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Tales from a Thousand & One Nights
Join us for a feast of storytelling...
We are delighted to present a world premiere and brand new adaptation of some of the best and most entertaining folk tales found in The Arabian Nights
Scheherazade tells stories…exhilarating stories full of fun, danger, wonder and passion...but will it be enough…Can her stories save her life?
With their stylish brand of ensemble storytelling, puppetry, mask and live music, Dragonboy Productions breathe new life into some of the funniest and most entertaining folk tales found in The Arabian Nights, including The Seven Voyages of Sindbad, The Little Hunchback, Faisal and the Barber, Behind the Door, Sultan Haroun Laughs and The Tale of Sage Duban.
Newly adapted and directed by Eliot Giuralarocca, this is a feast of storytelling, suitable for the whole family and woven into a production that simply cannot be missed!
Reviews and Audience Feedback
This classic compendium of folk tales has been given new life by an ensemble cast from Dragonboy Productions directed by Eliot Giuralarocca.
The misogynist King, working out his issues with women in the worst possible ways, meets his match when feisty Scheherazade takes him to task through her never-ending tales. With her wit and wisdom and gutsy girl power, she wraps him up in words until he is so hooked on the next punch line that her execution date disappears over the horizon....
...Dragonboy Productions threw everything into this...Puppetry, silhouettes, song and dance from the very talented actor-musicians had the audience laughing out loud.
Southwark News - Greenwich Theatre
‘I loved the puppets, especially the wicked old man,’ .....‘I would love to travel on adventures like Sinbad and meet strange and wonderful people,’ ......'It wasn’t long before we were back on the 188, grateful for the thousand and one blessings of theatre and reflecting on a line from the play ‘We are all just passengers, passing through.’
Ed, Ingrid, Frida and Woody Gray - Greenwich Theatre
Thank you. Your performance was amazing and I loved it! All the stories were really funny, I couldn't stop laughing. Thank you so much for the wonderful show!
Martha aged 12 - Barnfield Theatre, Exeter
I had a hugely enjoyable afternoon at Malvern Theatres yesterday. The production was highly entertaining; funny, a refreshing variation on what was already a good set of stories and highly impressive on so many levels....the direction enabled the multi-talented cast to hold us spellbound for the whole show and I found it quite hard to believe that just four skilled actors could achieve so much....their ability to change character so swiftly and yet be entirely believable is remarkable....This was an excellent example of what can be achieved by a small but skilled and creative team. Steve Flutter - Malvern Theatres
They were so good...the music was amazing...such good actors...so brilliant and talented. It was such fun!....Such good stories. I just can't believe the imagination of the writer...and the way it was all brought to life. It was such a good show...such good entertainment
Heather and Rosie Beach - Theatre Royal Winchester
Go if you are anywhere near...this was witty, warm and very entertaining,
Jacqui Hodgson - Queen's Hall Arts Centre, Hexham
Watching Tales from A Thousand and One Nights by @Dragonboyprod at @WatersideArt in Sale. Really good production. Enjoying it a lot so far....like the sultan, I always was a sucker for a good story Melanie Rimmer - Waterside Arts
Absolutely blown away by tonight’s performance @watersidearts_ Thank you @verity_hb @chris_agha_ @maeauroref and Talal Karkouti. Your passion and enthusiasm and talents are awesome! Best of luck with the rest of the tour Alison Buckley - Waterside Arts
I've seen this performance in Chelmsford - and can't recommend enough!
Captivating storytellers and musicians also, they lead you not through one, not through two...but I lost the count through how many..stories of love and hate, friendship and betrayal, life and death ... and you see them unfolding in front of your eyes and in your mind in vivid colours. And yes - a story can save a life! Stephanie Cat - Chelmsford Theatre
We’ve just been to see your production at the Hawth and we’re really blown away. Such great acting, and all round talent. Kids and adults has a great time and we just were so impressed with the show. Well done all! Katherine Elizabeth - The Hawth, Crawley
Just seen Tales from a thousand and one nights at The Hawth, Crawley. A fantastic concept with incredibly talented cast. As adults we enjoyed the macabre and obvious humour, also our 4 year old found herself caught up in the storytelling, music and costumes. Thank you
Linda Warburton - The Hawth, Crawley
This was an incredible production @BrewhouseLive from an amazingly talented group of actors. I feel privileged to have been able to see the show.
