I’m excited to see this new offering by Wonderlight Theatre Aotearoa as their previous children’s theatre production Wonderkind was a delight.

The main actors from that production are the writer/actor (Emma Rattenbury) and the director (Tim Fraser) of The Home Inside, working under the mentorship of producer/production lead, Kerryn Palmer. Alongside them, are a fantastic team of creatives/puppeteers/technicians and interns who bring this beautiful show together.

It’s so lovely to be inside the cozy BATS ‘The Stage’ theatre on a chilly wet Wellington day along with an excited bunch of students from Newtown primary school, some of whom say they have never been to a show before. It’s great that signs also say that kids are encouraged to respond spontaneously as the play progresses rather than the feeling that they have to stay silent – although they still shush each other at times!

The Home Inside “explores big emotions, building resilience … and learning to lean on the inner and outer resources available.” (Writers note)

It’s also inspired by the expert knowledge found in the series, Aroha’s Way: books that look at emotional regulation in children and how to teach our youngsters about naming feelings, and having safe ways to express them.

It’s bedtime and Winnie (Emma Rattenbury) is in her active winding down phase, playing with her favourite Teddy, drawing and creating creatures with paper before collapsing into a deep sleep.

On awakening the next day, we discover that Winnie has some worries around going to school (ingeniously depicted via her school bag) and dawdles and delays the morning routine which exasperates her (heard, but unseen) parents.

Winnie already has some ways to settle herself with focus counting and breathing, but as the pressure is on to get ready, smaller things manifest into far bigger feelings and the emotions start to boil.

Here the beauty of live theatre comes into its own and the full house of children (and accompanying adults) fall deeper under its spell.

As Winnie’s emotions spiral out of control she is plunged into a magical world with aspects from her own creative and physical world coming together to teach her the art of reset and understanding. I love it when the rain-coat that has earlier caused so much frustration becomes her safe object in this world of the unknown.

This is where the amazing team truly show their skills. With an array of delightful puppets (designed and constructed by Bridget Sanders and intern Sean Brenan), puppeteers Peggie Barnes and Bridget Sanders dance and swoop with Pīwakawaka and Tuna, and turn Winnie’s bed into a river-bank and rocks to clamber over and under. Bronya Davies evocative choreography is specifically mentioned by a child at the end saying, “I like the movement, it was good.”

Rebekah de Roo’s set/AV design with Jacob Banks’ lighting design turn Winnie’s room into a wonderland of nature spaces, and the musical soundscape by Craig Sengelow and intern Thorin Williams heighten and calm our emotions as Winnie journeys through hers. Kudos to operator Isabel Pecora for navigating the 100s of cues!

The art of writing a play using mainly physical theatre, descriptive facial expression, artistic interaction with beautifully imaginative props/puppets and only limited dialogue is a real talent. The team have managed to invite a theatre full of 7- and 8-year-olds to explore these very recognisable themes in a safe and inspirational way.

As an adult watching, I feel the show having a powerful effect on me too, especially with the moth/butterfly who we breath together with as its wings flap, and the knowing feeling of being refreshed by nurturing wai/water or the magical wonder of glow-worms in a cave. (Well and let’s be honest, the recognition of a stressed morning parent too 😉.)

The creators don’t shy away from the emotions of anger and frustration, and use very clever props and imagery to illustrate that these feelings often cover and consume the fear and anxiousness that is underneath it all, but is hard to express.

The craft on show and delivery of this story is just fantastic. Because of the way it evolves, I don’t want to give away the wonder of it and influence any audience member’s response to it, so I will just add a few quotes from the children who saw the show on Friday morning:
“I really liked it, I liked the teddy bear, I liked the breathing and calming down.”
“It was fun. How long did you practise?” (answer: the play was first dreamed up in 2023 – it takes a long time to get to the audience seeing it on stage!);
“I liked Winnie’s bedroom, the movement was good, I liked how you act.”
“I was scared but calmed down. I like it when she changes her mind.”
“I liked the Butterfly breathing. I heard the mother and father voice. I liked the crystal cave.”

Also from a teacher” “Such an important story. Our children will get a lot out of this experience.”

Wonderlight Theatre Aotearoa are absolutely succeeding in their mission to “… lift children up and acknowledge their lives as complex and meaningful” (Director’s note) and, “…they deserve (theatre) to be magical, whimsical, thought-provoking and intelligent.” (Producer’s note)

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