Sneak Preview and an Ask: All You Had Was Fun

Kia ora y’all!

If you’re getting this email, it’s because you’re a subscriber of this newsletter and one of the following: friend, supporter of me and my work, or kindly stranger (maybe all of the aforementioned at varying points).

I’m gonna be straight-up about this: This is a fundraising email. I’m doing a show called All You Had Was Fun in November at Q Theatre in Tāmaki Makaurau (Auckland, for the internationals).

It’s a really cool show about friendship with a really cool cast and some epic designers onboard. We’ve had a little bit of Creative New Zealand funding but not a lot, not quite enough to do the show to the level that it deserves. We’re looking to raise $8000 – roughly a third of the show’s total budget – to do this.

If you want to skip the rest of this email and throw some dollars toward the campaign without further explanation – any amount helps – click here. I understand all donations qualify for a 33% tax credit and you get to feel good about contributing to making something really cool happen. If you also can't or don't want to donate because you pay for a subscription to this newsletter, you don't have the dosh, or simply don't want to put money towards this production (fair enough tbh), then you can click out of this email. I won't be asking again, promise, my coverage will return to reviews of books and shows, the occasional essay, and By the Numbers.

However: if you want to learn a little bit more about the show, why I’m doing this crowdfunding campaign, or you just love reading emails, read on.

We haven’t officially launched our crowdfunding campaign, but general wisdom about these things is that hitting up your friends, family and general supporters before launching is the way to go about it.

A little bit about the show: All You Had Was Fun was a show that has been in gestation for some time. The concept came out of the lockdowns: I wanted to get in rooms with actors again, and workshop a show that took what I did best – naturalism – and use it in a way that ignites an audience to lean in and engage with work. The concept sounds simple and even down-to-earth – four friends hanging out and grieving a fifth – but the execution is experimental, messing with form in a really fun way, and honestly like nothing I’ve made before.

I worked with over 30 actors to workshop this show across 2022, paying them out of my own pocket. I’ve been lucky enough to be supported by Barbarian Productions’ Ruckus programme (to do a public reading), Q Theatre (to do another public reading), and the Michael King Writers Centre (to finalise a draft ready to rehearse) after this. Q Theatre have also been generous with in-kind support to allow us to transform the Q Vault into a space like you’ve never seen before.

The cast we’ve ended up with includes Max Crean (who you might remember from A Rich Man), Kate Johnstone, Adeline Shaddick (both who you might remember from my 2018 show Jacinda) and Tyler Wilson-Kokiri (who is brand new to my work but I can vouch for his talent). Our design team includes Filament 11 (who designed the absolutely tremendous production of A View from the Bridge at Silo Theatre earlier this year) and Kristine Crabb (and I suspect if you’re getting this email, she needs no introduction). I also want to give a massive shoutout to Jinki Cambronero for our show photography, which captures exactly what I want the show to be.

That’s the what. You can click the link here if you want and skip the rest or you can continue.

Why I’m crowdfunding for this one: If you know me, I’m a big fan of doing work under my own steam wherever possible. I’m not a big fan of asking people permission to put on work, which is why all but three of the twenty or so productions I’ve put on have been done entirely without support. (The only one of these to receive Creative New Zealand funding has been Burn Her, so we’re looking for a pretty high bar to meet – and clear.)

I’m proud of the work I’ve done with nothing but my own wallet and the generous in-kind support of so many artists, institutions and supporters. We’re talking a show in the Basement greenroom. We’re talking a show that toured around the country in the car. We’re talking a show in a community hall off of K’Rd that skewered one very specific arts ex-philanthropist.

I think it’s ready to step it up though. I’ve been doing this for 15 years, y’all. 

All You Had Was Fun is an audacious idea. I think it’s one of the best things I’ve ever written. It’s also one of the biggest swings I’ve made as an artist. This is an idea that people have already believed in. We even managed to get over the line with Creative New Zealand – do you know how hard that is in 2026?

That’s the what, and the why. Here’s that link again.

How can I support?

Firstly, you can donate.

Secondly, you can share this with someone you think might be keen to donate. I’ve got a pretty big circle but the more the merrier.

Thirdly, you can book a ticket. Our show is set to go live on the Q website tomorrow! We don’t open until November, but early sales build confidence, and in a culture where people are spontaneous bookers, not planning ones, the earlier we can get the ball rolling, the better.

Fourthly, we’ll be campaigning alongside show promo. Any shares of that will be so much appreciated.

Otherwise, send vibes. I’m never opposed to good vibes.

If you have any questions, compliments, insults, thoughts, or frankly, ideas about any ways you’d like to support All You Had Was Fun, drop me a line on any of the platforms you know me on.

Love your work, thank you for your support in any way,

Brooks.