July 17, 2024 • 37 mins
This week’s guest is Samoan actor Theo Dāvid.
From Manurewa to Ferndale, he plays Viliami To’a on iconic New Zealand soap opera Shortland Street. As passionate thespians, Allyssa and the bro indulge on how hard it can be to be acting as someone else. Theo is a man who wants everyone to eat and says unfortunately that ain’t how it works in the industry.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
It's the Flavor Podcast Network.
Speaker 2 (00:03):
Island Roots Auckland Ways.
Speaker 3 (00:06):
This one's for the Brown brothers and sisters who want
to be one with themselves, their culture, their identity, their roots.
Speaker 2 (00:13):
This is Island Roots Auckland Ways.
Speaker 1 (00:18):
It's holler for love everyone and welcome back to Island
Roots Auckland Ways.
Speaker 3 (00:23):
Hey everyone, week knew me, week knew you.
Speaker 1 (00:27):
Okay, But by the time you hear this, I'm still
going with seventy five has. Hopefully I'm not struggling because
as a time of recording a little bit struggle.
Speaker 3 (00:35):
I feel like maybe your first week will be difficult
because you're getting into the routine. But I mean, you've
already got the meal prepping down, girl, You've already got
the mindset. I feel yes like you wanted to start
seventy five hard before you did. But we we see
to Maz, we all see two mares in the Flavor studio.
You cannot start something five year.
Speaker 2 (00:53):
Before the Radio Awards because we need to get drunk
the radio.
Speaker 1 (00:57):
We bloody won it.
Speaker 2 (00:58):
We didn't.
Speaker 1 (01:00):
Who this week on the podcast is Theo David.
Speaker 3 (01:03):
O King, a true icon and he's on the most
iconic TV show in New Zealand. His story short Street.
I really wanted to introduce him by going is it you?
Speaker 1 (01:18):
Is it me?
Speaker 2 (01:19):
No, it's Theodavid. But then I was like, that's really
critic a little bit.
Speaker 1 (01:23):
A little bit if I linked.
Speaker 3 (01:25):
Into it, embraced the silliness as our friend created tarriage
or now I would have said, but.
Speaker 1 (01:29):
Yeah, well here is the chat. Now.
Speaker 3 (01:37):
Welcome back to another episode of Island Routes Auckland Ways.
We have the incredible, multi talented, amazing Shorty Streetsir, Theo,
David and the building. A listener of the podcast, so
we love.
Speaker 2 (01:59):
But do you still live in clean?
Speaker 4 (02:00):
I don't live in Clontalkland button right, My parents are
still out there them every week. Take them outside the
house and this house in New Zealand, house where grew up.
Speaker 1 (02:20):
Exacting thing doesn't work out. Welcome to Alan Roots Auckland Ways.
And you'll know from listening that every episode we talk
about what we love about home. So whatever homers to you,
whether that is Clinton or we currently live where you
feel most grounded. What is home to you and what
do you love about it? We'll start off first, Alyssa,
(02:42):
do you care to start off things for us?
Speaker 3 (02:44):
Oh? I'm really having to think now, I think going
off the Clinton HATI Clinton.
Speaker 4 (02:55):
Everyone always talks about, But there's this Clanton.
Speaker 3 (03:00):
And I remember Clinton town Sinton when it was a
New world and now it's a pack and Save.
Speaker 1 (03:04):
I also.
Speaker 3 (03:07):
So, I yeah, my dad used to take me every
Monday night, so you stay my Dad's every Monday night.
Speaker 2 (03:13):
After swimming.
Speaker 3 (03:14):
He would take me to Mecca's at Clinton, which is
also next to T A B.
Speaker 2 (03:18):
But that's clear.
Speaker 3 (03:24):
I mean after a while I was like, Dad, I
don't want to do Meccas anymore. So we graduated to
the Brandy's Roast, which is also in.
Speaker 2 (03:30):
The same conflict.
Speaker 1 (03:31):
Yeah.
Speaker 2 (03:32):
Yeah, so Clinton Town Center, that's where it's sat.
Speaker 1 (03:35):
Do you reckon? They brought a Pack and Save there
because that's Clinton, of course, but they still have New
world and Sophomore, which I.
Speaker 4 (03:42):
Like, Yeah, it's not me. I don't know of many
new worlds.
Speaker 1 (03:45):
There's a New worlds my money sub.
Speaker 4 (03:47):
What's that about?
Speaker 2 (03:48):
What is it about food?
Speaker 1 (03:49):
Stuff? Pack and so be cheap? They'd be eating that
up in the price of heart.
Speaker 2 (03:55):
Are you a pack and Save shopper for you?
Speaker 4 (03:56):
When I was living in Clinton, because that was like
down the road, I loved it. They never did bags.
They yet to grab a box.
Speaker 1 (04:02):
In your One thing about peck your own.
Speaker 4 (04:08):
Save us our because I love peking.
Speaker 1 (04:13):
Shout Cleveland shopping, what loves of my mind free. I
always think about this. This is my Roman Empire. The
fact there is a warehouse in Clinton.
Speaker 2 (04:25):
Literally and it's huge.
Speaker 3 (04:27):
It's actually really big, and you can always find stuffinite
that's Crazy's.
Speaker 4 (04:32):
Like our landmarket. How far do you have from.
Speaker 2 (04:35):
Clinton from Clinton Warehouse? But then also behind the warehouse
there's the library. This even lean is it a whims
of course, there's a laundry mass laun.
Speaker 3 (04:50):
Get into it, a pharmacy and doctor, a post office,
everything you need, everything you could possibly need, and also
wild people just some.
Speaker 2 (05:01):
Some characters.
Speaker 4 (05:02):
And then there's the Cleanton Bakery as well.
Speaker 1 (05:07):
Yeah, people say that'd be a good ass bakery and.
Speaker 2 (05:12):
I think it's good.
Speaker 4 (05:12):
Okay, okay, baking and slice that is what I recommend.
Note you gotta get a slice slice Okay.
Speaker 1 (05:20):
They also say that potato top pie was pretty good.
Speaker 4 (05:23):
Yeah, I work went over in the weekend and she
writes she said it was a.
Speaker 1 (05:29):
Never had You better put some respect one.
Speaker 4 (05:33):
But also don't flock there at once.
Speaker 3 (05:36):
We need to get you. Yeah, like, actually it's not
that good at all, don't.
Speaker 1 (05:44):
Actually terrible rated?
Speaker 2 (05:45):
Yeah, that was such.
Speaker 1 (05:48):
A good one.
Speaker 3 (05:49):
I think.
Speaker 1 (05:57):
Then what I love about homes So the gonut you
so classic, Like I went home yesterday, I had guli
with rice and it's just so simple but so good
feeds the soul. There's nothing like well that eo.
Speaker 4 (06:13):
Do you know whenever you tell your nonsemone mates about
they sort of hold it in respect to it more
so than you. Like, if you say you're busy on Sunday,
they'll be like, do you have okay? All good?
Speaker 2 (06:29):
I feel like even.
Speaker 3 (06:30):
Though Sunday is one of my days off my friends, no,
Sundays might not be the best day to try and
might hang out because there's always going to be stuff
to do and there's always going to be a family.
Speaker 1 (06:38):
Lunch and is the day of the law the day.
Speaker 2 (06:41):
Of the law? Yeah yeah, yeah, God, bless.
Speaker 1 (06:45):
You, God, bless you listening. Well, thank you Alyssa for
sharing your blessing. Yeah, what do you love about?
Speaker 4 (07:00):
I love? I love And it's not exclusive to South Auckland,
but it's those you know, those bongo chips, the Green Packer,
namely the best flavor. But I don't know something about today.
Just when I see that pecker, it just reminds me
of like, oh, that's the like looking way dairy suns.
(07:21):
There's all like. And when I see those ships, I'm
always reminded of my like my mum beck in the
early two thousands, she's still alive, by begging the early
two thousands, when housey was a massive thing a she
she'd have Becky in one hand. She'd ever she'd buy
like the fat capt marker for her numbers and she'd
walk out with the green packet like that's South.
Speaker 1 (07:44):
Auklands are superior green Gurley or pink gurly.
Speaker 3 (07:49):
Okay, this is when the me being brought up with
a white mom really, because bongo wasn't huge, but my
dad would always bring freak what's it called?
Speaker 1 (08:02):
It was like.
Speaker 3 (08:06):
No, no, it was like it was like a mix
and it.
Speaker 2 (08:09):
Was called like.
Speaker 3 (08:13):
Yes, So that was that's my bongo.
Speaker 1 (08:22):
These are some hood snacks per years.
Speaker 2 (08:33):
Really brings you back.
Speaker 1 (08:37):
I was allowed to go to housy, not always see
it stay home.
Speaker 4 (08:41):
Oh we never win. We would just drop you just
do the drop off face. Whenever they would lose, they'd
be like it's your attitude.
