The Pumphouse Theatre, Takapuna, Auckland

13/10/2016 - 23/10/2016

Production Details

Tadpole Productions are thrilled to be showcasing the Auckland premiere of a new Kiwi comedy-drama, opening at The PumpHouse in Takapuna from 13th to 23rd October.

Four women from very different backgrounds enrol with Maggie for a course in Women’s DIY to be held in her husband’s shed, his sacred man cave.

Each has a secret agenda…
Annabel is a Counsellor in a private practice, an active feminist in the 1980s.
Helen is a horse breeder who has two sons to different fathers, both jockeys.
Louise, a nurse, moved home to care for her parents and is easily spooked.
Siobhan is Irish, lives with her cousin and works at the local vet.
Woody is a redundant carpenter who is married to Maggie. Where is she??? 

He knows about tools, but NOT how women tick.

The scene is set for a comedy/drama with great characterisations and a bit of DIY thrown in……

The PumpHouse Theatre, Killarney Park, Takapuna, Auckland
Thursday 13 October to Sunday 23 October 
Tuesday to Saturday at 7.30pm
Sunday 16 & Sunday 23 at 4pm
Saturday 22 at 2pm 
No Monday performances

Ticket prices
Adult  $39 | Senior  $34
Group (10 or more)  $34
Student/Equity  $25

Bookings – 09 4898360 |

Lisa Chappell
Paul Glover
Darien Takle
Louise Wallace
Annie Whittle 

Theatre ,

Sparks fly in romp at DIY classroom

Review by Paul Simei-Barton 17th Oct 2016

An explosive collision between old school carpentry and contemporary sexual politics sends sparks flying in Tadpole Productions’ rollicking comedy of manners, The Pink Hammer.

Playwright Michele Amas cleverly engineers a scenario that has an authentic Kiwi bloke blackmailed into providing carpentry lessons for a lively quartet of women who are more interested in socialising than acquiring DIY skills.

The chippie, who has managed to remain oblivious to the decades of feminist advancement, finds the sanctuary of his shed turned upside down as the women casually deposit their emotional baggage all over his meticulously ordered work benches. [More


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A good night out

Review by Bronwyn Elsmore 15th Oct 2016

A cast of four women and one man. There are not many plays about with a balance like that. More’s the pity, especially considering the makeup of the majority of theatre audiences. I’m in! 

It’s the first night of a women’s course in carpentry, run by Maggie in the garage behind her house in North Shore. The four women who have enrolled, and prepaid the $300 fee (that’s important), turn up. Maggie doesn’t. Perhaps you can guess where the man, Woody, comes in – there’s a clue there.

So, we have a bicycle-riding Irish expat, a Coatesville horse-breeder, a hormonally challenged nurse, and a social worker with more than a tendency to analyse and control – brought together by the Pink Hammer carpentry course. Ah, and Woody … According to Annabel, he’s intimidated, threatened; in Helen’s opinion, he’s as jumpy as a horse before gelding.

The characters are well defined from the outset and each actor does an admirable job of portraying them throughout. That’s to be expected with such a stellar cast, all of them superbly talented and experienced. Between them, Lisa Chappell, Paul Glover, Darien Takle, Louise Wallace, and Annie Whittle, together with their equally accomplished Director, Janice Finn, have chocked up so many starring roles for stage, television, film, and other arts-related appearances, that they could form their own milky way. To that you can add the expertise of playwright Michele Amas. I particularly enjoy Darien’s performance, but all are excellent.

Darien plays Louise (the nurse), and Louise is cast as Annabel (the social worker). Hmmm, could cause a slip-up, I predict ahead of time. Right!

In scene three Helen (the horse breeder) arrives with a sack-full of horsh – her equivalent to bring a plate – and from then on it all hits the fan. Figuratively, fortunately. Warning, minor spoilers: Annabel’s social work comes off track, Helen’s carpentry project gets hijacked, Louise recalls failing to administer the Heimlich manoeuvre countered by a memory of a more successful encounter with a large Cuban cigar, and Siobhan (the Irish expat) flattens her feathers. 

The set, Woody’s workshop-cum-mancave, is a great space for moments of comedy and drama to take place, though I feel it looks a tad too organized and tidy. 

Each of the scenes could be tightened to lose a couple of minutes – twenty minutes cut out of the script overall would improve it. But The Pink Hammer is a good night out. 


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