Fact-checked by Grok 2 weeks ago

Stephen Sinclair

Stephen Sinclair (born 1956) is a , , , and whose works often explore themes of race, class, and social tension, informed by his background in Māori Studies. Sinclair gained prominence as co-author, with , of the stage comedy Ladies Night (1987), which depicts unemployed men forming a stripping act and achieved international success, including a French adaptation that won the Award for best comedy in 2001. In screenwriting, he collaborated with director on early films such as (1989) and (1992, also known as ), the latter earning him the Best Screenplay award at the 1993 New Zealand Film and Television Awards, and contributed to the screenplay for (2002). His other notable projects include the feature film Russian Snark (2010), which received six New Zealand Film Award nominations and international prizes, as well as novels like Thief of Colours (1995) and (2000), and poetry collection The Dwarf and the Stripper (2003). Sinclair's plays, such as The Bellbird (2002) and (2017), have been staged in and prescribed for curricula, underscoring his influence on local theatre.

Early Life and Education

Upbringing in Auckland

Stephen Sinclair was born in , , circa 1957. He grew up there as the son of Sir Keith Sinclair, a distinguished , , and longtime of at the , whose career included lectureships starting in 1947 and elevation to full professorship by 1963. Sinclair was one of at least two sons, with his brother later becoming a noted and . The family resided in , where Sir Keith had roots dating to his own birth in 1922 and upbringing in the suburb of amid a large, working-class household of ten children. By the time of Stephen's childhood, however, the household reflected Sir Keith's rising academic prominence, centered around intellectual pursuits in history, , and studies. Sinclair attended in , completing his secondary education there before pursuing tertiary studies.

Academic Background and Influences

Stephen Sinclair attended in before pursuing higher education. He studied at both the and , majoring in English and Māori Studies. In 1979, he earned a degree in Māori Studies, primarily from Victoria University. Following his degree, Sinclair served as a research assistant in the Studies Department at Victoria University from 1979 to 1980, contributing to scholarly work on and culture. He later worked as a translator of documents for the in in 1984, applying his academic training to historical preservation efforts. Sinclair's academic focus on Studies profoundly shaped his literary and theatrical output, instilling a recurring emphasis on racial tensions, , and bicultural dynamics in society, as evident in plays such as Le Matou and Caramel Cream. His early poetry, including the 1976 collection Twenty Poems, drew influence from his father, Keith Sinclair, a noted historian and whose works explored similar national themes. This familial literary heritage, combined with formal studies in English, informed Sinclair's satirical and socially critical style, though he has not publicly detailed additional specific mentors or external influences beyond these foundational elements.

Theatrical Career

Major Plays and Productions

Sinclair's most commercially successful play, Ladies Night, co-authored with , premiered at Auckland's in 1987, depicting unemployed factory workers forming a male troupe as a satirical take on economic hardship and . The production sparked national tours in and became a global phenomenon, with continuous stagings worldwide; its French adaptation won the Award for Best Comedy in 2001. A , Ladies' Night 2: Raging On, extended the narrative but did not match the original's reach. Earlier collaborations included Le Matau, or The Hook, co-written with Samson Samasoni and first performed by the Taotahi theatre group between 1982 and 1984, marking the inaugural stage exploration of Pacific Island immigrant experiences in . The Sex Fiend, co-authored with Danny Mulheron in 1989, gained popularity for its irreverent humor defying contemporary sensitivities and saw return seasons alongside amateur dramatics appeal. Caramel Cream (1992, Depot Theatre, ) examined interracial and gender tensions through a taut three-character structure, earning praise for its moral complexity. In the 2000s, The Bellbird premiered with Auckland Theatre Company in 2002 as a probing New Zealand's cultural psyche, later published by in 2004 and adopted as a prescribed text. The Bach followed in 2004 by the same company, depicting Kiwi bach culture with commercial success, including repeat seasons, a national tour, and designation as educational material. Blowing It, co-scripted with Stephen Papps and directed by Sinclair, debuted in 1999 and toured , receiving five-star reviews at the 2003 Edinburgh Fringe Festival for its solo comedic exploration of personal failure. Later works featured Drawer of Knives (2006, Circa Theatre, ), a surrealist thriller blending psychological tension with absurdity. Success (2015, Bats Theatre, , with Auckland runs) satirized rivalries and relationships. Sinclair also adapted his screenplay Braindead into a 1995 musical staged in and , capitalizing on the film's status.