Speaker 1 (08:48):
And then you'd be like and housing has really evolved
with the times and now do it over zoos, especially
during COVID, and you would have like your eight your eighth, Yeah,
and like the housing ladies, they're fast with it. There's
a lot at steak Yeah. Money, I can't see truly.
Speaker 4 (09:12):
Bring that back.
Speaker 1 (09:13):
And this cost a little bit crisis. Well THEO thank
you for joining us. People will know you best. Airs
really yummy. So on Shortland Street, tell us about your
journey way before Shortland Street when you first started acting.
We talked a little bit about it.
Speaker 4 (09:27):
Off the mate. So I did my first ever drama
all acting workshop with Massive Theater Company back in twenty ten.
And this was while this was my first year in
high school as well. I went to seek Kendigan's College.
We said three names, that's right. I was there on
a Rugby scholarship, and so I remember my first memories
(09:51):
of drama, also my first memories of rugby and how
it is clashed and then back I think I might
have been year twelve or something. I remember I was
cast in the school play, but I was also in
the first thing and I just remember having to lie
to my rugby coaches going, I'm so sorry, so I
got to go do this chemistry into an or have
(10:12):
to find out how much vitamin see rabina when actually
I was going to rehearsals and the stuff. So yeah,
it was like it was like high school musical but
like not. And Troy.
Speaker 2 (10:25):
From Glee when he was remember the season, Yeah, when
he was like having to like.
Speaker 5 (10:34):
Or am I And you know, the more I listened
to like actors, namely some more Nectars talk about their
how they got into theater, it's always because like rugby
was the opposing thing.
Speaker 4 (10:47):
Yeah, and I think there are a lot of us
with the same story where we were like, man, we
had this rugby thing, but we also, you know, we
had this adrenaline rush from being on stage. So it
was kind of the know which way to choose. Ended
up choosing drama. Sat Kings to decided just to change
my rugby scholarship to a drama one. Yeah, it was, honestly,
it was that easy. In my head, I was like,
I'm going to get kicked out, my mum's going to
(11:07):
just own me a monologue and then yeah, I just
started doing the drama for the rest of my time.
In high school while still working with Massive Theater Company and.
Speaker 1 (11:19):
Then and so you had stuck with them.
Speaker 4 (11:22):
Yeah, they had stuck with me, to be honest, because
I was like, like with my mom. Mom definitely can
be a headache at times. And I remember it was
my final year of school and I called Samantha Scott,
who is the artistic director of a massive company, and
I was just like, hey, I could go to drama
school or I could stay in Auckland and train with you.
What do you reckon? And she was very unbiased. She
(11:44):
was like, this is what to CARDI can offer you.
What I can offer you this co And I stuck
with her and we still have a good relationship today,
still popping in back to the Theater company and stuff.
The Massive Theater Company in twenty sixteen, twenty seventeen came around,
was working in a cafe, didn't really know if the
acting thing was gonna pop. Literally, yeah, just I remember
(12:07):
I was on the train and I didn't have any
gigs lined up. I had enrolled into Auckland UNI to
study occupational therapy and I just remember being on the
train and I get a call from Midiama mcdell.
Speaker 2 (12:19):
Oh.
Speaker 4 (12:20):
She called me and she goes, hey, for you really
out of the blue, do you have a Shakespeare monologue handy,
And like, I love Shakespeare all of high school, so
my immediate unswer was yes. And she said can you
go audition today like at ten? And I was like yes,
And then I just remember going off a phone call,
just recounting the monologue in my head, going to this
(12:43):
empty warehouse at the time, doing it for this company
cast the very next day, quit my job that Sunday,
and then just off going Shakespeare for like four years.
Speaker 1 (12:54):
I feel like I feel like I just heard the
plot for a movie right now.
Speaker 4 (13:00):
One phone called Yeah. No, It's just there's so many
listens you can get from it. But I feel like
I take something from that story every time I come
back to it, so there's not like there's not one
thing to learn from it.
Speaker 1 (13:11):
I guess Yeah.
Speaker 4 (13:13):
Third pop up globe which was the Yeah, which was
the globe he had rebuilt in Auckland for about four
years that got shut down in twenty twenty COVID happened.
Arch jobs are really scarce. Twenty twenty one, rolled around
got this audition from Shorties after having auditioned for them,
like five other times.
Speaker 1 (13:33):
Oh okay, so you had auditions before, which.
Speaker 4 (13:36):
Is a common story. Actually yeah, excuse me. And then
you know the role opened it uh late thirties, early forties,
Tongulans sit in the waiting room like all these old
dectors walk out, and I'm just like, what are you
(13:58):
up to out go and do an audition? Yeah, get
called back on the Thursday. And I remember when I
got called back. So they and then you do a
screen test and there were three other names or two
other names on the board and I was last, and
first on the board was Vince Harder's name, and I
was like, well, it's been a good rite, Yeah, thank you.
(14:20):
Names THEO just swing and then I need to call
back the following Monday, going yeah you're on tomorrow.
Speaker 2 (14:27):
Wow, that's weird.
Speaker 4 (14:28):
How this like a phone The phone call happens to
like pop up a lot of ye but yeah, a
lot of fast turned around in my life. It's kind
of ye. Stay ready, it's incredible. That was long. Sorry
about that, My gosh.
Speaker 3 (14:41):
No, no, no no, but I have so many questions. First
of all, as someone who wanted to pursue acting as
a drama practitioner, if you will. I used to walk
into auditions and oh my, go's so cringe and be like,
I'm going to be the first time one woman to
win the Best Actress Oscar Yeah, and then I'm never
doesn't get the job. But Toy for Caadi was always
(15:03):
the thing that people would be like, get experienced, then
go to toy for CADDI like, that is your break?
Speaker 2 (15:08):
Did you?
Speaker 5 (15:09):
Like do?
Speaker 3 (15:10):
Like what was your thinking around not going to Toy
for Caddy? Because to me, or at least at the time,
when I was even in first year of unis studying drama,
I was still like, yeah, I'm just gonna do one
year here and then I'm gonna go Toy for Caddy.
Like you know, I thought I was the man, but like,
why why was it not the right decision for you?
Speaker 4 (15:27):
Well, I mean, I'm sure I think that it wasn't
the right decision for me, and I think it would
like if you ask someone else, they'll probably go, I
don't really like what massive does, so I'll go here.
But I don't think theo. I I couldn't learn drama
or theater in an institution, like I couldn't know if
something is compulsory to me then I kind of feel
(15:48):
repelled by it. Then I don't really want to do
it anymore. And Massive Theater Company met up every second
Saturday of the school term and then did a week
long intensive and then you kind of just back to
your life and you could do things during the day
and it was all hands on, like there were no exams.
It was never sitting down and talking about stuff. We
worked a lot at Massive were our and I'm not
(16:10):
I'm not trying to shun. I never went there. I
don't really know what.
Speaker 3 (16:13):
I think it's good for young aspiring actors to know
that these options, Yeah.
Speaker 4 (16:19):
And so I leaned more towards Massive because at the
basis of all this workers this it's this French idea
called complicity. And I don't think it has a like
an English translation, but what it roughly translates to is
the secret between people or the game between people. And
it's just this idea that if you ever walk out,
(16:40):
even in life all but mainly, if you walk out
on stage with someone else, like the rapport I have
worth mes here, it will be totally different to the
rapport I have with you. And it's trying to get
the audience in on that connection, and then it's about
trying to put that on stage and not having to
like whip yourself out the back or you know, pluck
(17:01):
a nose here so you're gonna have tears when you
walk out on stage. It's about absolutely being present in
this moment and going this is meant to be a
sad scene. It doesn't feel like we're going to cry,
so you know what, let's not cry. Let's just play
it as we are right now. And and honestly, like
you just, Massive was a place about you could be
a dick and you wouldn't be shamed for You could
(17:23):
be loud and you wouldn't be shamed for it. I'll
warm up every time you go there. It's like the
most intense game of handball ever. And I remember they
would hold these like they do hold these introduction workshops
to the company and Sam Scott, she's got the best
eye in all of theater to me in the New Zealand.
She will see someone play handball and know if they're right. Yeah,
(17:47):
you know, I don't know how she does it, but
you know, you'll get some people who you just come
and want to play the game, who want to be
in on that connection, and then you get other people
who are just like, you know, too cool. You know,
they don't want to do anything. When do we start
saying the words? When do we start doing there? But yeah,
I lean towards messive because yeah, it was physical, a
rugby background. It was a base and emphasis sorry on
(18:08):
connection and you yeah, you could just pretend to be
anything you wanted to know.
Speaker 2 (18:14):
I love that. That's so cool.
Speaker 3 (18:18):
This is as someone I feel like when I was
studying drama, everyone would always be like.
Speaker 2 (18:22):
Oh, what do you prefer? Stage or screen? But like
you've had this extensive pop.
Speaker 3 (18:25):
Up globe history. It's a big part of your TV.
But then you're also your day job. It's on the TV,
So what is it?
