Cultural Storytellers: NZ icons

In Rita and Douglas writer Dave Armstrong explores the tempestuous relationship between writer Rita Angus and composer Douglas Lilburn, using Rita’s own words and Douglas’ music. Portraying these two great NZ icons are two of our current stage icons, actress Jennifer Ward-Lealand and pianist Michael Houstoun.

Renee Liang talked to Dave and Jennifer.

After a successful nationwide tour, Rita and Douglas is on in Auckland from November 22-26.

What initially drew you to the story of Rita and Douglas?

Dave Armstrong: I knew Douglas Lilburn personally when I was a music student at Victoria University and played the trumpet in the world premier of one of his works. I loved Rita Angus’s painting and had worked with Jill Trevelyan so after she published her book I asked her about the letters and she helped me gain access to them. I realised combining Rita’s letters and images with Douglas’s music would make a great play. Initially I was thinking of making up Lilburn’s responses but my wife Caroline, our producer, said that was a really dumb idea and that I should let Lilburn’s music speak for herself. She was right. Michael kindly agreed to be involved, as did my long-time collaborator Conrad Newport as director, then finding Jennifer who not only played Rita wonderfully but looked like her too, was the icing on the cake.

Jennifer Ward-Lealand: I was asked to audition for the role. A few years ago I saw the Rita Angus exhibition at Te Papa and thought it magnificent. A year or so later I read Jill Trevelyan's biography little knowing I would end entrenched in Rita World in 2011 .

Is it their place as NZ cultural icons, or as ordinary people, which most fascinates you?

Dave: Both. Great artists yet struggling with everyday issues such as making a living and being accepted. That’s what is so interesting about the play.

Jennifer: It is the intensity of the relationship and the depth of feeling Rita experiences that I am drawn to.

Do you think they were "ordinary New Zealanders"?

Dave: In some ways. Lilburn was very self-assuming and reserved. Very shy at first. I never met Rita but people said she could be very quiet and softly spoken, especially when she was older, yet at other times, as letters show, she could be emotional and quite on fire! They lived in mundane times – meat and three veg for dinner, or in Rita’s case – a roast potato and that’s it. But as artists they were quite exceptional and extraordinary New Zealanders, and I think we should celebrate their greatness as artists more.

Jennifer: No. I think Rita was ahead of her time and in fact makes some prophetic statements e.g (when she won't sell Douglas a piece of art) "you will be able purchase colour prints of my work one day, including Cass."

Why are you telling this story now?

Dave: The letters have only been accessible since Lilburn died in 2001 and bequeathed them to the Turnbull Library. Also Jill’s wonderful book and the recent Te Papa exhibition of Rita’s paintings has shown how much interest there is in NZ for Rita’s wonderful work. Lilburn has a reputation as NZ’s greatest classical composer in the music world, but I find a lot of Kiwis don’t really know much about him and don’t know his music very well. Hopefully Rita and Douglas will rectify the situation.

Are the words in the play all from Rita's letters to Douglas?

Jennifer: Yes. Douglas kept all her letters and bequeathed them to the Turnbull library on his death. His letters to her were destroyed after her death.

Dave: Yes. I’m just a glorified editor really!

How did you use the art and the music to drive your writing? Your performance?

Dave: To write and structure the play it was important to get the right painting with the right letter and the right piece of music. That’s what took most of the time. We (Jennifer, Director Conrad Newport, Michael Houstoun, Producer Caroline Armstrong) all immersed ourselves in the world and the works of Rita and Douglas for quite some time.

Jennifer: The music, and more particularly Michael's playing of it, informs everything I do. The feeling, the rhythm, the tempo - everything he plays expands my playing of each letter. It is like the other ‘character’ in the show.

What role has Michael played in the development of this piece?

Dave: An enormous role. His enthusiasm was highly infectious and I learned more about the piano music of Douglas Lilburn in one rehearsal with him than in quite a few years of formal study. Basically he steered me in the right direction to identify some of Lilburn’s best piano works and together (along with director Conrad Newport and producer Caroline Armstrong) we structured them throughout the play. Michael made a real effort to put Lilburn’s best work at the heart of the play and I’m so grateful that he did that. The rehearsals were great fun because Michael’s such a good player. Sometimes Caroline (producer and my wife) and I would pretend that we needed to hear a tune played by Michael one more time to really make up our minds about it, when in fact we were having such a good time, we just wanted to hear him play some more.

What has been the most challenging part of this play for you?

Dave: The responsibility! It’s telling a story about two great people who had quite a tempestuous relationship. The relationship is very dramatic – not only from a human interest point of view, but in that it affected both of their creative work. On one hand it would be easy to glorify them both and not be honest about their darker sides, yet on the other hand it would be easy to focus only on their (at times) difficult relationship and not pay sufficient homage to their creative genius. I like to think we’ve achieved a nice mix.

Jennifer: Bringing letters that were written to be read off the page and into the present. To make them new and immediate.

What are you working on next?

Dave: Answering emails! I also have a play in development called Kings of the Gym which I’m very excited about. It’s about the big issues: love, destiny, religion, ageing, the sanctity of human life and PE teaching.

Jennifer: Still shooting Auckland Daze (TVNZ ondemand), The Good Word (TVNZ7) and recording episodes of Buzzy Bee (playing Dorable Duck). I have some great theatre lined up for next year but awaiting funding decisions so better not talk too soon!

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STAMP at THE EDGE and Armstrong Creative present:

RITA AND DOUGLAS

Written by Dave Armstrong. Directed by Conrad Newport. With Jennifer Ward-Lealand and music performed by Michael Houstoun. Biographical and image adviser: Jill Trevelyan.

22nd – 26th November, Tues-Thurs 7pm; Fri & Sat 8pm

Concert Chamber, Auckland Town Hall, THE EDGE

$39.90 - $44.90 (booking fees will apply)

Tickets available through THE EDGE – 0800 BUY TICKETS