Reviews

Helen and Sybil in Decadence

 

”Jennifer Ward-Lealand and Michael Lawrence give a master class in acting that makes for must-see theatre. Their accents, physicality and characterisation are pretty much faultless; a joy for an audience to watch and an inspiration for wannabe actors.”

 

NZ HERALD

THEATRE

HANNA at Dolphin Theatre, Auckland. ”I’m beyond grateful that I was able to see NZ Theatre Company’s New Zealand premiere production of Hanna currently on at the Dolphin Theatre in Onehunga. Written by award-winning playwright Sam Potter and adapted for the New Zealand audience this one-woman performance is stunning. It’s one of the best performances that we have seen. My husband talked about it all the way home to the north shore. We were both wired the whole drive. We were both spellbound so much so that we were merged in the story. I could have been sitting on a bed of nails – I wouldn’t have noticed. (I wasn’t of course, The Dophin Theatre has great facilities!) Premiering in London in 2018, and proudly presented by NZ Theatre Company in its Auckland premiere, Hanna is the first for the company, whose aim is to bring professional productions into community theatre spaces. A mix-up of babies in a maternity ward explodes the lives of two families who become entrenched in the issues of racial identity, economic privilege, the lottery of birth and the deeper meaning of what ‘family’ really is. Director Jennifer Ward-Lealand’s expertise and creative cleverness breathes through the performance of Cassandra Woodhouse who captivated the audience for the entire 90-minute performance. Woodhouse is sensational. No one was in their seats – they were with her as she mesmerised us on an emotional roller coaster story that no one wants to be confronted with let alone a 25-year-old sweet, clever but naive young woman. The partnering of these two is a beautiful theatrical synergy that has developed this piece into something very special. They’re the real deal, world-class and right here, on our doorstep. Going to see this play is a must. There are only two performances left so do what you need to do to get there. Go see it. You won’t be sorry. If you really can’t make it this time there is an opportunity to see it at the Baycourt Theatre, Tauranga on 3rd June and The Pumphouse Theatre, Takapuna on 31st October 2022.” (BROADWAYWORLD)

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Arkadina in Chekhov’s The Seagull. ”Ward-Lealand could have played the histrionic diva here but the choices she makes instead are infinitely more interesting and heart-rending” (THEATREVIEW)

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Ouisa in Six Degrees of Separation. ”Any student of superb acting would be well advised to seek out the performance by Ward-Lealand, and study the layered nuances she captures in her finely crafted work” (13TH FLOOR)

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Performer in Here Lies Love. ”Ward-Lealand’s decades of experience meant she could inject just the right, almost Brel-like poignancy into the song ‘When she passed by’. And she revved up a hustle and a half with the band in ‘Don’t you agree’. More so, I felt than Róisín Murphy in Byrne’s original” (RADIONZ CONCERT)

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Mrs Warren in Mrs Warren’s Profession. ”Jennifer is excellent in the titular role” (NZ HERALD)

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Auntie Pie in The Book of Everything. ”Jennifer Ward-Lealand is fantastic” (THEATRE SCENES)

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Kalonike in Lysistrata by Aristophanes. ”Jennifer Ward-Lealand is a tip-top Kalonike” (THEATREVIEW)

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Pat Murdoch, Anna Murdoch, Rebekah Brooks, and ensemble in Rupert. ”There are some brilliant cameos. A wigged Jennifer Ward-Lealand makes for an uncanny Rebekah Brooks” (METRO)

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Elsa Lanchester in Luncheon. ”The main drawcard is Jennifer Ward-Lealand’s Elsa Lanchester, and she doesn’t disappoint. She delivers barbs with precision, is refreshingly loose and fun … and yet still manages to give her monologues a gravity” (LUMIERE READER)

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Marion in Between the Sheets.”It’s easy to see why Ward-Lealand was keen to bring this play to Auckland; it’s punchy, entertaining and surprisingly complex. Ward-Lealand is particularly mesmerizing” (CONCRETE PlLAYGROUND)

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Diane Cassell in The Heretic. ”An impressive Jennifer Ward-Lealand displays a genius comic timing that makes every joke hit just that little bit harder a standout performance from an actress who can’t help but stand out” (LUMIERE READER)