Speaker 2 (18:33):
Is it stage or screen?
Speaker 4 (18:34):
Stage? By five? Like you just theater kids, the theater
paid as much as screen or film that I don't
think anyone would ever truly. Yeah, there's nothing like how
we are talking now. Like a good play will feel
like you're looking into people's eyes for the first time
and you know they might feel something and you'll feel
it too. And especially with screen, you can you know,
(18:57):
you can have REGOs and you can fake everything on stage.
If you see a performance, and if they feel awkward,
you as an audience will feel with them. And there's
no way that lesson is harder and it's more rewarding.
Speaker 1 (19:12):
Yeah, and there's no.
Speaker 4 (19:16):
And to that point, to the show that you give
tonight is for that audience, and you will never give
that show even though you're saying the same lines, doing
the same moves tomorrow night. You might stumble over a
line and it might be funny and the audience will laugh.
Nobody else will ever get that stumble over that line
ever again, So what about you?
Speaker 3 (19:37):
For sure, there's something about just like letting go of
every inhibition and just being like fuck.
Speaker 4 (19:43):
It, you know, like that's like the overarching phrase.
Speaker 3 (19:50):
Yeah, Like there's something about being like, okay, we'll ever
who's it like this, but I'm going to make a
choice and like maybe the choice isn't going to pay
off and that's okay, but the choice might pay off
and then everyone laugh, you know, Like there's just something
about stage that.
Speaker 2 (20:04):
Yeah.
Speaker 3 (20:04):
And also I just don't think personally not built. I'm
not built to be a screen actor, but stage stage
all the way, Like it's in the moment and then
when it's done, just let it go.
Speaker 2 (20:16):
Yeah, it's done.
Speaker 1 (20:17):
We've probably already talked about this, but for all our
new listeners, would you go back to your acting day?
Speaker 3 (20:24):
Yes, yes, I'm curious for context. I have a drama degree,
so my undergrads and Pacific Studies and drama. And I
think I realized when I was doing drama that I
like the behind the scenes, like I like the producing
putting people in the room. But I don't know if
I enjoyed. That's not true. I love acting. Acting is
(20:46):
so much fun, but I found it really hard to
let go of a character or like not hold on
to whatever they were going through. How do you shake
off an emotional day on set? Like?
Speaker 2 (20:56):
How do you become THEO again?
Speaker 4 (20:59):
We'll acting. We're in the arts. So even in these
dark moments, there does have to be some a little
bit of joy in what you're doing, because then otherwise
you're just whipping yourself and there has to be coming
out of it. There has to be hope. But for me,
it's always been there. It's always been about holding on too.
Like I like, I love to pretend. I love this
(21:20):
craft so much. I know that when they call cut,
I can just drop this And this is what my
character is going through I'm saying these words. These aren't
my words, but I mean to your point though, like
when you ever you deal with stuff like that, it's
your your real body is taking a toll on that
a So even if your even if your character is crying,
(21:41):
those are like those are your real tears, and your
body doesn't actually know when you're exactly or not. So
like you know, you probably find yourself driving home after
something intense and you're just shaking it the steering wheel
and you can see us I've replaying it. I don't
have an answer to that, but I think it is
a it's a skill to be able to brush off
(22:01):
your character not take your work home. Unfortunate that I
have like a twenty five minute drive from work to
my house, so it's like a nice debrief.
Speaker 1 (22:09):
Year, like literally exiting the space.
Speaker 4 (22:12):
Literally literally, you know, just chuck Chuck a podcast on
there's a small one called Ira.
Speaker 2 (22:20):
Podcast.
Speaker 4 (22:22):
Check that one on space.
Speaker 1 (22:24):
We ate.
Speaker 3 (22:27):
But I think, actually I'm thinking so much about like
my training and how so much of my training was
like Stanislavski based, which is like realism, realism like being
you know, not being able to let go. So yeah,
you can google it and find out. But knowing that,
I don't know, maybe if I've been training people going
tom worry illustrates, pretend you don't mean to think about
(22:49):
that time that your grand dad died, you know.
Speaker 4 (22:53):
To your point, though, I think the mythod the mythod
actors cop a lot of flak because you know, they
go out and build up barn because their characters are
carpenter of something. But like that's just one way of
getting to the character and there's no right way. Like
at the end of the day, whatever gets you to
that point is kind of not as important as getting
(23:14):
to that point unless you go home and you know,
start being a bott dude. And but no, yeah, I
think whoever comes up with the answer to that, you
make sure you let us know.
Speaker 1 (23:27):
And real talk.
Speaker 4 (23:28):
We've lost a lot of people because they you know,
they didn't know how to handle coming out of character
and then they turned to like all these different substances.
So it's real. It's definitely real.
Speaker 1 (23:39):
Conver to have are the many specific and acting right now.
Speaker 4 (23:44):
A lot heaps are untapped potential. Like the one thing
about being a brown actor in New Zealand is that
we've been pushed this narrative that like when you make
it the question, they're always asking you what makes you
different from that brown? What makes you different? But it's
like and then our own people start saying that to us,
and it's like, okay, what makes you different from the
(24:06):
guy down the road. But isn't the idea that it
doesn't matter who's eating at the table, it's just as
many of us at the table as possible. And it
really fucks me off because, like I've said it, now,
you've probably had it. You've probably had it when you
turn on your TV and you see someone who looks
like you and sounds like you, You go, I want
to do that because I sound like that and I
(24:26):
look like that. And then you get there and their
first question to you what makes you different? And it's like,
but I've just heard people sound like me, Like now
you don't want me to be so yeah, there's a
lot of us, but they only want one type of
us and they all look the same. Yeah, it gets cussed,
so yeah, yeah, there just needs to be a lot
(24:48):
more of us.
Speaker 3 (24:48):
Truth, I'm thinking it was a strange right now.
Speaker 1 (24:55):
Radio once we might be on fourth of.
Speaker 3 (25:00):
Has the you are obviously very proud to be some
What villagees are you from?
Speaker 1 (25:04):
Ah?
Speaker 4 (25:05):
My come to you by way or by muscle?
Speaker 3 (25:08):
And now okay, muscles right next to my village?
Speaker 4 (25:11):
Oh really? Yeah, I haven't heard of that villain. Only
know my villages.
Speaker 1 (25:15):
But what is so he pretty much just see it.
Speaker 4 (25:23):
I don't know how.
Speaker 1 (25:26):
So we've got some town?
Speaker 5 (25:29):
Is that?
Speaker 4 (25:29):
Okay?
Speaker 2 (25:30):
Yep, city girls, that's what we are.
Speaker 4 (25:32):
I don't go back often, and I know I'm going
to look back on my life and go you should
have gone back more.
Speaker 3 (25:37):
Has there ever been anything with Billyami? We were like,
culturally that would be such a no, like what the pick?
Speaker 2 (25:42):
Don't don't do that?
Speaker 4 (25:44):
Do you know what? They've actually been really good because
we have a Salmon advisor and it is like all
our dialogue, like any storylines that potentially might cause friction
with our community. They're really quick to get her in
the room and goes this all right, Bella, Bella, she
(26:04):
plays my sister on the show. Yeah, we just try
and ham up the brother sister dynamic for all the time,
and yeah we hate each other.
Speaker 1 (26:16):
Oh that's so good, and of course for many years.
But the Roger, that's right, you know.
Speaker 4 (26:21):
I don't know if you remember this episode that he wrote,
but it was when was on the show and his
brother was on the show, and there was the storyline
where someone patient came in and Robbie Mangi's character clocked
him and was like, oh no, please, don't don't come here,
and one of the other niss was like, he speaks someone.
So the someone patient goes, gets dealt with, leaves the
(26:45):
hospital and Robbie's character is just being like dark the
whole day, and he was like, what's going on with him?
And he was like, just make sure you're at work tomorrow.
The next day, the whole Salmon community is at street
wanted to get free from his character. But like Victor
Roger wrote that episode, yea, And to me that's like
(27:07):
one of the earliest, not the only example, but that's
my earliest earliest example of like someone who knows the
culture writing a story about what the culture is about.
Speaker 3 (27:16):
One thing that I remember this was always stick in
my mind. It must have been like Rugby World Cup time,
and you know how people are so haughty, maybe not
as hearty as the Tonguans, but very hatty. This was
back in twenty eleven in the episode. It was written
into the episode that there was like it wasn't like
a legit parade, but it was like a parade through
the hospital of like the it was like Robbie MANGACEIVERI
(27:38):
and they were like holding like sumone flags and like
cheh and someone who was like, you know, still learning
about their culture.
Speaker 2 (27:45):
I was like, oh my god, there's white people.
Speaker 4 (27:48):
Yeah. All it takes is just to see that. Yeah,
one person to go, I'm going to give this a grreat.
Speaker 1 (27:53):
That was iconic era.
Speaker 4 (28:01):
Was via the player. It was.