Mrs V - Brewhouse Theatre, Taunton
Director/Adaptor : 07961141315 eliot@dragonboyproductions.com
For latest details contact : www.dragonboyproductions.com
Samantha Warner 07399 706487 Sam@dragonboyproductions.com,
TOUR DATES : APRIL 2023
Monday 3rd April
Friday 7th April
Barnfield Theatre, Exeter 6.30pm
Saturday 8th April
Barnfield Theatre, Exeter 1.45pm
Monday 10th April
Tuesday 11th April
Wednesday 12th April
Friday 14th April
Saturday 15th April
The Old Town Hall, Hemel Hempstead 8pm
Tuesday 18th April
Queen's Hall Arts Centre, Hexham 7.30pm
Saturday 22nd April
Trinity Theatre, Tunbridge Wells 7.30pm
Tuesday 25th April
Wednesday 26th April
Friday 28th April
Saturday 29th April
Chelmsford Theatre Studio 7.30pm
Sunday 30th April
Monday 1st May
Booking Information
• Running time approx 1 hour 45 mins plus interval. • The Company on the road consists of 4 performers and 1 crew • Suitable for small and mid scale theatres Get-in 4 hours/Get out 1 hour
Cast : Chris Agha, Verity Bajoria, Maeva Feitelson, Talal Karkouti
Adaptor/Director : Eliot Giuralarocca
Production/Costume Design : Samantha Warner
Set Design : Victoria Spearing
Lighting Design : Claire Childs
Company TSM : Luke Wallace
Props/Masks : Christine Warner
Set Construction : Steve Spearing, Russel Peam
Press Release
Director Eliot Giuralarocca says...
“We love stories…and no collection of stories are more beloved than these wonderful Middle-Eastern folk tales…they are hymns and fables to the inventiveness of the human spirit, by turns hilarious, poignant, odd and memorable. With four actor-musicians, live music, mask and song we hope to create a feast of physical story-telling in an evening that simply cannot be missed!”
Syndicated Interview with Director Eliot Giuralarocca
Can you tell us about your background and how you got into theatre?
I was born and brought up in Maidstone, Kent and I’ve always loved being involved in theatre ever since my acting debut as the Arch-angel Gabriel in the Primary school nativity play aged 5. Apparently, I got the part due to shouting loudly and bringing in a nice set of wings, a fact that my mother never ceases to mention whenever she comes to see a show!
After this career highlight, I continued to act in plays throughout my school years at Maidstone Grammar school as well as in National Youth Theatre productions before going on to university to study for a degree in English Language and Literature at Oxford where I spent more time acting, producing and directing theatre than I did working!
Three years of putting on shows on a shoestring and a wing and a prayer was fantastic fun and a great grounding in how theatre works from the ground up. After University I trained on the postgraduate diploma course at the Guildford School of Acting graduating in 1992 and I've been acting, making work and directing ever since.
Tell us about your professional work as a director?
For the last 30 years I’ve worked extensively as an actor in TV, Film and Theatre alongside my career as a freelance Director and theatre-maker. As Artistic Director of Dragonboy Productions, I bring this experience together to focus on creating and developing new work for the theatre.
Recent productions include the National tour of In and Out of Chekhov’s Shorts, a show that I adapted from the short stories of Anton Chekhov and a production of The Tempest for the British Council’s Shakespeare Lives programme which toured throughout Europe and was subsequently nominated for the Spanish Grand Prize for the Performing Arts.
I directed productions of Frankenstein, The Great Gatsby, Dracula and Not About Heroes for Blackeyed Theatre all of which toured nationally and Baroque Around the Block and Monteverdi's Flying
Circus for Armonico Consort as well as a production of West Side Story that played at the Belgrade Theatre Coventry.
Other directing credits include The Imperfect Pearl for Latimer Productions about the life of the Baroque composer Domenico Zipoli, the World Premier of Knackerman by Rosanna Negrotti at the White Bear Theatre and Stephen Sharkey's miniaturist piece Retrospective at the Arcola Theatre.
Why did you decide to adapt these stories for the stage?
I first read these stories as a child, and they have always stayed with me. I used to sit watching the Banana Splits every Saturday morning waiting in excited anticipation for the Arabian Knights cartoon segment to start! I recall with fondness the shape-shifter Bez who would announce “Size of an elephant” (or whatever creature would best serve his purpose) before clapping his hands and magically transforming as well as the crazy donkey Zazuum who would turn into a whirlwind every time someone was foolish enough to pull his tail, which of course seemed to happen every episode! These stories were such fun, so full of life, laughter and adventure and they coloured my childhood imagination with fables of potions and magic, flying carpets and princesses, giants and genies.