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Singer in Brel. ”Jennifer Ward-Lealand was the highlight of the show. From the very first number, she stands out amongst the ensemble, and moves around the stage in a way that is both entirely natural and genuinely felt, and yet impossible to look away from” (LUMIERE READER) 

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Margrethe Bohr in Copenhagen. ”Ward-Lealand is a powerful presence as Margrethe. Composed and restrained, she forms the nucleus to the second act” (THEATRE SCENES) 

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Rita Angus in Rita and Douglas. ”Jennifer Ward-Lealand’s Rita is as fresh and vital as she appears in her portraits; the underlying anguish/joy as seen in those portraits’ eyes fully felt through her delivery. I feel I have met, quite intimately, one of my heroes. Simply stunning” (THEATREVIEW)

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Viv in Poor Boy. ”Her singing of I Hope I Never was the most poignant, she manages to extract every nuance from it.” (NBR))

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Barbara in August: Osage County. ”I’ve seen Jennifer Ward-Lealand on stage more times than I can count, but this is the finest piece of acting I’ve seen from her, and possibly, the finest piece of acting I’ve ever seen” (LUMIERE READER)

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Martha in That Face. ”Jennifer Ward-Lealand presents a brilliantly realised dipsomaniac Martha” (NBR)

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Dominique Le Bons in Le Sud. ”Jennifer Ward-Lealand brings the house down” (NZ HERALD)

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Mrs. Sowerberry and Mrs. Bedwin in Oliver! ”Jennifer Ward-Lealand flexes her versatile character skills first as the awfully unpleasant shrew Mrs. Sowerberry and in act two as the gentle and dignified noblewoman Mrs. Bedwin”. (THEATREVIEW)

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Tekla in Creditors. ”The triangle is powerfully closed by Jennifer Ward-Lealand’s mercurial performance as the alluring and infuriating Tekla – a restless, volatile woman who flits between frivolous vanity, steely determination and moments of selfless compassion”. (NZ HERALD)

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Jenny Diver in The Threepenny Opera. ”Jennifer Ward-Lealand’s intoxicating rendition of Mac the Knife is still ringing in our ears.” (BEST OF AUCKLAND 2008, METRO)

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Connie White in My Name is Gary Cooper. ”…the cast of eight is superb. Standouts: Ward-Lealand-taut, tanned and attached to a martini glass“ (LISTENER)

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Helen and Sybil in Decadence ”Jennifer Ward-Lealand and Michael Lawrence give a master class in acting that makes for must-see theatre. Their accents, physicality and characterisation are pretty much faultless; a joy for an audience to watch and an inspiration for wannabe actors.” (NZ HERALD)

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Sabine Leutenegger in Berlin-Cabaret of Desire. ”Jennifer Ward-Lealand’s Sabine is chillingly Teutonic, with a comic wryness and leggy sauciness.” (LISTENER)

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Olivia in Twelfth Night. ”The delicate interactions between Viola and Olivia produce some wonderfully poignant moments, notably when Jennifer Ward-Lealand’s magisterial countess dissolves into a lovestruck teenager as she is captivated by the overpowering sweetness of Viola” (NZ HERALD)

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Stevie in The Goat, or Who is Sylvia?. ”…Ward-Lealand is formidable. As she unleashes primal howls, her depth of pain and rage is terrifying.” (LISTENER)

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Sally in The Bach. ”Ward-Lealand has impeccable timing as Sally.” (LISTENER)

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Marlene in Marlene. ” …Ward-Lealand is glorious as Marlene. She sings; she is coquettish; she cracks one-liners with cruel glee.” (NZ HERALD)

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Anna in Old Times. ”Ward-Lealand, like her character, rather devours the other two. Her Anna, charming and dangerous, is the link between them and she performs with a juggler’s dexterity.” (NZ HERALD)

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The Witch in Into the Woods. ”If there’s one standout moment, it’s when the Witch (Jennifer Ward-Lealand) sings ‘Last Midnight’ – truly spinetingling.” (LISTENER)

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Susanna Hall in The Herbal Bed. ”The central character, a jewel of a role, is played with a contained complexity by Jennifer Ward-Lealand. She has the right mix of intelligence, shrewdness and purity of spirit.” (LISTENER)

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Janet in The New Rocky Horror Show. ”Jennifer Ward-Lealand is the deliciously ditzy Janet that Susan Sarandon might have wished she could be.” (SUNDAY STAR-TIMES)