Speaker 1 (28:12):
Do you have any goals? And acting like is it
like a dream position that you want to hold? Like
do you want to end up?
Speaker 4 (28:20):
I want to end up on superhero movie. I think
superhero movies have always been like, well get me excited
about Yeah, I'd love I think the structure of my career,
I'd love to be able to transition between theater and
film and and movies. Did Washington has a He's a
great actor, but he's got a really great career because
he's able to do that. I'm also not getting any younger,
(28:44):
So I think we spoke about rome and Juliet before.
I think Romeo is like the one role where I
feel like think I'm running out of time. Yeah, hopefully
I can crack that one.
Speaker 3 (28:55):
Because you played Paris, I have yeah, anywhere.
Speaker 4 (28:58):
Else I don't know if you. I played a characterical
cludier and much do about now? Oh yes, I played
the Thetaming of the Shrew. Nice Richard the third a
fellow that a couple, but I think, yeah, the young lovers,
I mean you just have to say his name and
people have like connotations to today. Just to be able
(29:19):
to provide for my family financially, whether that's doing the
stage stuff for the big movies and stuff, I think
that's the big, big goal.
Speaker 1 (29:25):
Oh that's so cool. For any aspiring actors out there,
what would be your advice.
Speaker 4 (29:32):
To do the thing. As much as I love drama classes,
as much as I love studying Shakespeare in your English class,
this is a very action based occupation, hobby job. So yeah,
you're going to do these internals, but make sure you're
able to get up on your feet and do the job.
There's lots of community theaters in Auckland, there are lots
(29:54):
of free workshops for young emerging actors in Auckland. So
do the thing and watch go out and watch, you know,
I feel like you cannot and like our live performance
on the screen is good, but go to your theater
and watch it and let it affect you and be
open to it.
Speaker 3 (30:10):
Has there been a stage show recently that you've gone
through that you were like far out?
Speaker 2 (30:13):
That got me?
Speaker 3 (30:14):
Yeah?
Speaker 4 (30:14):
I went to I mean a nice top on about
massive theater company a lot, but they had a show
called I Love You.
Speaker 3 (30:23):
Yeah.
Speaker 4 (30:24):
I felt like that was like massive theater work to
a t. It was like physical and parts. It was
their Storian parts.
Speaker 1 (30:31):
What a beautiful well yeah, and like it was.
Speaker 4 (30:34):
Just them being them, yeah, and not trying to answer
anything for us and just going putting it out there.
Whatever lens you view this with, have a jam. But yeah,
actually I did see Priscilla like a couple of years ago,
and that one was like at the Civic.
Speaker 1 (30:49):
Oh that was Queen.
Speaker 4 (30:54):
I was like, holy, this is what this can be.
Speaker 1 (30:57):
Yeah, one more question, because I'm just curious if you
had to act alongside anyone who would be a.
Speaker 4 (31:05):
Probably there's a her, her name, she's not acting anymore.
Her name is Denise.
Speaker 1 (31:11):
I don't know if you know. Yeah, yeah, yeah.
Speaker 4 (31:19):
I hope I'm not outing her story, but she was
with an acting agency and she said that after she
fell pregnant, they dropped you. But she is honestly like
one of the most powerful actors less extras I've ever
been on stage with, I've ever seen and performance. She's
one of those people that can just stand there and
you just go. You just want to watch it all
(31:39):
the time. So Denise, if you hear this, please get
back into it the service to by raising your son.
Speaker 1 (31:52):
Well, before we go, we want to play a little
rapid fire Kim. As you would know. This is a
part of our podcast, just for us to have a
little bit of one to wrap up the pod Letdlebox
is a movie review website and on your profile you
can highlight up your top four films of all time.
So what are your top four films of all time?
Speaker 2 (32:13):
And we can give you ours as well.
Speaker 4 (32:14):
Yeah sure, yeah, I will go Avengers one. Okay, just
this idea of people and then they did too much.
Yeah yeah, Venges one. I would go Stump the yard.
These are like influential movies growing up to me. I
(32:35):
watched that movie every day for the school holidays. Two
we spoke about which I really love and Roman Juliet
n ninety six. If you haven't seen it, go and
watch it.
Speaker 3 (32:47):
If I've got it on a hard drive somewhere if
you need it.
Speaker 4 (32:51):
Amazing.
Speaker 3 (32:52):
It's my favorite. My top four, I think, oh gosh,
I've been waiting. My goodness, okay, my top My first
one would be Rocky Horror Pic sure my second favorite
musical behind.
Speaker 4 (33:07):
Me making that like a sequel or something.
Speaker 3 (33:10):
Oh my ho To be honest, it's so campy and
like almost ugly, like grotesque that I feel like you shouldn't.
Speaker 2 (33:17):
You can't remake Wow that.
Speaker 3 (33:20):
Yeah, you know what I mean. Yeah, anyway, the secondest Wana. Obviously,
people have like some criticisms of it and blah blah
blah blah.
Speaker 2 (33:28):
But I think I just remember.
Speaker 3 (33:30):
Going to that for the first time and like being like,
oh my god, like I feel like I am one,
and my little baby cousin was like, oh, it's.
Speaker 2 (33:39):
Not cool on screen to one of the characters. And
it's like moments like that.
Speaker 3 (33:42):
Where you're like, this is representation, you know. My third
is One Thousand Ropes, which was made by the same
guy who made The Orator. But one thousand Ropes to
me is just I give it as a reference whenever
people ask me for advice on their work, especially if
it's like a pacificer dark a themed piece of like
body of work. I'm always like, go watch One Thousand
(34:04):
Ropes because they do it so good. They do that,
they just do it so it's such.
Speaker 2 (34:08):
A good movie.
Speaker 3 (34:09):
And then my last one would be Jordan Peele's get Out,
which I always tell people was.
Speaker 2 (34:12):
My comfort film. I love that movie. That's my comfort film.
I love that.
Speaker 4 (34:21):
No, really good movie.
Speaker 2 (34:22):
Yes, so good.
Speaker 1 (34:24):
I'd be scared of that.
Speaker 2 (34:26):
It's scary.
Speaker 4 (34:28):
That's it's more like because it feels real horror through racism,
like life.
Speaker 1 (34:36):
That's the one about the white family and the lobotomies. Yes,
I love. I don't know, I'm not a movie person a.
I like Lelant Disney movie on all time. I like
(34:57):
on his one. Yeah, I just feel like there's so
any like that, just like epitomizes the mid two thousands
for me.
Speaker 3 (35:06):
Yeah, the soundtrack on the sound soundtrack, bro, I've got
it saved on my Spotify.
Speaker 1 (35:13):
I also like The Lovely Bones.
Speaker 2 (35:16):
You Are Deranged.
Speaker 1 (35:18):
No, that's not my comfort film. It's really sad. It's
such a sad movie. But so well done.
Speaker 3 (35:25):
What's her first name? Salmon is the last name of
the main character her monologue at the start of the film. Yeah,
that was one of my things, right, I be like
that was like the thing I would pull out in
my back pocket.
Speaker 1 (35:36):
Oh yeah, it's yeah, it's heavy. It's heavy, as I think.
I watched it when I was a kid because I
was on TV three and like, you just watched What's
on the TV and you've seen it since, like you, Yeah,
I've watched it many times since. And I don't really
have any other standouts, to be.
Speaker 2 (35:54):
Honest, you literally have one more. Surely there's one more,
one more.
Speaker 1 (35:58):
I like. Oh see, I like kids moving.
Speaker 4 (36:07):
Because they end up having an effect on Yeah.
Speaker 1 (36:10):
Leland's stitch is such a good one. The soundtrack for
that hurts as well. I don't know.
Speaker 3 (36:18):
Mes okay, Ma's doesn't know anything like song lyrics.
Speaker 1 (36:23):
Yeah, I'm a bloody radio host, don't even anything.
Speaker 3 (36:26):
So you know what, Yeah, you keep your three out
of four three. Thank you so much for joining us.
Speaker 4 (36:34):
Thank you for having me your award business podcast, and
he gave us chocolates.
Speaker 1 (36:40):
Literally, what you appreciate you bro? You guys, do I
actually remember meeting you for the first time outside. I know.
Speaker 4 (36:49):
I have you guys been before? Ye, I didn't get
at I caught the vibe and I was like, I
thinks might be not with us, right, So I was like,
I love you.
Speaker 1 (37:08):
What were you doing or someone's birthday? And I was
drunk And that was my first time at Rudy and
my last since.
Speaker 2 (37:16):
Are you a big frequenter of the town.
Speaker 4 (37:18):
No, no, this was maybe two years ago. Yeah, I
very really go out. Okay, pretty boring my dad now Yeah.
Speaker 3 (37:25):
So yeah, thank you so much, such a treat.
Speaker 2 (37:34):
Thank you back.
Speaker 1 (37:37):
And we'll see you next week on Islands Aukland Wet.
Don't forget to follow us on the socials, you guys.