When I read the tales again as an adult, I realised that as well as being fun, they were also wonderful hymns to the inventiveness and resourcefulness of the human spirit. During Covid – now thankfully receding into the realms of memory – I picked up my old, battered copy of Richard Burton’s Arabian Nights and started re-reading them. The folk tales reminded me of childhood, and they seemed to be crying out to be performed in front of an audience.
Theatres were closed and like most of the country during that first lockdown, I found myself stuck indoors with plenty of time on my hands. Well, it’s now or never, I thought and so I rolled up my sleeves and got stuck in to adapting them for the stage. Intrinsically dramatic, there were so many tales that I enjoyed that it was like choosing which fine dish to serve from a banquet of possibilities. But working from a long
list of favourites I eventually whittled them down to go for a mix of stories that I hope are both funny and poignant in equal measure.
How did you go about adapting them?
I’ve really enjoyed the process of adaptation. I have chosen to keep the ‘story-telling’ form of characters talking to the audience directly which I think honours the oral tradition that they spring from and allows characters to share their thoughts, feelings, and attitude to what is unfolding and to comment on the action.
The ‘Russian doll’ like structure, which forms the overarching framing device for the Tales demonstrates on a broader level that stories – and in a sense theatre - really can delight, entertain, educate and transform the people that experience it.
Scheherazade marries a Sultan who has sworn to kill each bride he marries after a single night. But she confounds him by entertaining him, by telling stories; exhilarating stories full of fun, danger, wonder and passion...and crucially, stories that never seem to end but instead constantly weave into other stories to become stories within stories with stories. And every sunrise there is a cliff hanger, like an early version of the ‘duf-duf’ at the end of an episode of Eastenders! Scheherazade wins her life by playing on that very human trait…the Sultan’s…and of course the audiences…need to know what happens next!
But more than anything, the framing device serves as a wonderful excuse to revel in the fun and excitement of the stories themselves. I have tried to stay close to the original material while at the same time being quite bold in adding and editing, in taking what we need and discarding what we don’t. It’s important to make things work dramatically, and I’ve no doubt that in rehearsals we will find moments where the story can be better told musically or visually, and we will cut the text accordingly. We’ll add music, underscore and songs to the evening and the material will be shaped very much by the amazing talents and strengths that they our cast of four possess. I’m a firm believer that the best theatre is always the result of a particular group of people working together at a particular time.
What sort of show do you hope to create?
I’m very keen to create a real ensemble piece of storytelling with the performers on stage all the time, acting, singing, playing music live and creating the sights and sounds of stories right there in front of you as you watch. I hope this piece will be a celebration of storytelling itself. For me, part of the beauty and excitement of theatre is that it is a shared experience with the audience; it’s happening now, there, right in front of your eyes. As a medium, it’s the ‘nowness’ that is the vital ingredient that makes going to a theatre a different experience from going to a film or watching TV.
To that end we have cast a fantastically talented team of versatile performers, brilliant actors who all sing, move and play numerous instruments between them. While Scheherazade tells the Sultan stories, the audience will be watching our group of actor-musicians telling those stories. I hope they’ll delight in the way the actors present multiple characters, marvel at their inventiveness and also enjoy how the tales are told as well as, hopefully, getting lost in the story itself.
What are the challenges that you envisage?
Part of the challenge for me is to work out what theatrical language we are going to use to bring these tales alive
and how to integrate and fuse music, songs and movement together in the action. Getting that balance right artistically will be challenging and will probably only reveal itself in the rehearsal room.
It will be challenging to create a Giant bird or to give a sense of flying and there will also be the practical challenges of working out who will be available to play an instrument at a particular moment or narrate or change costumes or a combination of all of the above! It will be a busy show for the actors who will always be on stage so I’m sure they'll be times when it will feel like directing traffic in Piccadilly Circus!
The story also throws up the challenge of presenting many different locations, indoor and outdoor spaces and a whole variety of different journeys by land and sea that characters go on. I'm a great believer that theatre is often most potent when it is most simple and I think one of my main tasks will be to try and find an economical but theatrically inventive language with which to move the action from one location to the next and to try and create a fluid yet dynamic environment aided by Claire Child’s lighting that helps shape the audiences’ imagination and captures the rhythms and changes of mood and pace in the script.