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Sally Bowles in Cabaret. ”When Jennifer Ward-Lealand, singing Sally Bowles – the role she was born to play – finishes the title song unaccompanied and with a wild-eyed desperation in her eyes and we don’t even dare applaud, we realise that we’re watching great theatre and not just great cabaret.” (NZ HERALD)

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Carrie Pipperidge in Carousel. ”Ward-Lealand snares every comedy opportunity, and her singing is as good as any in town she tops the list.” (AUCKLAND STAR)

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Glenda in The One That Got Away. ”The acting is fabulous (The Front Lawn) are an extremely polished and talented trio, and those who were worried about the recent addition of a woman to the group can relax; Jennifer Ward-Lealand is just terrific.” (MELBOURNE IN PRESS)

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Singer/Actor in The Irving Berlin Show. ”Jennifer Ward-Lealand is splendid. She has a gutsy, glamorous presence and a strong, true voice to match.” (NZ HERALD)

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Nana in Nana. ”Jennifer Ward-Lealand gives a commanding performance in the title role. She is alternatively regarded as the object of the audience’s delight, pity, distaste and desire and manipulates these turns in her character well. She brings considerable strength to the part and holds her sometimes captivated audience with obvious confidence and relish.” (INNER CITY NEWS)

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Singer/Actor in Rodgers and Hart. ”Rodgers and Hart belongs to Jennifer Ward-Lealand. She subtly and stylishly stole what we knew would be a subtle and stylish show. She was comic and catastrophe in perfect balance in Ten Cents a Dance; a clever blend of smart and innocent in You Took Advantage of Me; bedazzling in Bewitched, Bothered and Bewildered; and she swung Johnny One Note the right note, right on.” (NZ HERALD)

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Lavinia in Strip. ”But the pre-eminent performer is Jennifer Ward-Lealand. She has built on her ‘gawky innocent’ in recent performances, until here she wins our hearts as the aspiring actress quoting from The Seagull.” (DOMINION)

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Hedda in Hedda Gabler. ”Jennifer Ward-Lealand’s portrayal of Hedda Gabler is arresting… (she) captures the audience’s undivided attention from the very first time she walks on stage. Most importantly, her portrayal shows fine sensitivity to the nuances of the script.” (INNER CITY NEWS)

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Agnes in Agnes of God. ”As Agnes, Jennifer Ward-Lealand is an electrifying combination of distracted guilt and vengeful rage.” (NZ HERALD)

 

 

FEATURE FILMS

Darcy in Vermilion. “Ward-Lealand’s performance. Layered, assured and fascinating, it’s also sensual” (NZ HERALD)

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Ulla Peet in Fracture. “The acting is uniformly good with standout performances from an almost unrecognisable Ward-Lealand.” (THE PRESS)

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Dorothea Brook in Desperate Remedies. “Ms. Ward-Lealand looks and acts like a cross between Greta Garbo in Queen Christina and Catherine Deneuve.” (THE NEW YORK TIMES)

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Mireille/Sarah in The Footstep Man. “Jennifer Ward-Lealand, as Mirielle, the lover of both Toulouse-Latrec and Sam Jolley, is the film’s most striking presence her portrayal of Mirielle’s yearning for freedom seems at times as though it will indeed break through all constraint.” (NEW ZEALAND LISTENER)

 

 

SHORT FILMS

Linda in Linda’s Body. “Jennifer Ward-Lealand delivers the most convincing performance.” (ONFILM)

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Raewyn in Danny and Raewyn.  “Jennifer Ward Lealand is utterly convincing and stakes a good claim to be one of our finest screen actors.” (NEW ZEALAND LISTENER)

 

 

TELEVISION

Narrator on Find Me a Māori Bride. “A hilariously earnest voice-over from Jennifer Ward-Lealand” (NZ HERALD)

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Wanda on Auckland Daze Episodes 1.1-1.6 + Christmas Special. “Jennifer Ward-Lealand is superb as a celebrity real estate agent with a liking for leopard print and a weirdly close relationship with her son” (STUFF)

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Core cast in Full Frontal. Seasons 1 & 2 (40 episodes). ”The new series got rave reviews when it started three weeks ago and producer Andrew Knight is full of praise for his Kiwi (actresses)” (SUNDAY NEWS)

