larf Street Theatre Group

Larf was born in October of last year, when a group of actors and others interested in theatre decided to form a political street theatre group. Many of those who joined were actively involved in the protests against the SIS Bill and felt the most effective way to express their opposition was through street theatre.

Towards the end of the year other meetings were held - ideas were shared — and a plan was concocted to tour the country over summer. However nothing came of this, people left Wellington over Christmas and energy dropped.

On Christmas Eve the Moonists (a militant religious cult) held a street march opposing "the Communist threat to N.Z.". A small group of Larfers, one wearing a Gorilla mask, another dressed as Lenin, another dressed in red, all marching to beat of a drum, posed as "the Communist threat".

Larf went into hibernation over the summer. But in late January there was another meeting, we had grown in numbers — more energy and more ideas. We split into smaller groups to work out ideas and then brought them back for the whole group to work on. Over a fortnight we had created a number of sketches and were ready to perform them. "Miracle Man" dealt with Muldoon's "economic miracles". "Joe Worker" with unemployment in N.Z., "Ordinary Bloke" with apathy in N.Z., and "The Weird Sisters" with abortion and the violent Catholic lobby behind SPUC.

We performed all over Wellington, in a park, at the University and out in the streets. Larf learnt a lot from this first flurry of activity, much about working together and what worked and what didn't in performance.

Since then we have taken part in protests against the Abortion Legislation and a visit by South African Rotarians. We have sunk our fangs into beauty queens at the Miss Wellington contest. We have also done some sketches on worker-boss relations for a delegates meeting of the Cleaners Union.

The group doesn't take direction from any one person. We have no leaders. Different people have different abilities and so different people direct as the situation requires.

The group's membership fluctuates, sometimes four or five people work on a piece, other times fifteen or twenty people work together.

Our performances are loud, usually funny, and include song, dance, and mime. Few of us are professional actors, but we aim to entertain and arouse people in our own theatre, the theatre of the streets.

Paul Wilson

VUW Drama Soc.

A few weeks ago Salient's Drama Editor, John Bailey, wrote an article that commented on the non-existance of a Drama Club on campus this year. This comment is erroneous. Drama Soc., was last year more active in terms of productions than it had been for quite a few years. Seven plays hit the stage, all in the first half of the year. Bludgeoning assessment and burdensome work loads took care of the second half. All seven followed a pattern, of sorts, in that they were Establishment style Theatre. The type that demands a stage, allows for little improvisation and restricts the player to a pre-written script. None was N.Z. in origin, none concerned the campus. They all were intended as entertainment.

This is neither ideal, nor healthy. However it is what it is. Any movement towards topicality or towards more political theatre, must emanate from the student membership. Direction cannot be forced. Unfortunately the people who could provide the requisite impetus seem to form their own groups and eschew the Drama Club. Street theatre groups can abide under the same roof as traditional Theatre. The Drama Club should be the house for all variations of campus theatre. It exists for all these variations. That it is not used as such, is a matter of concern, for it diminishes the Drama Club, and deprives it of much vitality. Before I outline some possible directions for the Drama Club I will mention our greatest problem; that is manpower. Drama Studies (and last year Theatre des Isle) removed many actors and such from circulation. The assessment syndrome accounted for others.

Consequently we were left with a few fool-hardy souls on whose shoulders the Club rested. That so much was done was pleasing.

Such are the hassles we and you face. Now to the possible directions Drama Club could take. Firstly it could proceed as it is now, producing plays as, and when, it can; dying but not dead. Secondly it could affiliate with a Department. An association with Drama Studies has been suggested, but I would not advise this. It would become rigid and would be under the control, in practical terms, of the Drama Society lecturers. I feel it must not be restricted to a course, or to a set of students but remain open for all to do with what they may (or can). Finally, and herein lies its life-line, all campus drama organisations could support the Drama Club. By this I mean work with and for the Drama Club. Street theatre groups belonging to Drama Club, workshop productions, whatever, could do the same. In addition I believe the Drama Studies people could do their practical work (production, performance and so on) with the Drama Club. Their lecturers could perhaps also work under our club. This would in the long run benefit campus Drama.