Themes of Race, Class, and Identity

Sinclair's theatrical works frequently examine the intersections of race, class, and identity within New Zealand's bicultural and multicultural contexts, drawing from his academic background in Studies and his co-founding of Tao Tahi, a pioneering Pacific/ theatre company. His plays often portray cultural tensions between , (), and Polynesian immigrants, highlighting identity conflicts shaped by historical and contemporary social dynamics. In plays addressing race, Sinclair explores interracial relationships and systemic biases, as seen in Caramel Cream (premiered 1991), which depicts the fraught dynamics between a teenager and a man, underscoring and in interpersonal and societal interactions. Similarly, Le Matou (The Fish Hook, co-written with Samson Samasoni, premiered 1984) focuses on Samoan immigrant experiences, probing cultural displacement and racial hierarchies in urban . The Bellbird (premiered 2002), set in 1860s , dramatizes a historical between a European woman and a man, examining passion, family loyalties, and the collision of and worlds amid colonial upheaval. These works prioritize empirical portrayals of ethnic friction over idealized , reflecting Sinclair's emphasis on undiluted cultural . Class themes emerge prominently in Sinclair's satires of economic disparity and working-class resilience, exemplified by (co-written with , premiered 1987), where a group of unemployed workers resorts to a male strip show, satirizing capitalism's dehumanizing effects on blue-collar men during economic downturns. Earlier efforts like The Houzie Show (co-written with Simon Wilson, premiered 1981) and the musical Big Bickies further critique class structures through community-based political and economic narratives. Identity motifs in Sinclair's oeuvre intertwine personal self-conception with racial and affiliations, often employing humor or to dissect formation. His characters grapple with hybrid identities amid New Zealand's post-colonial landscape, as in the cultural clashes of Caramel Cream and Le Matou, where individual agency contends with collective ethnic expectations. This focus aligns with Sinclair's broader corpus, which avoids reductive narratives and instead privileges causal analyses of social identity rooted in historical and economic realities.

Screenwriting and Directing

Early Film Collaborations

Sinclair's entry into film occurred through collaborations with in the late 1980s and early 1990s, marking his transition from to within New Zealand's scene. His first major film credit was on (1989), a film directed by Jackson, where Sinclair co-wrote the alongside Jackson and . The project, produced on a modest budget, featured satirical elements involving anthropomorphic characters in a seedy underworld, reflecting the splatter and absurdity typical of Jackson's early "splatstick" style. Following this, Sinclair contributed to Braindead (1992, released internationally as Dead Alive), another Jackson-directed horror-comedy known for its extreme gore and over-the-top zombie narrative. Sinclair originated the core zombie tale concept and co-wrote the screenplay with Jackson and Walsh, emphasizing chaotic family dynamics and supernatural escalation. The film, shot primarily in , achieved cult status and earned Sinclair, Jackson, and Walsh the Best Screenplay award at the 1993 New Zealand Film and Television Awards. These early collaborations established Sinclair's reputation for blending with visceral effects in low-budget productions, leveraging Jackson's innovative practical effects techniques. While Sinclair's directorial involvement in features was limited at this stage, his writing helped propel Jackson's career trajectory toward larger-scale projects, though Sinclair's subsequent film work shifted more toward credits on major adaptations.