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Presenter for Open Home. 12 episodes. ”Ward-Lealand struck a nice balance between serious interviewer and normal person. This well-known actress has easily turned her talents to a presenting role.” (NZ HERALD)

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Nardia in Seekers. 16 episodes. “Up-and-coming Auckland actor Jennifer Ward-Lealand is particularly strong as Nardia.” (EVENING POST)

INTIMACY COORDINATION

“Jennifer was engaged as our intimacy coordinator for series 1 of Creamerie, and I cannot speak highly enough of the role she played in our production. We needed someone who was going to come at it from a professional and creative angle, someone who could be there for the actors, while still understanding the creative and schedule outcomes required, and that is exactly what we got with Jennifer. She is brilliant to work with and actors feel looked after and no longer just want to get those scenes over with. This makes for a smooth and efficient process. I couldn’t recommend Jennifer highly enough.”

BRONWYNN BAKKER (PRODUCER, CREAMERIE)

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“This was my first film I produced alongside a plethora of highly respected and experienced HODS, including Jennifer as our Intimacy Coordinator and she was the first person I thought of to fulfil this role. As a newer producer I needed trust with my HODS, and Jennifer went above and beyond that trust for me. She really cared about the production and how to make it work for the actors and director. I’ve also known and worked with Jennifer as an actor for around 8 years and she is such a consummate professional in this field.  I feel like actors truly trust her as she has been in their shoes and what a difference it makes when actors trust their team around them to give the best performance on screen.

What a privilege it is for me to work with Jennifer, a kind, empathetic, lovely talented professional!”

JJ FONG  (ACTOR, CREAMERIE AND PRODUCER, PRINCESS OF CHAOS) 

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“I just wanted to thank you for all your help with working with  X and X. Your  gentle and  guiding wisdom really helped set a calm yet  productive tone on the set. I am so grateful to have you be a part of our show. Your constant professionalism,  grace and sensitivity with our actors helps make our shoot days run smoothly.”

JOHN SCOTT (PRODUCER/DIRECTOR ONE OF US IS LYING)

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“Having Jennifer on board as our Intimacy Co-ordinator was a crucial part of this as she delicately and professionally helped both the cast and crew navigate challenging scenes (physically and emotionally).  Her work with both the adult and child actors was a wondrous thing to observe.  Her communication between the actors, the extras, the guardians on set and the Director helped everyone feel safe, confident and comfortable – and ultimately able to deliver powerful performances.  Loved having her a part of our production.”

NATALIE MALCON (PRODUCER, HEAVEN AND HELL: THE CENTREPOINT STORY)

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“I am so thrilled with the incredible intimacy coordinating work Jennifer did with the actors in my web series, Sui Generis.  We had difficult scenes to choreograph and she made the entire process extremely easy, seamlessly crafting beautiful scenes that look amazing on screen. The actors felt relaxed and reassured and I was happy everyone was safe. The results go beyond any expectation and I am extremely thankful for her work as an Intimacy Coordinator – this show wouldn’t have happened without her incredible generosity and talent.”

ROBERTO NASCIMENTO (PRODUCER AND DIRECTOR, SUI GENERIS)

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“Jennifer’s command of respect, compassion and strength on set as an Intimacy Coordinator makes any actor working with her feel safe and protected. Her expertise is enhanced by her sensitivity as a legendary actor, and clarity as a director. Jennifer’s signature stamp is her encouragement, enthusiasm and creative support for the actor in every beat of the scene.”

XANA TANG (ACTOR, PRINCESS OF CHAOS)

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“Working on Taumanu with Jennifer Ward-Lealand, was my first ever experience with an Intimacy Coordinator. It was brilliant to be able to collaborate with such a talented, experienced professional. Jennifer commands immediate respect and communicates with a direct, clear and empathetic voice. Having the support of an IC like Te Atamira when you’re trying to craft and direct emotionally and physically intimate scenes is absolutely invaluable.”

TARATOA STAPPARD (DIRECTOR, TAUMANU)

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“When I started out as a young actress, there were no intimacy coordinators which made intimate scenes feel like an unnatural thing to navigate. I’m incredibly grateful to have someone like Jennifer whose purpose on set is to help us explore such scenes so the actors aren’t left feeling vulnerable and unsure. Jennifer’s passion, care and creativity makes us actors feel safe, confident and ready to take on any scene!”