Speaker 3 (37:44):
Every every morning I get on my zoom and I
do the social So can you just comment, please.
Speaker 1 (37:50):
Help us out. Please, We'll see you next week.
Speaker 2 (37:54):
By
It's the Flavor Podcast Network.
Speaker 2 (00:03):
Island Roots Auckland Ways.
Speaker 3 (00:06):
This one's for the Brown brothers and sisters who want
to be one with themselves, their culture, their identity, their roots.
Speaker 2 (00:13):
This is Island Roots Auckland Ways.
Speaker 1 (00:18):
It's holler for love everyone and welcome back to Island
Roots Auckland Ways.
Speaker 3 (00:23):
Hey everyone, week knew me, week knew you.
Speaker 1 (00:27):
Okay, But by the time you hear this, I'm still
going with seventy five has. Hopefully I'm not struggling because
as a time of recording a little bit struggle.
Speaker 3 (00:35):
I feel like maybe your first week will be difficult
because you're getting into the routine. But I mean, you've
already got the meal prepping down, girl, You've already got
the mindset. I feel yes like you wanted to start
seventy five hard before you did. But we we see
to Maz, we all see two mares in the Flavor studio.
You cannot start something five year.
Speaker 2 (00:53):
Before the Radio Awards because we need to get drunk
the radio.
Speaker 1 (00:57):
We bloody won it.
Speaker 2 (00:58):
We didn't.
Speaker 1 (01:00):
Who this week on the podcast is Theo David.
Speaker 3 (01:03):
O King, a true icon and he's on the most
iconic TV show in New Zealand. His story short Street.
I really wanted to introduce him by going is it you?
Speaker 1 (01:18):
Is it me?
Speaker 2 (01:19):
No, it's Theodavid. But then I was like, that's really
critic a little bit.
Speaker 1 (01:23):
A little bit if I linked.
Speaker 3 (01:25):
Into it, embraced the silliness as our friend created tarriage
or now I would have said, but.
Speaker 1 (01:29):
Yeah, well here is the chat. Now.
Speaker 3 (01:37):
Welcome back to another episode of Island Routes Auckland Ways.
We have the incredible, multi talented, amazing Shorty Streetsir, Theo,
David and the building. A listener of the podcast, so
we love.
Speaker 2 (01:59):
But do you still live in clean?
Speaker 4 (02:00):
I don't live in Clontalkland button right, My parents are
still out there them every week. Take them outside the
house and this house in New Zealand, house where grew up.
Speaker 1 (02:20):
Exacting thing doesn't work out. Welcome to Alan Roots Auckland Ways.
And you'll know from listening that every episode we talk
about what we love about home. So whatever homers to you,
whether that is Clinton or we currently live where you
feel most grounded. What is home to you and what
do you love about it? We'll start off first, Alyssa,
(02:42):
do you care to start off things for us?
Speaker 3 (02:44):
Oh? I'm really having to think now, I think going
off the Clinton HATI Clinton.
Speaker 4 (02:55):
Everyone always talks about, But there's this Clanton.
Speaker 3 (03:00):
And I remember Clinton town Sinton when it was a
New world and now it's a pack and Save.
Speaker 1 (03:04):
I also.
Speaker 3 (03:07):
So, I yeah, my dad used to take me every
Monday night, so you stay my Dad's every Monday night.
Speaker 2 (03:13):
After swimming.
Speaker 3 (03:14):
He would take me to Mecca's at Clinton, which is
also next to T A B.
Speaker 2 (03:18):
But that's clear.
Speaker 3 (03:24):
I mean after a while I was like, Dad, I
don't want to do Meccas anymore. So we graduated to
the Brandy's Roast, which is also in.
Speaker 2 (03:30):
The same conflict.
Speaker 1 (03:31):
Yeah.
Speaker 2 (03:32):
Yeah, so Clinton Town Center, that's where it's sat.
Speaker 1 (03:35):
Do you reckon? They brought a Pack and Save there
because that's Clinton, of course, but they still have New
world and Sophomore, which I.
Speaker 4 (03:42):
Like, Yeah, it's not me. I don't know of many
new worlds.
Speaker 1 (03:45):
There's a New worlds my money sub.
Speaker 4 (03:47):
What's that about?
Speaker 2 (03:48):
What is it about food?
Speaker 1 (03:49):
Stuff? Pack and so be cheap? They'd be eating that
up in the price of heart.
Speaker 2 (03:55):
Are you a pack and Save shopper for you?
Speaker 4 (03:56):
When I was living in Clinton, because that was like
down the road, I loved it. They never did bags.
They yet to grab a box.
Speaker 1 (04:02):
In your One thing about peck your own.
Speaker 4 (04:08):
Save us our because I love peking.
Speaker 1 (04:13):
Shout Cleveland shopping, what loves of my mind free. I
always think about this. This is my Roman Empire. The
fact there is a warehouse in Clinton.
Speaker 2 (04:25):
Literally and it's huge.
Speaker 3 (04:27):
It's actually really big, and you can always find stuffinite
that's Crazy's.
Speaker 4 (04:32):
Like our landmarket. How far do you have from.
Speaker 2 (04:35):
Clinton from Clinton Warehouse? But then also behind the warehouse
there's the library. This even lean is it a whims
of course, there's a laundry mass laun.
Speaker 3 (04:50):
Get into it, a pharmacy and doctor, a post office,
everything you need, everything you could possibly need, and also
wild people just some.
Speaker 2 (05:01):
Some characters.
Speaker 4 (05:02):
And then there's the Cleanton Bakery as well.
Speaker 1 (05:07):
Yeah, people say that'd be a good ass bakery and.
Speaker 2 (05:12):
I think it's good.
Speaker 4 (05:12):
Okay, okay, baking and slice that is what I recommend.
Note you gotta get a slice slice Okay.
Speaker 1 (05:20):
They also say that potato top pie was pretty good.
Speaker 4 (05:23):
Yeah, I work went over in the weekend and she
writes she said it was a.
Speaker 1 (05:29):
Never had You better put some respect one.
Speaker 4 (05:33):
But also don't flock there at once.
Speaker 3 (05:36):
We need to get you. Yeah, like, actually it's not
that good at all, don't.
Speaker 1 (05:44):
Actually terrible rated?
Speaker 2 (05:45):
Yeah, that was such.
Speaker 1 (05:48):
A good one.
Speaker 3 (05:49):
I think.
Speaker 1 (05:57):
Then what I love about homes So the gonut you
so classic, Like I went home yesterday, I had guli
with rice and it's just so simple but so good
feeds the soul. There's nothing like well that eo.
Speaker 4 (06:13):
Do you know whenever you tell your nonsemone mates about
they sort of hold it in respect to it more
so than you. Like, if you say you're busy on Sunday,
they'll be like, do you have okay? All good?
Speaker 2 (06:29):
I feel like even.
Speaker 3 (06:30):
Though Sunday is one of my days off my friends, no,
Sundays might not be the best day to try and
might hang out because there's always going to be stuff
to do and there's always going to be a family.
Speaker 1 (06:38):
Lunch and is the day of the law the day.
Speaker 2 (06:41):
Of the law? Yeah yeah, yeah, God, bless.
Speaker 1 (06:45):
You, God, bless you listening. Well, thank you Alyssa for
sharing your blessing. Yeah, what do you love about?
Speaker 4 (07:00):
I love? I love And it's not exclusive to South Auckland,
but it's those you know, those bongo chips, the Green Packer,
namely the best flavor. But I don't know something about today.
Just when I see that pecker, it just reminds me
of like, oh, that's the like looking way dairy suns.
(07:21):
There's all like. And when I see those ships, I'm
always reminded of my like my mum beck in the
early two thousands, she's still alive, by begging the early
two thousands, when housey was a massive thing a she
she'd have Becky in one hand. She'd ever she'd buy
like the fat capt marker for her numbers and she'd
walk out with the green packet like that's South.
Speaker 1 (07:44):
Auklands are superior green Gurley or pink gurly.
Speaker 3 (07:49):
Okay, this is when the me being brought up with
a white mom really, because bongo wasn't huge, but my
dad would always bring freak what's it called?
Speaker 1 (08:02):
It was like.
Speaker 3 (08:06):
No, no, it was like it was like a mix
and it.
Speaker 2 (08:09):
Was called like.
Speaker 3 (08:13):
Yes, So that was that's my bongo.
Speaker 1 (08:22):
These are some hood snacks per years.
Speaker 2 (08:33):
Really brings you back.
Speaker 1 (08:37):
I was allowed to go to housy, not always see
it stay home.
Speaker 4 (08:41):
Oh we never win. We would just drop you just
do the drop off face. Whenever they would lose, they'd
be like it's your attitude.
Speaker 1 (08:48):
And then you'd be like and housing has really evolved
with the times and now do it over zoos, especially
during COVID, and you would have like your eight your eighth, Yeah,
and like the housing ladies, they're fast with it. There's
a lot at steak Yeah. Money, I can't see truly.