Contributions to Major Films

Sinclair first collaborated with director and producer on the for the black comedy puppet film , released in 1989, which satirized the entertainment through grotesque characters and . This marked an early entry in Jackson's filmmaking career, blending elements with musical sequences, and Sinclair's writing contributed to its cult status despite mixed critical reception for its explicit content. He continued the partnership for (also known as ), a 1992 zombie horror-comedy, where Sinclair co-wrote the screenplay with Jackson and Walsh, emphasizing over-the-top gore and slapstick violence in a story about a young man battling relatives. The film's screenplay earned the Best Screenplay award at the 1993 New Zealand Film and Television Awards, highlighting its inventive narrative structure and practical effects integration. With a budget of approximately NZ$265,000, Braindead achieved international recognition, grossing over $250,000 in the U.S. alone and influencing later splatter films. Sinclair's most prominent film credit came as co-writer of the screenplay for (2002), the second installment in Peter Jackson's adaptation of J.R.R. Tolkien's epic, alongside Walsh, , and Jackson himself. His contributions stemmed from early development work in 1997, including co-authoring a draft for a proposed two-film version of the trilogy, which informed the final three-film structure despite the project's evolution through multiple script iterations.) The film, which grossed over $947 million worldwide and won two , credits Sinclair for adapting key sequences such as the and the Ents' march on , balancing fidelity to the source material with cinematic expansions. This involvement elevated his profile in high-profile fantasy cinema, though his role was one among a team that refined the script over years of pre-production.

Later Directorial Efforts

Sinclair transitioned to directing in the mid-2000s, following his screenwriting contributions to major productions, beginning with short films that showcased his interest in character-driven narratives with unexpected twists. His debut as a director was the 15-minute comedy-thriller Ride (2004), which he also wrote. In the film, a thriller-obsessed bookworm named Sue waits alone at a remote rural and preemptively attacks a seemingly threatening stranger in , only to uncover a surprising reversal through subsequent events. Produced by Liz DiFiore under Godzone Pictures, Ride screened at international festivals including the , International Film Festival, and LA Shorts Fest in 2004. Sinclair directed additional shorts during this period, such as , though details on these remain limited in public records. These works marked his shift toward independent , emphasizing concise storytelling over large-scale effects-driven projects. His feature directorial debut came with Russian Snark (2010), a bittersweet he wrote and directed, inspired by a real-life Russian couple who arrived in via lifeboat in the 1990s. The film follows Misha (Stephen Papps), a down-on-his-luck Russian obsessed with experimental , and his wife Nadia (), who supports their dream by working as a amid financial woes after fleeing to "Godzone" (). Premiering at the New Zealand International in on July 23, 2010, it explores themes of artistic exile, cultural dislocation, and the challenges of indie production in a new land. Russian Snark received six nominations at the 2010 Film and Television Awards, including Best , Best Feature Film, and Best Screenplay. Despite critical notes on its uneven pacing and cultural commentary, the film highlighted Sinclair's ability to blend humor with immigrant struggles.

Literary Works

Novels

Thief of Colours, published by in 1995, is a set in the village of , where a mysterious greyness drains the color from the environment, prompting rumors of solar anomalies, chemical pollution, or retribution. Protagonists Margie and investigate the phenomenon, uncovering links to an , a peculiar stone, and an entity dubbed the "Thief of Colours," blending elements of mystery, humor, and tension for its target audience of older children and teens. The book received praise for its vibrant imagery and imaginative narrative, with the Nelson Mail describing it as "vibrant and imaginative." A new edition appeared in 2025. Sinclair's second novel, , released by Spineless Press in July 2000, marks his debut in adult fiction. Limited public details exist on its plot, but it follows the author's transition from youth-oriented storytelling to .

Poetry Collections

Sinclair's earliest published poetry appeared in the form of Twenty Poems, a slim volume issued by the Cabbage Press in in 1976. This debut collection reflected his emerging voice amid New Zealand's literary scene, with individual poems also finding placement in periodicals like . His subsequent collection, The Dwarf and the Stripper, was published in 2003 by Addenda in . The volume draws on vivid, often irreverent imagery to explore human marginality and urban grit, with selections later included in the anthologies Spirit Abroad: A New Zealand Poetry Anthology and Poems (edited by Bill Manhire). Sinclair's poetry, spanning these works, maintains a concise, observational style influenced by his broader thematic interests in identity and social undercurrents, though it remains less prominent than his dramatic and prose output.