And last, but not least, there is always the challenge to have fun, to make the rehearsal room a space where the
actors can really play, discover, be bold, create and ultimately take ownership of the material themselves. All the music and sound will be created live by the company, whenever we need it and with whatever is to hand. As well as traditional instruments like violins, piano, guitar, timpani, harmonicas, accordion, cymbals, and drums, we’ll hit bits of set to create sound and rhythm and we also use all sorts of weird and wonderful instruments including a water-phone, a saw, bells, whistles, a thunder drum, Glocks and a singing bowl to create the soundscape of the show.
Likewise, any props and costume that we need will be found lying in the carts or hanging on the washing line. I want the sense of four people in an Arabian marketplace who start telling stories and entertaining a crowd using whatever happens to be to hand to help them.
Lastly, what do you hope audiences take away from seeing your production?
A show that celebrates the excitement of live theatre using inventive, bold ensemble storytelling, live music and sound and utilising all the skills and abilities that our company of 4 performers possess. If audiences leave the theatre excited and entertained by what they've seen and inspired to pick up a copy of the Arabian Nights to read them for themselves, I’d be delighted!
MEET THE CAST
CHRIS AGHA - Actor
Chris graduated from The Court Theatre Training Company. Last year he performed in three highly acclaimed productions at The Royal Opera House: in March Deborah Warner’s production of Peter Grimes, in the summer David Alden’s production of Lohengrin and in October Robert Carsen’s production of Aida. He recently performed with the Olive & Stavros Theatre Company in the comedy The Play with Speeches at the Jack Studio Theatre in London.
What or Who inspired you to want to become an actor?
My school teachers encouraged me to perform when I was 10/11, as I had a booming voice for my age. I then fell in love with being on stage, and was lucky to attend a great school where the arts were actively encouraged.
What was your first experience of acting and what shows/performance/s have you most enjoyed?
My first proper acting performance of a play was Mojo by Jez Butterworth, and still, to this day, I think it’s one of my favourite plays, so gritty. I played Potts, who funnily enough was originally played by Andy Serkis - who is one of my favourite actors, - at the Royal court theatre in 1995.
What has been the biggest challenge in your career to date and what ambitions do you have?
My biggest challenge was probably having my final year of drama school affected by Covid. We had to perform three of our final year shows over zoom. It was a huge struggle, especially being so restricted. However since covid, I’ve been very lucky to have had a great year in the industry and I hope to be performing on stage and screen throughout 2023 and beyond. I’ve got a lot to prove and can’t wait to get stuck in to a variety of projects.
What do you enjoy most about your job?
I love the excitement of what’s to come, the endless plays and characters that I can get stuck into and just making an impression on peoples lives, making them come out of a theatre, laughing or crying or just having been transported to that world of the character or play. And it’s endless fun! And of course, all the many friends I meet on the way!
If you weren’t an actor/actress what job would you like to do?
I think something creative still, perhaps a singer as I have a huge love of music. Painting is another huge passion of mine. Both my parents are artists, and I still love to paint when I find the time.
VERITY BAJORIA - Actor
Verity is an Actor-Musician originally from the North-East. She trained at Guildford School of Acting, where she also started her folk band Thats All Folk. Previous productions include Atrocities at Arkham, The Light Burns Blue, and The Break of Day. Verity is very excited to be joining the cast of Tales from A Thousand and One Nights.
What or Who inspired you to want to become an actor?
I have always loved performing. School productions helped me see that and the chance to combine music and drama has always excited me and spurred me forwards.
What was your first experience of acting?
My first experience of acting was at school probably playing Camel no.2 in the school nativity. The costume was very flattering, I’m sure…
What show have you most enjoyed?
The show that I have most enjoyed is Rabbit Hole by David Lindsay Abaire - an amazing script!
What do you enjoy most about your job?
There’s so many things to enjoy about my job. But getting to meet amazing people all doing things they love has to be at the top of that list.
If you weren’t an actor what job would you like to do?
If I wasn’t an actor, I’d be a violin teacher. But apparently at age 4 I wanted to be a professional unicorn jockey, so there’s always that!
MAEVA FEITELSON - Actor
French and British with Iranian heritage, Maëva Feitelson trained at the International College of Musical Theatre in London (ICMT) where she graduated with the Kenneth Avery-Clark award of excellence.