Speaker 4 (09:12):
Bring that back.
Speaker 1 (09:13):
And this cost a little bit crisis. Well THEO thank
you for joining us. People will know you best. Airs
really yummy. So on Shortland Street, tell us about your
journey way before Shortland Street when you first started acting.
We talked a little bit about it.
Speaker 4 (09:27):
Off the mate. So I did my first ever drama
all acting workshop with Massive Theater Company back in twenty ten.
And this was while this was my first year in
high school as well. I went to seek Kendigan's College.
We said three names, that's right. I was there on
a Rugby scholarship, and so I remember my first memories
(09:51):
of drama, also my first memories of rugby and how
it is clashed and then back I think I might
have been year twelve or something. I remember I was
cast in the school play, but I was also in
the first thing and I just remember having to lie
to my rugby coaches going, I'm so sorry, so I
got to go do this chemistry into an or have
(10:12):
to find out how much vitamin see rabina when actually
I was going to rehearsals and the stuff. So yeah,
it was like it was like high school musical but
like not. And Troy.
Speaker 2 (10:25):
From Glee when he was remember the season, Yeah, when
he was like having to like.
Speaker 5 (10:34):
Or am I And you know, the more I listened
to like actors, namely some more Nectars talk about their
how they got into theater, it's always because like rugby
was the opposing thing.
Speaker 4 (10:47):
Yeah, and I think there are a lot of us
with the same story where we were like, man, we
had this rugby thing, but we also, you know, we
had this adrenaline rush from being on stage. So it
was kind of the know which way to choose. Ended
up choosing drama. Sat Kings to decided just to change
my rugby scholarship to a drama one. Yeah, it was, honestly,
it was that easy. In my head, I was like,
I'm going to get kicked out, my mum's going to
(11:07):
just own me a monologue and then yeah, I just
started doing the drama for the rest of my time.
In high school while still working with Massive Theater Company and.
Speaker 1 (11:19):
Then and so you had stuck with them.
Speaker 4 (11:22):
Yeah, they had stuck with me, to be honest, because
I was like, like with my mom. Mom definitely can
be a headache at times. And I remember it was
my final year of school and I called Samantha Scott,
who is the artistic director of a massive company, and
I was just like, hey, I could go to drama
school or I could stay in Auckland and train with you.
What do you reckon? And she was very unbiased. She
(11:44):
was like, this is what to CARDI can offer you.
What I can offer you this co And I stuck
with her and we still have a good relationship today,
still popping in back to the Theater company and stuff.
The Massive Theater Company in twenty sixteen, twenty seventeen came around,
was working in a cafe, didn't really know if the
acting thing was gonna pop. Literally, yeah, just I remember
(12:07):
I was on the train and I didn't have any
gigs lined up. I had enrolled into Auckland UNI to
study occupational therapy and I just remember being on the
train and I get a call from Midiama mcdell.
Speaker 2 (12:19):
Oh.
Speaker 4 (12:20):
She called me and she goes, hey, for you really
out of the blue, do you have a Shakespeare monologue handy,
And like, I love Shakespeare all of high school, so
my immediate unswer was yes. And she said can you
go audition today like at ten? And I was like yes,
And then I just remember going off a phone call,
just recounting the monologue in my head, going to this
(12:43):
empty warehouse at the time, doing it for this company
cast the very next day, quit my job that Sunday,
and then just off going Shakespeare for like four years.
Speaker 1 (12:54):
I feel like I feel like I just heard the
plot for a movie right now.
Speaker 4 (13:00):
One phone called Yeah. No, It's just there's so many
listens you can get from it. But I feel like
I take something from that story every time I come
back to it, so there's not like there's not one
thing to learn from it.
Speaker 1 (13:11):
I guess Yeah.
Speaker 4 (13:13):
Third pop up globe which was the Yeah, which was
the globe he had rebuilt in Auckland for about four
years that got shut down in twenty twenty COVID happened.
Arch jobs are really scarce. Twenty twenty one, rolled around
got this audition from Shorties after having auditioned for them,
like five other times.
Speaker 1 (13:33):
Oh okay, so you had auditions before, which.
Speaker 4 (13:36):
Is a common story. Actually yeah, excuse me. And then
you know the role opened it uh late thirties, early forties,
Tongulans sit in the waiting room like all these old
dectors walk out, and I'm just like, what are you
(13:58):
up to out go and do an audition? Yeah, get
called back on the Thursday. And I remember when I
got called back. So they and then you do a
screen test and there were three other names or two
other names on the board and I was last, and
first on the board was Vince Harder's name, and I
was like, well, it's been a good rite, Yeah, thank you.
(14:20):
Names THEO just swing and then I need to call
back the following Monday, going yeah you're on tomorrow.
Speaker 2 (14:27):
Wow, that's weird.
Speaker 4 (14:28):
How this like a phone The phone call happens to
like pop up a lot of ye but yeah, a
lot of fast turned around in my life. It's kind
of ye. Stay ready, it's incredible. That was long. Sorry
about that, My gosh.
Speaker 3 (14:41):
No, no, no no, but I have so many questions. First
of all, as someone who wanted to pursue acting as
a drama practitioner, if you will. I used to walk
into auditions and oh my, go's so cringe and be like,
I'm going to be the first time one woman to
win the Best Actress Oscar Yeah, and then I'm never
doesn't get the job. But Toy for Caadi was always
(15:03):
the thing that people would be like, get experienced, then
go to toy for CADDI like, that is your break?
Speaker 2 (15:08):
Did you?
Speaker 5 (15:09):
Like do?
Speaker 3 (15:10):
Like what was your thinking around not going to Toy
for Caddy? Because to me, or at least at the time,
when I was even in first year of unis studying drama,
I was still like, yeah, I'm just gonna do one
year here and then I'm gonna go Toy for Caddy.
Like you know, I thought I was the man, but like,
why why was it not the right decision for you?
Speaker 4 (15:27):
Well, I mean, I'm sure I think that it wasn't
the right decision for me, and I think it would
like if you ask someone else, they'll probably go, I
don't really like what massive does, so I'll go here.
But I don't think theo. I I couldn't learn drama
or theater in an institution, like I couldn't know if
something is compulsory to me then I kind of feel
(15:48):
repelled by it. Then I don't really want to do
it anymore. And Massive Theater Company met up every second
Saturday of the school term and then did a week
long intensive and then you kind of just back to
your life and you could do things during the day
and it was all hands on, like there were no exams.
It was never sitting down and talking about stuff. We
worked a lot at Massive were our and I'm not
(16:10):
I'm not trying to shun. I never went there. I
don't really know what.
Speaker 3 (16:13):
I think it's good for young aspiring actors to know
that these options, Yeah.
Speaker 4 (16:19):
And so I leaned more towards Massive because at the
basis of all this workers this it's this French idea
called complicity. And I don't think it has a like
an English translation, but what it roughly translates to is
the secret between people or the game between people. And
it's just this idea that if you ever walk out,
(16:40):
even in life all but mainly, if you walk out
on stage with someone else, like the rapport I have
worth mes here, it will be totally different to the
rapport I have with you. And it's trying to get
the audience in on that connection, and then it's about
trying to put that on stage and not having to
like whip yourself out the back or you know, pluck
(17:01):
a nose here so you're gonna have tears when you
walk out on stage. It's about absolutely being present in
this moment and going this is meant to be a
sad scene. It doesn't feel like we're going to cry,
so you know what, let's not cry. Let's just play
it as we are right now. And and honestly, like
you just, Massive was a place about you could be
a dick and you wouldn't be shamed for You could
(17:23):
be loud and you wouldn't be shamed for it. I'll
warm up every time you go there. It's like the
most intense game of handball ever. And I remember they
would hold these like they do hold these introduction workshops
to the company and Sam Scott, she's got the best
eye in all of theater to me in the New Zealand.
She will see someone play handball and know if they're right. Yeah,
(17:47):
you know, I don't know how she does it, but
you know, you'll get some people who you just come
and want to play the game, who want to be
in on that connection, and then you get other people
who are just like, you know, too cool. You know,
they don't want to do anything. When do we start
saying the words? When do we start doing there? But yeah,
I lean towards messive because yeah, it was physical, a
rugby background. It was a base and emphasis sorry on
(18:08):
connection and you yeah, you could just pretend to be
anything you wanted to know.
Speaker 2 (18:14):
I love that. That's so cool.
Speaker 3 (18:18):
This is as someone I feel like when I was
studying drama, everyone would always be like.
Speaker 2 (18:22):
Oh, what do you prefer? Stage or screen? But like
you've had this extensive pop.
Speaker 3 (18:25):
Up globe history. It's a big part of your TV.
But then you're also your day job. It's on the TV,
So what is it?
Speaker 2 (18:33):
Is it stage or screen?