Awards and Recognition

Theatre and Literary Honors

Sinclair co-authored the play with , which premiered in in 1987 and gained widespread international success, including translations into 16 languages and eight sell-out tours in . The French production of won the Award for best comedy in 2001, France's premier theater honor for stage comedy. No major literary awards for Sinclair's novels Thief of Colours (1995) or (2000), nor for his collection The Dwarf and the Stripper (2003), are documented in primary sources from the author or reputable publishers. His literary output, while published by established houses like , has not received equivalent accolades to his theatrical work.

Film Festival Achievements

Sinclair's Ride (2004), which he wrote and directed, received selections at multiple international festivals, including the International Film Festival, International Film Festival, Short Film Festival, New Haven FilmFest, and Hofer Filmtage. His feature-length directorial debut, Russian Snark (2010), premiered at the International in on July 17, 2010. The screened at various international venues thereafter and garnered awards, including Best International at the Garden State in , in March 2011. Russian Snark also received the Grand Jury Prize for Best of the Festival at the Independent Film Festival on May 7, 2011. These successes followed six nominations at the 2010 Film and Television Awards, though the festival wins highlighted the film's reception among independent cinema circuits. No further directorial works by Sinclair have been documented with comparable festival accolades.

Reception and Legacy

Critical Assessments

Sinclair's play (1987), co-written with , achieved significant commercial success, including eight sold-out tours in the and a Award for best in in 2001, reflecting its broad appeal as a lighthearted about unemployed men forming a striptease troupe. Critics have described it as "deeply funny" with "fabulous choreography and music," emphasizing its escapist entertainment value amid economic hardship themes, though some contemporary reviews note its brash humor suits end-of-year frivolity without deeper analytical scrutiny. His contributions to screenplays for Peter Jackson's films, including (1989) and (1992), aligned with the director's "splatstick" style, earning cult followings for their grotesque humor and innovative effects, but specific critical attribution to Sinclair remains limited amid collaborative credits. The screenplay for (2002), co-written with Jackson, , and , received an Academy Award nomination for Best Adapted Screenplay, praised for balancing epic scope with character-driven action, though purist adaptations faced fan critiques for deviations from J.R.R. Tolkien's text, such as expanded battle sequences. Sinclair's directorial debut Russian Snark (2010), which he also wrote, garnered mixed reviews for its idiosyncratic portrayal of a Russian filmmaker's obsessive pursuit of art in , with critics commending strong performances—particularly Stephen Papps as the —and wry , but faulting its modest plot and reliance on local clichés like familial redemption. New Zealand Herald critic Peter Calder awarded it 3.5 stars, highlighting its eccentric charm and festival nominations, including a win for best international at the Garden State Film Festival, while Stuff.co.nz called it a "wee gem" defying low-budget constraints through acting and quirkiness. The Otago Daily Times noted its drier tone and classy belying modest production, positioning it as an unconventional resistant to categorization. In literary works, Sinclair's young adult novel Thief of Colours (1995) received lukewarm reader assessments, with an average Goodreads rating of 2.9 out of 5, praised for its imaginative premise involving a color-stealing entity in a monochromatic village but critiqued for lacking excitement suitable for middle-grade audiences, better suiting older teens or adults. His plays, often exploring race relations informed by his Māori studies background, have been recognized for addressing social tensions in New Zealand theatre, though broader critical discourse remains niche compared to his commercial hits. Overall, Sinclair's oeuvre is valued for accessible humor and cultural commentary but occasionally critiqued for prioritizing entertainment over narrative depth in solo endeavors.