She made her West-End debut in the ensemble of the original cast of Rumi : The musical which played at the Coliseum theatre and starred Ramin Karimloo and Nadim Naaman. More recently, she took part in Emma Rice’s Wise Children Summer Camp workshop where she combined her musician and acting skills for the first time.
Maëva is also a songwriter and can often be found hosting and singing in different cabarets across London. She is very excited to be a part of the Tales from of a Thousand and One Nights and to be able to tell another Persian story!
What or Who inspired you to want to become an actor?
My mother and grandmother who were both actors. I spent lots of time watching my mother acting and my grandmother directing. I guess it was impossible not to fall in love with theatre when being surrounded by it from a young age.
What was your first experience of acting and what shows/performance/s have you most enjoyed?
I first performed when I was 10 years old in a Swiss touring production of Woyzeck. And I would say that performing in Rumi : The Musical at The Coliseum was the most mesmerizing experience so far.
What has been the biggest challenge in your career to date and what ambitions do you have?
The biggest challenge was without a doubt graduating in 2020…One of my deepest desires would be to act with The Jamie Lloyd Company.
What do you enjoy most about your job?
Getting to live out all of the experiences one could go through without ever really living them. You become someone else for a while, yet feel like you’ve learnt from them, and you keep that lesson without having to carry them within you once the show is over. I guess what I mean is that it teaches true empathy, understanding and a love for human beings.
If you weren’t an actress what job would you like to do?
I’d probably be working on the other side of the table. Director, Casting Director, Agent or Stage Manager.
TALAL KARKOUTI - Actor
Talal Karkouti is an actor and comedian from West London, with roots in musical theatre and improvised comedy. He also works and performs as a voice-over artist and provides ADR for major motion pictures and TV series. Talal is a seasoned stand-up comedian, recently winning 2nd place in the Musical Comedy Awards. You can currently find him co-hosting and producing The Alexei Sayle Podcast.
What or Who inspired you to want to become an actor?
As the youngest child in a house full of show-offs, I was almost always involved in some kind of battle for attention. This definitely helped fuel my desire for performance. However, seeing my older sister performing as Adelaid in her high school production of Guys and Dolls, watching her and her friends disappear into the distant, romantic and hilarious world of 1950s New York, the audience all in stitches... this was a game changer.
What was your first experience of acting and what shows have you most enjoyed?
I was always first in line to audition for the school plays, but at 12 years old I was lucky enough to get my first job - providing ADR for the Stephen Sommers 1999 film The Mummy. It felt incredible to have even such a small part -voicing kids in the background - to play in this massive production. I've regularly been doing ADR ever since, which keeps my improv bones well-trained!
What do you enjoy most about your job?
Nothing quite beats the feeling of getting on stage and making people laugh, which is why I love performing stand-up comedy. Just me, my guitar and an audience. No safety barrier, no retakes, just pure spontaneous energy. It all excites me - the laughter, the shared experience and even the danger. Touring with this show, I'll get to have a little bit of that every night... can't wait!
If you weren’t aperformer what job would you like to do?
If I wasn't a performer I think I would have worked with animals. Perhaps a zoologist or a park warden. Something hands-on and unpredictable, with an equally tough audience!
Luke Wallace - Technical CSM
What or Who inspired you to want to become a Stage Manager?
Ever since I saw Bombay Dreams in the West End I’ve wanted to work in all areas of technical theatre and have focused on learning about every capacity of the job.
What was your first experience of the profession and what shows have you most enjoyed?
My first experience was on Matilda in the West End, I was a follow spot operator and at the time I didn’t have a clue! I loved working on ‘Into The Woods’ which I programmed; I loved the music.
What has been the biggest challenge of your career to date and what ambitions do you have?
I think the hardest challenge was deciding what aspect of theatre I should focus on. In the end, I didn’t decide but learned all aspects in depth! My ambition is to enjoy my work and enjoy what I put out into the world.
What do you enjoy most about your job?
I constantly get to meet new people and to visit some of the most obscure places in the world, - from Jordon to Texas, - my career has taken me on a journey second to none.
If you weren’t a Stage Manager what job would you like to do?
My main job is actually Lighting Design and Projection and I work in this capacity throughout the globe, designing festivals, theatre and live events.
MEET THE TEAM
ELIOT GIURALAROCCA - Adaptor/Director
After studying for a degree in English Language and Literature at Christ Church, Oxford, Eliot trained as an actor at the Guildford School of Acting. Over the past 30 years he has worked extensively in Theatre, Film, T.V. and Opera while also creating his own work, devising and developing projects as a Theatre-maker and working as a freelance Theatre Director.