Speaker 4 (18:34):
Stage? By five? Like you just theater kids, the theater
paid as much as screen or film that I don't
think anyone would ever truly. Yeah, there's nothing like how
we are talking now. Like a good play will feel
like you're looking into people's eyes for the first time
and you know they might feel something and you'll feel
it too. And especially with screen, you can you know,
(18:57):
you can have REGOs and you can fake everything on stage.
If you see a performance, and if they feel awkward,
you as an audience will feel with them. And there's
no way that lesson is harder and it's more rewarding.
Speaker 1 (19:12):
Yeah, and there's no.
Speaker 4 (19:16):
And to that point, to the show that you give
tonight is for that audience, and you will never give
that show even though you're saying the same lines, doing
the same moves tomorrow night. You might stumble over a
line and it might be funny and the audience will laugh.
Nobody else will ever get that stumble over that line
ever again, So what about you?
Speaker 3 (19:37):
For sure, there's something about just like letting go of
every inhibition and just being like fuck.
Speaker 4 (19:43):
It, you know, like that's like the overarching phrase.
Speaker 3 (19:50):
Yeah, Like there's something about being like, okay, we'll ever
who's it like this, but I'm going to make a
choice and like maybe the choice isn't going to pay
off and that's okay, but the choice might pay off
and then everyone laugh, you know, Like there's just something
about stage that.
Speaker 2 (20:04):
Yeah.
Speaker 3 (20:04):
And also I just don't think personally not built. I'm
not built to be a screen actor, but stage stage
all the way, Like it's in the moment and then
when it's done, just let it go.
Speaker 2 (20:16):
Yeah, it's done.
Speaker 1 (20:17):
We've probably already talked about this, but for all our
new listeners, would you go back to your acting day?
Speaker 3 (20:24):
Yes, yes, I'm curious for context. I have a drama degree,
so my undergrads and Pacific Studies and drama. And I
think I realized when I was doing drama that I
like the behind the scenes, like I like the producing
putting people in the room. But I don't know if
I enjoyed. That's not true. I love acting. Acting is
(20:46):
so much fun, but I found it really hard to
let go of a character or like not hold on
to whatever they were going through. How do you shake
off an emotional day on set? Like?
Speaker 2 (20:56):
How do you become THEO again?
Speaker 4 (20:59):
We'll acting. We're in the arts. So even in these
dark moments, there does have to be some a little
bit of joy in what you're doing, because then otherwise
you're just whipping yourself and there has to be coming
out of it. There has to be hope. But for me,
it's always been there. It's always been about holding on too.
Like I like, I love to pretend. I love this
(21:20):
craft so much. I know that when they call cut,
I can just drop this And this is what my
character is going through I'm saying these words. These aren't
my words, but I mean to your point though, like
when you ever you deal with stuff like that, it's
your your real body is taking a toll on that
a So even if your even if your character is crying,
(21:41):
those are like those are your real tears, and your
body doesn't actually know when you're exactly or not. So
like you know, you probably find yourself driving home after
something intense and you're just shaking it the steering wheel
and you can see us I've replaying it. I don't
have an answer to that, but I think it is
a it's a skill to be able to brush off
(22:01):
your character not take your work home. Unfortunate that I
have like a twenty five minute drive from work to
my house, so it's like a nice debrief.
Speaker 1 (22:09):
Year, like literally exiting the space.
Speaker 4 (22:12):
Literally literally, you know, just chuck Chuck a podcast on
there's a small one called Ira.
Speaker 2 (22:20):
Podcast.
Speaker 4 (22:22):
Check that one on space.
Speaker 1 (22:24):
We ate.
Speaker 3 (22:27):
But I think, actually I'm thinking so much about like
my training and how so much of my training was
like Stanislavski based, which is like realism, realism like being
you know, not being able to let go. So yeah,
you can google it and find out. But knowing that,
I don't know, maybe if I've been training people going
tom worry illustrates, pretend you don't mean to think about
(22:49):
that time that your grand dad died, you know.
Speaker 4 (22:53):
To your point, though, I think the mythod the mythod
actors cop a lot of flak because you know, they
go out and build up barn because their characters are
carpenter of something. But like that's just one way of
getting to the character and there's no right way. Like
at the end of the day, whatever gets you to
that point is kind of not as important as getting
(23:14):
to that point unless you go home and you know,
start being a bott dude. And but no, yeah, I
think whoever comes up with the answer to that, you
make sure you let us know.
Speaker 1 (23:27):
And real talk.
Speaker 4 (23:28):
We've lost a lot of people because they you know,
they didn't know how to handle coming out of character
and then they turned to like all these different substances.
So it's real. It's definitely real.
Speaker 1 (23:39):
Conver to have are the many specific and acting right now.
Speaker 4 (23:44):
A lot heaps are untapped potential. Like the one thing
about being a brown actor in New Zealand is that
we've been pushed this narrative that like when you make
it the question, they're always asking you what makes you
different from that brown? What makes you different? But it's
like and then our own people start saying that to us,
and it's like, okay, what makes you different from the
(24:06):
guy down the road. But isn't the idea that it
doesn't matter who's eating at the table, it's just as
many of us at the table as possible. And it
really fucks me off because, like I've said it, now,
you've probably had it. You've probably had it when you
turn on your TV and you see someone who looks
like you and sounds like you, You go, I want
to do that because I sound like that and I
(24:26):
look like that. And then you get there and their
first question to you what makes you different? And it's like,
but I've just heard people sound like me, Like now
you don't want me to be so yeah, there's a
lot of us, but they only want one type of
us and they all look the same. Yeah, it gets cussed,
so yeah, yeah, there just needs to be a lot
(24:48):
more of us.
Speaker 3 (24:48):
Truth, I'm thinking it was a strange right now.
Speaker 1 (24:55):
Radio once we might be on fourth of.
Speaker 3 (25:00):
Has the you are obviously very proud to be some
What villagees are you from?
Speaker 1 (25:04):
Ah?
Speaker 4 (25:05):
My come to you by way or by muscle?
Speaker 3 (25:08):
And now okay, muscles right next to my village?
Speaker 4 (25:11):
Oh really? Yeah, I haven't heard of that villain. Only
know my villages.
Speaker 1 (25:15):
But what is so he pretty much just see it.
Speaker 4 (25:23):
I don't know how.
Speaker 1 (25:26):
So we've got some town?
Speaker 5 (25:29):
Is that?
Speaker 4 (25:29):
Okay?
Speaker 2 (25:30):
Yep, city girls, that's what we are.
Speaker 4 (25:32):
I don't go back often, and I know I'm going
to look back on my life and go you should
have gone back more.
Speaker 3 (25:37):
Has there ever been anything with Billyami? We were like,
culturally that would be such a no, like what the pick?
Speaker 2 (25:42):
Don't don't do that?
Speaker 4 (25:44):
Do you know what? They've actually been really good because
we have a Salmon advisor and it is like all
our dialogue, like any storylines that potentially might cause friction
with our community. They're really quick to get her in
the room and goes this all right, Bella, Bella, she
(26:04):
plays my sister on the show. Yeah, we just try
and ham up the brother sister dynamic for all the time,
and yeah we hate each other.
Speaker 1 (26:16):
Oh that's so good, and of course for many years.
But the Roger, that's right, you know.
Speaker 4 (26:21):
I don't know if you remember this episode that he wrote,
but it was when was on the show and his
brother was on the show, and there was the storyline
where someone patient came in and Robbie Mangi's character clocked
him and was like, oh no, please, don't don't come here,
and one of the other niss was like, he speaks someone.
So the someone patient goes, gets dealt with, leaves the
(26:45):
hospital and Robbie's character is just being like dark the
whole day, and he was like, what's going on with him?
And he was like, just make sure you're at work tomorrow.
The next day, the whole Salmon community is at street
wanted to get free from his character. But like Victor
Roger wrote that episode, yea, And to me that's like
(27:07):
one of the earliest, not the only example, but that's
my earliest earliest example of like someone who knows the
culture writing a story about what the culture is about.
Speaker 3 (27:16):
One thing that I remember this was always stick in
my mind. It must have been like Rugby World Cup time,
and you know how people are so haughty, maybe not
as hearty as the Tonguans, but very hatty. This was
back in twenty eleven in the episode. It was written
into the episode that there was like it wasn't like
a legit parade, but it was like a parade through
the hospital of like the it was like Robbie MANGACEIVERI
(27:38):
and they were like holding like sumone flags and like
cheh and someone who was like, you know, still learning
about their culture.
Speaker 2 (27:45):
I was like, oh my god, there's white people.
Speaker 4 (27:48):
Yeah. All it takes is just to see that. Yeah,
one person to go, I'm going to give this a grreat.
Speaker 1 (27:53):
That was iconic era.
Speaker 4 (28:01):
Was via the player. It was.
Speaker 1 (28:12):
Do you have any goals? And acting like is it
like a dream position that you want to hold? Like
do you want to end up?