Cultural and Social Impact

Sinclair's theatrical works have engaged with 's multicultural fabric, particularly through explorations of migrant experiences and interracial dynamics. In Le Matou (1984), co-written with Samson Samasoni, the play depicted the challenges faced by Samoan migrants adapting to life in , highlighting cultural dislocation and urban survival amid the country's growing Pacific Island diaspora. This collaboration, rooted in Sinclair's formation of the Māori-Pacific Island group Taotahi in 1982, which staged performances emphasizing and immigrant narratives around until 1984, contributed to early efforts in amplifying underrepresented voices in Kiwi . The enduring popularity of (1987), co-authored with , addressed economic precarity and evolving male identities during New Zealand's neoliberal reforms of the . Centered on unemployed factory workers forming a male strip troupe to combat financial despair, the play satirized deindustrialization's toll on working-class communities while underscoring themes of camaraderie and reinvention. Its widespread staging, including international adaptations, fostered broader conversations on gender fluidity and labor market disruptions, cementing Sinclair's role in commercial theatre that blended entertainment with social observation. In film, Sinclair's screenplay contributions to Peter Jackson's early productions, such as (1989) and (1992), advanced New Zealand's reputation for irreverent, genre-bending cinema. These cult favorites, with their grotesque humor critiquing societal hypocrisies, paralleled the country's transition toward a creative export economy and influenced subsequent waves of antipodean horror-comedy. Collectively, Sinclair's output has reinforced theatre and screen as vehicles for dissecting New Zealand's socioeconomic shifts, from bicultural tensions to post-industrial adaptation, without dominating global discourse but enriching local cultural self-examination.