FRANKIE ADAMS (ACTOR, PANTHERS)

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“Jennifer was incredibly generous with her time and her patience. Being able to work from the ground up with her in establishing what was needed from a dramatic and emotional perspective as well as from a technical filmmaking perspective was crucial in realising the vision of the intimacy in our film.. Our actors found the rehearsal process particularly helpful in establishing the choreography of the intimacy, and meant that they felt secure enough to be able to focus on the finer emotional details of the intimate scenes. They felt safe and confident and I don’t know that we would have been able to achieve what we did had we not had an intimacy co-ordinator with us every step of the way.”

JESSE UNG, (DIRECTOR FIRSTS)

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“Jennifer came on as our IC for a short film I had written and acted in. It was a small but specific scene where myself and my scene partner battled with insecurities about culture and connection. Jennifer really understood the complexities of the scene and everything that was required for us performers. She made us actors feel comfortable and most importantly, safe on set. I also think the way she navigated the cultural aspects was very respectful to which I am very grateful for. IC’s are extremely necessary in filmmaking and I am very lucky to have had her on our Lea Tupu’anga/ Mother Tongue team.”

LUCIANE BUCHANAN  (ACTOR AND WRITER – LEA TUPU’ANGA/ MOTHER TONGUE SHORT FILM)

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“Until working with Jennifer, I had never worked with an intimacy coordinator before. However after working with an intimacy coordinator I wish that this kind of service was around a long time ago. The whole experience just felt so safe, comfortable and NOT AWKWARD! The way in which Jennifer broke down our intimacy scene was almost the same way in which you would break down a fight sequence or a choreographed dance piece. Which allowed us to be able to go through the intimate moments without sacrificing the script or vice versa. I think as actors this work is incredibly important and I’d like to thank Jennifer aswell as other intimacy coordinators just like her. Thank you!”

DOM ONA-ARIKI (ACTOR – TEINE SĀ)

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“When I worked alongside Jennifer on Creamerie I was six weeks postpartum and as you can imagine I was feeling nervous, uncomfortable and really not looking forward to doing an intimate scene at all. Jennifer created such a professional and safe space in rehearsal and on set that those feelings quickly disappeared. She helped us choreograph the scene (just like a stunt coordinator would with a stunt) so we as actors could completely focus on the storytelling. Not only did she work with us but she worked alongside the director and crew to ensure we were on the same page. I absolutely loved working with Jennifer so much that I rang my agent straight after and told her that I will never not work with an intimacy coach in the future.”

KEPORAH TORRANCE (ACTOR, CREAMERIE)


INTIMACY COORDINATION WORKSHOPS

“The day we spent with Jennifer was essential professional development for the whole kura. Jennifer’s clear, kind and uplifting approach made the work accessible for all, and empowering for all – no one was left behind. The specific processes and structures Jennifer laid down are now creating freedom for all of us. And perhaps a reflection of how empowered we feel … We have immediately applied Jennifer’s training to our teaching and project practices.. There is much work to do and as a department we are inspired and committed to following, growing and advocating for best practice in intimacy practices and protocols.”

HEATHER TIMMS. (DIRECTOR OF ACTOR TRAINING. TOI WHAKAARI NZ DRAMA SCHOOL)

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“Jennifer’s presentations are always flawless, engaging and — and are often the most well received part of the workshop. She clearly describes the work of the Intimacy Coordinator, outlines the touch-consent process and clearly articulates the benefit of Intimacy Coordinators and guidelines for the production and crew. I believe it is Jennifer’s passionate portrayal of the role of Intimacy Coordinator that is the reason that each workshop a significant number of participants make a commitment to using Intimacy Coordinators and Intimacy Guidelines in their work going forward. Furthermore, as a person who has worked in the sexual and domestic violence fields for over 20 years, I would like to acknowledge Jennifer’s survivor-safe language and advocacy for trauma-informed workplaces for all crew. I believe her caring survivor-focused approach has made a significant difference to many people in our workshops and in the wider screen and stage sectors.”