Speaker 4 (28:20):
I want to end up on superhero movie. I think
superhero movies have always been like, well get me excited
about Yeah, I'd love I think the structure of my career,
I'd love to be able to transition between theater and
film and and movies. Did Washington has a He's a
great actor, but he's got a really great career because
he's able to do that. I'm also not getting any younger,
(28:44):
So I think we spoke about rome and Juliet before.
I think Romeo is like the one role where I
feel like think I'm running out of time. Yeah, hopefully
I can crack that one.
Speaker 3 (28:55):
Because you played Paris, I have yeah, anywhere.
Speaker 4 (28:58):
Else I don't know if you. I played a characterical
cludier and much do about now? Oh yes, I played
the Thetaming of the Shrew. Nice Richard the third a
fellow that a couple, but I think, yeah, the young lovers,
I mean you just have to say his name and
people have like connotations to today. Just to be able
(29:19):
to provide for my family financially, whether that's doing the
stage stuff for the big movies and stuff, I think
that's the big, big goal.
Speaker 1 (29:25):
Oh that's so cool. For any aspiring actors out there,
what would be your advice.
Speaker 4 (29:32):
To do the thing. As much as I love drama classes,
as much as I love studying Shakespeare in your English class,
this is a very action based occupation, hobby job. So yeah,
you're going to do these internals, but make sure you're
able to get up on your feet and do the job.
There's lots of community theaters in Auckland, there are lots
(29:54):
of free workshops for young emerging actors in Auckland. So
do the thing and watch go out and watch, you know,
I feel like you cannot and like our live performance
on the screen is good, but go to your theater
and watch it and let it affect you and be
open to it.
Speaker 3 (30:10):
Has there been a stage show recently that you've gone
through that you were like far out?
Speaker 2 (30:13):
That got me?
Speaker 3 (30:14):
Yeah?
Speaker 4 (30:14):
I went to I mean a nice top on about
massive theater company a lot, but they had a show
called I Love You.
Speaker 3 (30:23):
Yeah.
Speaker 4 (30:24):
I felt like that was like massive theater work to
a t. It was like physical and parts. It was
their Storian parts.
Speaker 1 (30:31):
What a beautiful well yeah, and like it was.
Speaker 4 (30:34):
Just them being them, yeah, and not trying to answer
anything for us and just going putting it out there.
Whatever lens you view this with, have a jam. But yeah,
actually I did see Priscilla like a couple of years ago,
and that one was like at the Civic.
Speaker 1 (30:49):
Oh that was Queen.
Speaker 4 (30:54):
I was like, holy, this is what this can be.
Speaker 1 (30:57):
Yeah, one more question, because I'm just curious if you
had to act alongside anyone who would be a.
Speaker 4 (31:05):
Probably there's a her, her name, she's not acting anymore.
Her name is Denise.
Speaker 1 (31:11):
I don't know if you know. Yeah, yeah, yeah.
Speaker 4 (31:19):
I hope I'm not outing her story, but she was
with an acting agency and she said that after she
fell pregnant, they dropped you. But she is honestly like
one of the most powerful actors less extras I've ever
been on stage with, I've ever seen and performance. She's
one of those people that can just stand there and
you just go. You just want to watch it all
(31:39):
the time. So Denise, if you hear this, please get
back into it the service to by raising your son.
Speaker 1 (31:52):
Well, before we go, we want to play a little
rapid fire Kim. As you would know. This is a
part of our podcast, just for us to have a
little bit of one to wrap up the pod Letdlebox
is a movie review website and on your profile you
can highlight up your top four films of all time.
So what are your top four films of all time?
Speaker 2 (32:13):
And we can give you ours as well.
Speaker 4 (32:14):
Yeah sure, yeah, I will go Avengers one. Okay, just
this idea of people and then they did too much.
Yeah yeah, Venges one. I would go Stump the yard.
These are like influential movies growing up to me. I
(32:35):
watched that movie every day for the school holidays. Two
we spoke about which I really love and Roman Juliet
n ninety six. If you haven't seen it, go and
watch it.
Speaker 3 (32:47):
If I've got it on a hard drive somewhere if
you need it.
Speaker 4 (32:51):
Amazing.
Speaker 3 (32:52):
It's my favorite. My top four, I think, oh gosh,
I've been waiting. My goodness, okay, my top My first
one would be Rocky Horror Pic sure my second favorite
musical behind.
Speaker 4 (33:07):
Me making that like a sequel or something.
Speaker 3 (33:10):
Oh my ho To be honest, it's so campy and
like almost ugly, like grotesque that I feel like you shouldn't.
Speaker 2 (33:17):
You can't remake Wow that.
Speaker 3 (33:20):
Yeah, you know what I mean. Yeah, anyway, the secondest Wana. Obviously,
people have like some criticisms of it and blah blah
blah blah.
Speaker 2 (33:28):
But I think I just remember.
Speaker 3 (33:30):
Going to that for the first time and like being like,
oh my god, like I feel like I am one,
and my little baby cousin was like, oh, it's.
Speaker 2 (33:39):
Not cool on screen to one of the characters. And
it's like moments like that.
Speaker 3 (33:42):
Where you're like, this is representation, you know. My third
is One Thousand Ropes, which was made by the same
guy who made The Orator. But one thousand Ropes to
me is just I give it as a reference whenever
people ask me for advice on their work, especially if
it's like a pacificer dark a themed piece of like
body of work. I'm always like, go watch One Thousand
(34:04):
Ropes because they do it so good. They do that,
they just do it so it's such.
Speaker 2 (34:08):
A good movie.
Speaker 3 (34:09):
And then my last one would be Jordan Peele's get Out,
which I always tell people was.
Speaker 2 (34:12):
My comfort film. I love that movie. That's my comfort film.
I love that.
Speaker 4 (34:21):
No, really good movie.
Speaker 2 (34:22):
Yes, so good.
Speaker 1 (34:24):
I'd be scared of that.
Speaker 2 (34:26):
It's scary.
Speaker 4 (34:28):
That's it's more like because it feels real horror through racism,
like life.
Speaker 1 (34:36):
That's the one about the white family and the lobotomies. Yes,
I love. I don't know, I'm not a movie person a.
I like Lelant Disney movie on all time. I like
(34:57):
on his one. Yeah, I just feel like there's so
any like that, just like epitomizes the mid two thousands
for me.
Speaker 3 (35:06):
Yeah, the soundtrack on the sound soundtrack, bro, I've got
it saved on my Spotify.
Speaker 1 (35:13):
I also like The Lovely Bones.
Speaker 2 (35:16):
You Are Deranged.
Speaker 1 (35:18):
No, that's not my comfort film. It's really sad. It's
such a sad movie. But so well done.
Speaker 3 (35:25):
What's her first name? Salmon is the last name of
the main character her monologue at the start of the film. Yeah,
that was one of my things, right, I be like
that was like the thing I would pull out in
my back pocket.
Speaker 1 (35:36):
Oh yeah, it's yeah, it's heavy. It's heavy, as I think.
I watched it when I was a kid because I
was on TV three and like, you just watched What's
on the TV and you've seen it since, like you, Yeah,
I've watched it many times since. And I don't really
have any other standouts, to be.
Speaker 2 (35:54):
Honest, you literally have one more. Surely there's one more,
one more.
Speaker 1 (35:58):
I like. Oh see, I like kids moving.
Speaker 4 (36:07):
Because they end up having an effect on Yeah.
Speaker 1 (36:10):
Leland's stitch is such a good one. The soundtrack for
that hurts as well. I don't know.
Speaker 3 (36:18):
Mes okay, Ma's doesn't know anything like song lyrics.
Speaker 1 (36:23):
Yeah, I'm a bloody radio host, don't even anything.
Speaker 3 (36:26):
So you know what, Yeah, you keep your three out
of four three. Thank you so much for joining us.
Speaker 4 (36:34):
Thank you for having me your award business podcast, and
he gave us chocolates.
Speaker 1 (36:40):
Literally, what you appreciate you bro? You guys, do I
actually remember meeting you for the first time outside. I know.
Speaker 4 (36:49):
I have you guys been before? Ye, I didn't get
at I caught the vibe and I was like, I
thinks might be not with us, right, So I was like,
I love you.
Speaker 1 (37:08):
What were you doing or someone's birthday? And I was
drunk And that was my first time at Rudy and
my last since.
Speaker 2 (37:16):
Are you a big frequenter of the town.
Speaker 4 (37:18):
No, no, this was maybe two years ago. Yeah, I
very really go out. Okay, pretty boring my dad now Yeah.
Speaker 3 (37:25):
So yeah, thank you so much, such a treat.
Speaker 2 (37:34):
Thank you back.
Speaker 1 (37:37):
And we'll see you next week on Islands Aukland Wet.
Don't forget to follow us on the socials, you guys.
Speaker 3 (37:44):
Every every morning I get on my zoom and I
do the social So can you just comment, please.
Speaker 1 (37:50):
Help us out. Please, We'll see you next week.
Speaker 2 (37:54):
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