Technical production –The Pohutukawa
Tree
Two factors that influence stage design are conventions and resources. Both
these factors influence the style of design that Mason spells out for The
Pohutukawa Tree.
Here are the stage directions that open Act 1:
The porch of the Mataira house. A large pohutukawa tree in blossom
hangs over the porch. It is a year or two after the Second World War.
Sitting on the porch is QUEENIE MATAIRA, a comely-looking girl of
seventeen. At her feet is a basket of pipis and rock mussels, which she is
splitting deftly but without enthusiasm. Behind her, a portable
gramophone and a stack of old records. The gramophone is grinding out
‘Moonlight becomes you’ sung by Bing Crosby, his voice badly eroded by
steel needles.
ROY MCDOWELL comes in from the bush at the back, quietly. He is a
lithe young man dressed in T-shirt and jeans. He carries a towel and
swimming trunks. He looks at QUEENIE, pauses, then creeps along the
porch to the gramophone and takes the arm off the record. Queenie
wheels round and they stare at each other.
Here are the stage directions that open Act 3:
Late afternoon, some months later. The hanging branch of the
pohutukawa is much lower on the porch.
MRS ATKINSON is on the porch, sweeping. She wears a print dress and
a handkerchief round her hair. On the table are old flowers in vases and
new ones, ready for trimming. The bedroom door opens and DR LOMAS
enters. He carries a medical bag, round his neck a stethoscope, and in
his free hand a sphygmomanometer. MRS ATKINSON comes in when she
sees him.
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These stage directions call for a style of set design that can be called
‘naturalistic’. That is, they aim to recreate the world where the play is set in a
natural rather than symbolic manner.
Activity 1: Defining naturalistic theatre
1. To what extent is this naturalistic theatre style in The Pohutukawa Tree
typical of the period in New Zealand theatre when the play was written? (How
could you find out?)
2. How is this style of design different from that required for Purapurawhetū?
3. What are the potential benefits of the naturalistic style of design? What are
its limitations? Consider the following:
• manipulation of time and place;
• unfolding of the narrative action;
• style of acting;
• effects of scene changes.
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Activity 2: Designing a naturalistic set
Draw up, or make a model of, a set for Act 3 of The Pohutukawa Tree
according to the instructions in the script.
Pay attention to the following:
• Bruce Mason’s intentions;
• creating as much acting space as possible;
• practicality of entrances/exits;
• sight-lines for the audience;
• using architecture and furniture of the period;
• positioning the pohutukawa tree so as to use its realistic as well as its
symbolic potential.
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Activity 3: Use of dramatic symbol
The pohutukawa tree itself is an important part of the staging for The
Pohutukawa Tree. It serves a number of functions, including:
• providing a strong visual interest;
• locating the action in New Zealand;
• serving as a dramatic symbol.
1. What does the pohutukawa tree symbolise? How does its death relate to
the narrative action?
2. Dramatic symbols, although they may be very striking at the outset,
acquire their power through the unfolding of the dramatic action. How is the
tree involved in the unfolding of the play? What do people say about it? What
do they do to it?
3. Identify two or three other objects that acquire a dramatic symbolism in
the play. Explain the impact of their symbolism.
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Activity 4: Assessing a play for radio broadcast
In 1960, The Pohutukawa Tree was produced by the NZBC (New Zealand
Broadcasting Corporation) for broadcast on the radio.
1. How well do you think the play would translate to radio? List your reasons.
2. Which features of the script would work well on radio? Which would not?
Make notes of your decisions.
3. Make a tape recording of a section of the play. Play the tape to a group and
question them afterwards to test your answers to Questions 1 and 2.
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Activity 5: Lighting and sound through the decades
1. What kind of lighting and sound decisions would have been made at the
time of the first production of The Pohutukawa Tree in 1957? What resources
would have been used?
2. Take a look at a two pages (copied below) from director Richard Campion’s
own script for the 1984 Downstage production. The script page shows the end
of the play when Aroha dies. The following page shows his notes for the light
and sound cues for this moment. To recreate Richard Campion’s script, line up
the notes page on the right of the script page. [Pages reproduced by permission of
Richard Campion.]
Explain, in ordinary language, what happens in this moment in terms of
lighting and sound. (Note: ‘masks’ refers to devices used for reducing the
light.) What would have been the effect of these cues onstage?
3. What different technical resources are available now? How could they be
used for this scene?
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