RACHEL HARRISON (SEXUAL VIOLENCE PREVENTION SPECIALIST)

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“Jennifer brings incredible energy, knowledge, and expertise in the role of the Intimacy Coordinator to the ScreenSafe/SWAG Professional Respect Workshop. Jennifer has been delivering the Intimacy Coordinator talks to the workshops over the past year, and it is always a highlight for everyone attending the workshop. Jennifer’s enthusiasm for the Intimacy Coordinator work is infectious, and it always leads to an engaging discussion with the participants. The talk is an essential part of the workshop and ties in with the Intimacy Guidelines in our workshop packs. We are fortunate to have Jennifer available to bring light and understanding of this essential role and support our work on ensuring we have safe sets for everyone in the screen sector.”

 KELLY LUCAS (SCREENSAFE/SWAG PROFESSIONAL RESPECT WORKSHOP COORDINATOR)

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“Jennifer Ward-Lealand ran a full day Intimacy Workshop at Toi Whakaari with the entire school body in early 2021. This involved all departments, tutors and students from Acting, Design, Costume, Set & Props & Management. This work is incredible – clear, easeful, practical tools and techniques that keep everyone safe inside artistic practice that involves intimacy. The workshop left our Acting students feeling uplifted and empowered, the fear of intimate work had been demystified and the work itself clarified. The strong boundaries and communication tools in this work serve the artistry – it does not hamper the work at all, but rather gives great freedom and joy. Jennifer held a room with over 100 students and tutors with ease and lightness, whilst making the processes, guidelines and methodologies crystal clear. We are committed to continuing this work across the training programs at Toi Whakaari, as it is critical to growing healthy practice inside a healthy industry, and empowering our young artists.”

ANYA TATE-MANNING (TUTOR OF CRAFT AND CREATIVE PRACTICE,  ACTING DEPARTMENT TE KURA TOI WHAKAARI O AOTEAROA)

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“Jennifer ran DEGNZ’s first Intimacy Workshop for directors on scenes of nudity, simulated sex, and intimacy.  As usual, Jennifer was extremely professional, ran a welcoming and educatiional workshop, and delivered a safe and open environment for all to learn in.  We are thrilled with the outcome”

TUI RUWHIU (EXECUTIVE DIRECTOR, DIRECTORS & EDITORS GUILD OF NEW ZEALAND)


DIRECTING & PRODUCING

Hudson & Halls Live!. “Director Jennifer Ward-Lealand’s detailed attention to character development, as well her uncanny ability to curate the show with nicely timed crescendos and de-crescendos, helped take us as audience members on an entertaining, as well as emotional journey, due to its subtle and intelligent execution” (THEATRE SCENES)

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Te Puhi by Cian Elyse White. “Jennifer Ward-Lealand’s direction is clean and sleek, moving through the story easily and without fuss” (PANTOGRAPH PUNCH)

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The Last Five Years. “Jennifer Ward-Lealand’s careful hand kept the balance just right” (KISS MY ARTS)

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Tic Tic. “Superb directing by Jennifer Ward-Lealand who has a marvelous knack for comedy” (THE BIG IDEA)

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The Mystery of Irma Vep. “With two such big show-offs starring, it’s tempting to think that all director Jennifer Ward-Lealand had to do was stand back… But this kind of theatrical froth requires a surprising amount of discipline and she is perfect at enforcing appropriate standards of theatrical craft” (NZ HERALD)

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Jacques Brel is Alive and Well and Living in Paris. “Under Ward-Lealand’s fluid direction, the cabaret worked its magic, creating a lovely sense of intimacy and spontaneity.” (LISTENER)

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A Christmas Carol. “(A Christmas Carol) was crisp, smart and sharp in director Jennifer Ward-Lealand’s hands.” (Gilbert Wong, SUNDAY STAR-TIMES)

“Auckland Theatre Company’s production dispels the fog with a welcome blast of humour, vitality and music. it is difficult to imagine a better way to usher in the festive season”. (Paul Simei-Barton, NZ HERALD).

