James Wenley is a theatre academic, practitioner and critic with a passion for promoting the theatre of Aotearoa New Zealand. He was awarded a PhD from the University of Auckland and is curently a lecturer in theatre programme of Te Herenga Waka—Victoria University of Wellington. James directs and produces for his company Theatre of Love. He is the editor and founder of TheatreScenes.co.nz, was a theatre critic for Metro Magazine and won the People’s Choice Award for Best Critic at the 2015 Auckland Theatre Awards. His writing has been published in the Journal of New Zealand Literature, The Pantograph Punch and Playmarket Annual.

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• List of illustrationsAcknowledgementsIntroductionChapter 1: National Travels in an International World: Overseas Performances 1940–1990Chapter 2: A Kiwi Hedda Gabler: Downstage on the Festival StageChapter 3: Performing Mana: Taking Māori Theatre to the Globe Chapter 4: Skin Tight’s World Flight: The Production of New Zealand Plays by International Companies Chapter 5: Beyond Biculturalism: Touring Pasifika and Transnational Theatre Chapter 6: Exporting Culture: Indian Ink Theatre CompanyChapter 7: Selling the Nation at the Edinburgh Festival FringeChapter 8: Making Meaning: Responses to Aotearoa New Zealand at the Edinburgh Festival Fringe 2019Chapter 9: Cultural Apocalypse: The Generation of Z: Apocalypse in LondonConclusion: Departure, Arrival, ReturnAppendix: Aotearoa New Zealand Theatre Productions Performed Overseas

James Wenley is a theatre academic, practitioner and critic with a passion for promoting the theatre of Aotearoa New Zealand. He was awarded a PhD from the University of Auckland and is curently a lecturer in theatre programme of Te Herenga Waka—Victoria University of Wellington. James directs and produces for his company Theatre of Love. He is the editor and founder of TheatreScenes.co.nz, was a theatre critic for Metro Magazine and won the People’s Choice Award for Best Critic at the 2015 Auckland Theatre Awards. His writing has been published in the Journal of New Zealand Literature, The Pantograph Punch and Playmarket Annual.

Select Guide Rating

• List of illustrationsAcknowledgementsIntroductionChapter 1: National Travels in an International World: Overseas Performances 1940–1990Chapter 2: A Kiwi Hedda Gabler: Downstage on the Festival StageChapter 3: Performing Mana: Taking Māori Theatre to the Globe Chapter 4: Skin Tight’s World Flight: The Production of New Zealand Plays by International Companies Chapter 5: Beyond Biculturalism: Touring Pasifika and Transnational Theatre Chapter 6: Exporting Culture: Indian Ink Theatre CompanyChapter 7: Selling the Nation at the Edinburgh Festival FringeChapter 8: Making Meaning: Responses to Aotearoa New Zealand at the Edinburgh Festival Fringe 2019Chapter 9: Cultural Apocalypse: The Generation of Z: Apocalypse in LondonConclusion: Departure, Arrival, ReturnAppendix: Aotearoa New Zealand Theatre Productions Performed Overseas

James Wenley is a theatre academic, practitioner and critic with a passion for promoting the theatre of Aotearoa New Zealand. He was awarded a PhD from the University of Auckland and is curently a lecturer in theatre programme of Te Herenga Waka—Victoria University of Wellington. James directs and produces for his company Theatre of Love. He is the editor and founder of TheatreScenes.co.nz, was a theatre critic for Metro Magazine and won the People’s Choice Award for Best Critic at the 2015 Auckland Theatre Awards. His writing has been published in the Journal of New Zealand Literature, The Pantograph Punch and Playmarket Annual.

Select Guide Rating

• List of illustrationsAcknowledgementsIntroductionChapter 1: National Travels in an International World: Overseas Performances 1940–1990Chapter 2: A Kiwi Hedda Gabler: Downstage on the Festival StageChapter 3: Performing Mana: Taking Māori Theatre to the Globe Chapter 4: Skin Tight’s World Flight: The Production of New Zealand Plays by International Companies Chapter 5: Beyond Biculturalism: Touring Pasifika and Transnational Theatre Chapter 6: Exporting Culture: Indian Ink Theatre CompanyChapter 7: Selling the Nation at the Edinburgh Festival FringeChapter 8: Making Meaning: Responses to Aotearoa New Zealand at the Edinburgh Festival Fringe 2019Chapter 9: Cultural Apocalypse: The Generation of Z: Apocalypse in LondonConclusion: Departure, Arrival, ReturnAppendix: Aotearoa New Zealand Theatre Productions Performed Overseas