TE PUKE, Bay of Plenty – The curtain opened tonight on the highly anticipated premiere of “Call Girls,” also known colloquially as “Calls,” the latest production from the esteemed Te Puke Repertory Society, captivating a packed house at the Puke Repertory Society Theatre. Directed by Michael Jones, the production immersed the audience in the heartfelt and often hilarious battle of the residents of Beach Haven Rest Home, exploring themes of resilience, community, and the fight for what one holds dear.
The atmosphere was electric as theatre-goers, eager to witness the society’s newest venture, filled the historic venue. Adding to the professional sheen of the evening, Te Puke Digital, operating under the umbrella of the Vector Group Charitable Trust, was on hand to capture the night’s magic with videography. From the opening scene, the audience was drawn into the compelling narrative, a testament to the cast’s dedication and the creative vision behind the production.
The story unfolds at Beach Haven, a once-grand historical building that serves as a sanctuary for its female residents. The serenity of their home is under severe threat from Councilor Jonathan Leonard, an official characterized as greedy, devious, and “ruled by money.” Leonard relentlessly pressures Sarah Ellswick, the devoted owner of Beach Haven, by imposing escalating demands for costly upgrades and endless paperwork, aiming to declare the property unsafe. His ultimate goal, seemingly, is to facilitate its sale to “shady developers” who plan to demolish the historic promenade and erect a “huge retirement village” in its place, erasing the town’s identity.
Sarah, who inherited the home from her aunt and is dedicated to preserving its legacy as a refuge for women, finds herself on the brink of losing everything. The spirited residents – Ivy, Pauline, Angela, and Rose – band together to save their cherished home. Their initial fundraising efforts are quite traditional, including art exhibitions by Pauline, bake sales, jumble sales, and raffles. They even agree to knit for a new church roof, demonstrating their charitable spirit despite their own desperate situation. Rose, in particular, produces uniquely imagined knitted items, including “trousers” with three arms and a beanie for conjoined twins.
However, these efforts prove insufficient against Leonard’s mounting financial demands and constant interference. Leonard frequently disrupts their events with unexpected health and safety inspections, even accusing Sarah of offering “sexual favors” to him and creating negative press that slams Beach Haven as a “health and safety hell hole,” jeopardizing their support.
In a desperate, and remarkably unconventional, move, the ladies consider a more profitable venture: setting up a senior citizens’ chat line service, cleverly naming themselves the “Call Girls.” This audacious idea, proposed by web designer Tim, involves the women adopting glamorous alter-egos reminiscent of old Hollywood stars – Lauren (Pauline), Ava (Ivy), Marilyn (Angela), and Sophia (Rose). The objective is to keep clients on the line as long as possible for a fee.
Rose unexpectedly becomes the star performer, generating substantial income by adopting a “mommy” persona and engaging in “baby talk” with her callers, who are often lonely men seeking companionship. While this highly lucrative method raises eyebrows and sparks internal debates about morality, it highlights the extent of their determination. Other residents’ attempts to replicate Rose’s success yield mixed results, with Angela panicking on her first call and Ivy accidentally revealing her true identity to a client. Sarah herself attempts to offer a “personal service” to a VIP client, demonstrating her willingness to push boundaries for the cause.
A significant turning point occurs with the filming of the popular television show “Hidden Gems” at Beach Haven, a surprise arranged by Sarah. Hosted by Philip Dingle, the segment uncovers remarkable treasures among the residents’ seemingly mundane possessions: Ivy’s King George’s personal pillowcase, Angela’s sketch potentially by the famous Russian artist Vladism Tricky, Pauline’s prized “misty diamond” ring (sadly revealed to be a fake plastic stone), and most notably, Rose’s late son Ian’s unreleased recordings and memorabilia from the legendary punk rock band “The Love Guns,” which are valued at a staggering £150,000-£175,000, becoming the most significant find.
Despite raising a substantial sum from these discoveries, the money is still not enough to cover Leonard’s ever-increasing demands, forcing the women to contemplate yet another “last push” and think “out of the box.” The play’s narrative underscores the indomitable spirit of community and friendship as these women, facing daunting challenges, use humor, ingenuity, and sheer determination to fight for their beloved home. As director Michael Jones encouraged, audiences are invited to “just sit back and enjoy the show” and witness this compelling tale unfold.
“We are absolutely thrilled with the reception tonight,” said Michael Jones, director of “Call Girls” and a long-standing member of the Te Puke Repertory Society. “The cast and crew have poured their hearts into this production, and to see the audience connect with it so deeply is incredibly rewarding. We aimed to tell a story that resonates, and judging by the reaction, we’ve succeeded.”
Many attendees expressed their delight. “I wasn’t sure what to expect from the title, but it was truly brilliant,” commented local resident Steve Fawcett. “The acting was superb, and it really made you think. Te Puke is so lucky to have such a talented repertory society.”
The Te Puke Repertory Society, known for its vibrant contributions to the local arts scene, continues to foster theatrical talent and provide high-quality entertainment for the community. “Call Girls” is set to run for a limited season, and early indications suggest tickets will be in high demand.
Don’t miss your chance to experience this captivating new production. Tickets are available through the Te Puke Repertory Society’s website or at the door.