As Artistic Director of Dragonboy Productions, he brings this experience together to focus on creating and developing new work for the theatre. Artistic Director Eliot Giuralarocca directed and performed in the company's last show, In and Out of Chekhov’s Shorts, which he adapted from some of the best of Anton Chekhov’s short stories. The production toured to 27 theatres across the country and was warmly received by critics and audiences alike. The Tempest, which he adapted and created for the British Council's Shakespeare Lives programme, toured throughout Europe and was subsequently nominated for the Spanish Grand Prize for the Performing Arts.
He directed Blackeyed Theatre’s acclaimed national tours of Frankenstein, The Great Gatsby, Dracula and Not About Heroes while for Armonico Consort he directed Baroque around the Block, Monteverdi’s Flying Circus and The Imperfect Pearl an Arts Council funded production about the life of the Baroque composer Domenico Zipoli. He also directed the world premiere of Knackerman by Rosanna Negrotti and Stephen Sharkey’s minaturist piece Retrospective at the Arcola Theatre.
VICTORIA SPEARING - Set Design
Victoria trained at Bretton Hall where she received a first class honours in Theatre design and technology.
Over the last 20 and a bit years she has been lucky enough to work on various theatre productions for both touring companies, out door theatre, youth theatre, in house productions at South Hill Park, and a variety of Pantomimes in various theatres around England, - winning best Set design at the Great British pantomime awards.
A small selection of productions she has designed ranging from plays, musicals and pantomimes is:
For Dragonboy Productions: In and Out of Chekhov’s Shorts. For Others: Just So, CalendarGirls, James and the Giant Peach, The Lion, the Witch and the Wardrobe, Noughts and Crosses, Brassed Off, Fantastic Mr Fox, Oliver!, Henry V, House and Garden, The Wizard of Oz,The Adventures of MrToad, Summer Holiday, and Aladdin, Beauty and the Beast, Peter Pan, Jack and the Beanstalk, Dick Whittington, Cinderella and SnowWhite. The Great Gatsby, Teechers.....
There are many others but the list will get dull to read! I have loved them all and am forever thankful people ask me to design their productions.
CLAIRE CHILDS - Lighting Designer
Claire studied Mathematics at Oxford before starting her career as a lighting designer. Her credits include the UK and international tours of Sherlock Holmes: The Sign of Four and The Strange Case of Dr. Jekyll and Mr. Hyde (Blackeyed Theatre), and the UK tours of I Am Beast, Killing Roger and The Girl With No Heart (Sparkle and Dark), The Snowsmith, Boulder and Under the Frozen Moon (Half a String), The Tempest (Thick as Thieves), Revenge (Crime and Comedy Theatre Company), The Shipwrecked House(Penned in the Margins) and The Just So Stories (Red Table Theatre).
Other lighting designs include 100 Years and Push (Popelei Theatre), Humane (True Name Productions), Kaj Nazar (London Armenian Opera), Invisible Me (House of Stray Cats), As One and Imoinda (Lontano), Zaryab (Toos Foundation), Mozart vs Machine (Mahogany Opera Group), Robin Hood (The Opera Story), Rudolf (Pins and Needles), Iolanthe (Charles Court Opera), The Barrier (Earwig Arts), 1000 Songs (Pinch Punch), Venus/Mars (act up) and A Midsummer Night's Dream (Cornucopia).
Lighting designs for dance productions include Beauty and the Beast, The Little Mermaid, Alice - Wonderland Through the Looking Glass and Dracula - Welcome to D's (Chantry Dance Company) and NowHere and Forgot Your Password? (Divya Kasturi).
SAMANTHA WARNER : Administrator
Samantha read law at Cambridge and completed her masters degree in law at Victoria University of Wellington. She also has a Postgraduate Certificate in History from Oxford.
Qualifying as a barrister and solicitor in New Zealand, she worked for international accounting firm Ernst & Young as a tax consultant and then practiced corporate law with Russell McVeagh, specialising in all aspects of business law and advice. She also founded South Pacific Trademarks, specialising in international trademark registration and advice and has worked as a director and advisor to a number of start-up businesses in industries as diverse as technology and cosmetic manufacturing.
Samantha was also a trustee and legal advisor to the Kokomai Arts Festival in New Zealand, a ten-day biannual festival that sources world-class touring performances from around the world.