“Dave Armstrong’s adaptation of A Christmas Carol provides a fitting end to the year by showing it is possible to enjoy the festive season without wallowing in sentimentality or drowning in commercialism. Dickens’ simple tale has a density that can support an enormous variety of interpretations and Armstrong was able to modernise the story without diluting the potency of the original. Director Jennifer Ward-Lealand delivered an exuberant production that captures the chaotic multicultural diversity of Auckland City”. (NZ HERALD)

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Macbeth. ”In this reading, Macbeth’s ‘vaulting ambition’ is not his moral flaw but his initial motive power, and the play charts the growth of the pure malevolence he must develop to achieve his ends. This intensely character-based approach makes for a lean and kinetic production, stripped of adornment.” (NZ HERALD)

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Arohaoteaora. ”The show was originally directed by Jennifer Ward-Lealand, ensuring that each concept, no matter what, is grounded in compelling truth.“ (THEATREVIEW.CO.NZ)

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Grand Horizons. Director Jennifer Ward-Lealand has wonderfully guided this adaptation and has drawn the most out of the actors.ATC has delivered their best production in years. (NZ HERALD)

 

 

TEACHING 

Flying Solo

“Jennifer creates such a safe, fun, encouraging learning environment that I felt brave enough to give things a go. Despite not being at all confident with singing. I had fun with my performance and it was such a treat seeing other people’s songs come to life too. She also calls it like it is which is hugely helpful and will push people in just the right way to uncover very simple yet powerful performance”.

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“This was amazing! She made me approach my song in a totally unique and thoughtful way. I learned more in 15 minutes with her than I did in all the time I had spent on the song previously. Well worth doing!”

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Flying Solo, choir: “The work that you did with New Zealand Secondary Students’ Choir was absolutely amazing. The choir members and staff were so thrilled that you helped us to unlock the emotion of each piece. You could tell that we were all connecting more with the material the next day and members of the audience noticed this. Your work also helped me as a conductor, and I have found identifying the objective and processing it throughout a performance guides my gestures more now. Our accompanist also found the same with his playing”.

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“The New Zealand Secondary Students’ Choir have just returned from our Canadian Tour. The work that you did with us enabled us to fully communicate and touch the lives of the audiences we performed for overseas. Myself and the Choir performed all our music by memory and were able to process the objectives consistently during every performance. Thank you so much; I would love you to come and work with us again in the future– you are a star!”

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“It was such an honour and a pleasure to attend Jennifer’s Master Class: ‘Flying Solo: Telling the Story in Song’ at the Musical Theatre New Zealand conference in March this year.  It was thrilling to gain such insight into the core of how a successful and commanding performance is created, when it is often so difficult to both define and communicate exactly what an actor needs to do to improve.”

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“There are so many aspects that we, as performers, do automatically and I left with a deeper understanding of how to break down the process to better inform my young students along with substantial tools and techniques to aid them.  It was also incredibly fortuitous that our school production (years 7-13), a musical variety show showcasing as many students as possible, was only two weeks later and I was excited to put Jennifer’s teaching into practice.  The cast and I worked together on visualisation and processing and the outcome was amazing.  The show was a success and I was stunned and delighted by the resulting confidence and professionalism of all of the students – they owned it!”

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“Thank you, Jennifer, for all your advice – it’s been a revelation! – I shall be using those wise words in class and performance for the rest of my teaching/directing life”.  

LINDSAY RUSLING

The Craft of Acting 

“I don’t think I have ever been so totally absorbed for a very long time!  I honestly enjoyed EVERY MINUTE of your workshop.  I have learnt so much and now all I want to do is put it all into practice!”

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“The weekend was quite simply the best. The best tuition. The best opportunity. The best value. Honest, intense, direct, valuable, inspirational. If I take away a kernel from these things I feel it has been worthwhile. I have come away from this one with a harvest”.

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“Just a quick note to say thank you again for your excellent workshop in Wellington on Saturday. I got so much out of the day. It was probably the single most useful day of practical acting training I’ve experienced in recent years, and I left feeling inspired and curious and excited about the craft. I really appreciate your generosity in taking the time to share your knowledge and experience with us. You created an environment where everybody in the room felt supported and safe which allowed us to learn together”.

Performing and Directing in the Intimate Zone

“I left Jennifer’s workshop feeling so much better equipped to tackle intimate scenes, but also to just be a good actor. A lot of the strategies and techniques Jennifer taught were applicable to getting into the mindset of a character, regardless of whether you need to do intimate scenes or not. The approach to choreographing the intimacy was so professional and structured that it helped me and my acting partner create a really wonderful scene, full of emotion and pace, whilst feeling complete safe and comfortable in the space. Jennifer is an excellent teacher: warm, focused, knowledgeable and engaging. I can’t wait to do a workshop with her again.”

PARTICIPANT, 2020