Starring: Janine Swainson and Declan Reilly
Book by: David Walliams
Adapted for stage by: Neal Foster
Director: Lorna Ashton
Producer: Hamilton Playbox and Lorna Ashton
Hamilton Arts Festival Toi Ora Ki Kirikiriroa
26 February 2025
David Walliams started writing in 2000, and since then has become the world’s biggest-selling children’s author with more than fifty-five million books sold this millennia. First published in 2011, popular kid’s book Gangsta Granny is now a film and play. Hamilton Playbox is the proud producer of New Zealand’s premiere.
Ben is disappointed that he must go to Granny’s house every Friday night. All she wants to do is play Scrabble and concoct cabbage-based meals. The local dairy owner says to Ben ‘Granny must have a secret or two, old people always do.’ Ben learns that Granny is an international jewel thief who is keen to steal the Crown Jewels. While Granny lies ill in hospital, Ben hatches a plan to make Granny’s dreams come true.
Janine Swainson (Granny) and Declan Reilly (Ben) lead an enthusiastic cast who immerse themselves in a variety of roles. Swainson is a fearless and clever actor who delivers with wit and precision. A gem of the Waikato theatre scene, Swainson displays her experience and ability to ensure memorable moments throughout. Opposite her, Reilly proves to be an expert in dialogue and is charmingly authentic. Graham Pollard (Dad and Mr Parker) is dynamic and thoroughly entertaining switching between characters and accents.
The makeshift set is extensive, reaching across the expanse of the staging area and partially down one side of the audience. It provides opportunities for entrances, exits, and costume changes and is entirely functional. A few elements seem cobbled together which is to the detriment of the cohesive components. One clever mechanical prop is unseen by the bulk of the audience due to staging.
Hamilton Arts Festival Toi Ora Ki Kirikiriroa is at the mercy of the weather, cicadas, and is directly below the flight path of rescue helicopters. All these issues arise during Gangsta Granny but pale in comparison to a further untimely issue. The play is marred by an overbearing sound bleed from a soundcheck in the next garden that continues for most of the performance. The cast persist and admirably project their voices over the din. Director Lorna Ashton is apologetic and disappointed, acknowledging the distraction at the conclusion of the performance.
A New Zealand premiere is a commendable and thrilling challenge and establishes a benchmark for all subsequent iterations. Hamilton Playbox’s production of Gangsta Granny proves that a shoestring budget does not impede creativity, resourcefulness, or passion.
First published in Theatreview on 28 February 2025.
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