References

  1. [1]
    Stephen Sinclair - Writer's Files - Read NZ Te Pou Muramura
    Stephen Sinclair is a playwright, screenwriter and poet. He has a background in Māori Studies and his plays are often concerned with the tensions of race and ...
  2. [2]
    PROFILE | Stephensinclair
    ​. Stephen writes and directs for the screen and stage. He is perhaps best known as the co-writer of The Two Towers, being the second film in the Lord of the ...
  3. [3]
    Ladies Night - Stephen Sinclair, Anthony McCarten - Google Books
    Bibliographic information ; Title, Ladies Night ; Authors, Stephen Sinclair, Anthony McCarten ; Publisher, Playmarket, 2003 ; Length, 53 pages.
  4. [4]
    Stephen Sinclair | NZ On Screen
    Playwright and novelist Stephen Sinclair was part of the writing team behind Peter Jackson's bad taste duo Meet the Feebles and Braindead.
  5. [5]
    Stephen Sinclair - IMDb
    Stephen Sinclair is known for The Lord of the Rings: The Two Towers (2002), Dead Alive (1992) and Russian Snark (2010).
  6. [6]
    Twelve Questions: Stephen Sinclair - NZ Herald
    Jun 17, 2013 · The son of noted historian and poet Sir Keith Sinclair and brother of actor Harry, he says he never expected to make a living with his writing.Missing: early upbringing
  7. [7]
    Sinclair, Keith | Dictionary of New Zealand Biography | Te Ara
    Although the family was poor, Sinclair's childhood was active and adventurous, especially after the family moved to Point Chevalier in 1931.
  8. [8]
    Obituary: Sir Keith Sinclair | The Independent
    Aug 4, 1993 · Keith Sinclair, historian and poet: born 5 December 1922; Lecturer in History, Auckland University College 1947-52, Senior Lecturer 1952-60, ...Missing: upbringing | Show results with:upbringing
  9. [9]
    Detailed CV | Stephensinclair
    Stephen attended Auckland and Victoria Universities, majoring in English and Maori Studies. He worked as a research assistant at the Maori Studies Department, ...Missing: playwright upbringing
  10. [10]
    The bellbird : a play / by Stephen Sinclair.
    ISBN 1877348481 (pbk.) "Set in Marlborough in the late 1860s, The Bellbird brings the worlds of Māori and Pākehā together in a haunting play of passion, family ...Missing: themes | Show results with:themes<|separator|>
  11. [11]
    Stephen Sinclair - Nordiska - International Performing Rights Agency
    He was born in Auckland and educated at Westlake BHS and Auckland and Victoria universities (BA in Maori studies 1979).Missing: upbringing | Show results with:upbringing
  12. [12]
    Stephen Sinclair - Alma Books
    Stephen Sinclair is a New Zealand film, theatre and television writer. As a screenwriter, he has worked with director Peter Jackson on Meet the Feebles, ...
  13. [13]
    Awards | Braindead | Film - NZ On Screen
    1993 New Zealand Film and TV Awards Best Film Director - Film: Peter Jackson Screenplay - Film: Peter Jackson, Stephen Sinclair and Fran Walsh
  14. [14]
    Stephen Sinclair - New Zealand Film Commission
    Braindead (Writer). Horror. Feature. 1992. 95min · Meet the Feebles (Writer). Comedy. Feature. 1990. 96min · Ride (Director, Writer). Comedy. Short. 2004. 15min.
  15. [15]
    Ride - New Zealand Film Commission
    Synopsis: Alone at a deserted bus stop, a thriller-obsessed bookworm attacks a threatening man in self-defence. Through a strange twist of ...
  16. [16]
    Short Films | Godzone Pictures
    Jun 22, 2004 · Ride (2004) 15 min. 35mm theatrical short. Writer/Director: Stephen Sinclair. Producer (Oceania programme – Montreal 2004, Brisbane 2004, LA Shorts Fest 2004)
  17. [17]
    Russian Snark | Film - NZ On Screen
    Russian Snark - Braindead writer Stephen Sinclair's feature directing debut was inspired by a Russian couple who sailed to Aotearoa in a lifeboat.
  18. [18]
    Russian Snark (2010) - Stephen Sinclair - Letterboxd
    May 7, 2025 · Misha (Stephen Papps), a once celebrated filmmaker who has fallen on hard times, resolves to leave his homeland in search of a film-friendly ...
  19. [19]
    Russian Snark - New Zealand International Film Festival
    Screenwriter Stephen Sinclair turns writer/director with this bittersweet comedy about two refugee artists from Russia getting to grips with life in the South ...Missing: plot | Show results with:plot
  20. [20]
    Stephen Sinclair | NZ On Screen
    Stephen Sinclair - Playwright and novelist Stephen Sinclair was part of the writing team behind Peter Jackson's bad taste duo Meet the Feebles and Braindead ...Missing: playwright | Show results with:playwright<|control11|><|separator|>
  21. [21]
    FILM REVIEW: 'Russian Snark' - Otago Daily Times
    Jun 18, 2011 · Perhaps this has something to do with using Russian immigrants to ask questions about our cultural identity, but Stephen Sinclair's script ...<|separator|>
  22. [22]
    Thief of Colours - Sinclair, Stephen: Books - Amazon.com
    Stephen Sinclair is a New Zealand playwright, screenwriter and novelist. His many plays include 'The Bach' and 'The Bellbird', both of which are prescribed ...
  23. [23]
    Stephen Sinclair Writer - Facebook
    A new edition of my book, THIEF OF COLOURS, a novel for young adult readers described as “vibrant and imaginative” by the Nelson Mail.
  24. [24]
    Dread: Sinclair, Stephen: 9780473067694 - Books - Amazon.com
    30-day returnsStephen Sinclair. Dread ... " Of his play "Caramel Cream" NZ Listener reviewer Dennis Welch wrote that ...
  25. [25]
    Ladies Night: McCarten, Anthony, Sinclair, Stephen - Amazon.com
    The ultimate night out – and not only for the girls! Ladies Night tells the story of five Liverpudlian men on the dole who decide to form a male stripping act.
  26. [26]
    Stephen Sinclair - New Zealand International Film Festival
    Screenwriter Stephen Sinclair (Braindead) turns writer/director with this bittersweet comedy about a couple of refugee artists from Russia (Stephen Papps, ...
  27. [27]
    NZ Film Wins Coveted Award at New Jersey Film Festival | Scoop ...
    This adds to their 6 nominations and 1 award at the Qantas NZ Film and TV Awards 2010, and the 3 nominations at the US based Maverick Movie Awards in December.Missing: achievements | Show results with:achievements
  28. [28]
    Russian Snark picks up top award at Brussels International Film ...
    Award of the International Competition. GRAND PRIZE – BEST OF THE FESTIVAL. Assigned RUSSIAN SNARK – New Zealand. Director: Stephen Sinclair.
  29. [29]
    Russian Snark up for six Qantas Awards | The Big Idea
    Sep 18, 2010 · The Stephen Sinclair-directed film Russian Snark is up for six awards at the annual Qantas NZ Television and Film awards in Auckland on Saturday ...
  30. [30]
    Ladies Night - Stage Whispers
    Ladies Night has an impressive record - eight sold-out tours of the UK, a Moliere Prize (France's premiere award for comedy), and translations ...Missing: review criticism
  31. [31]
    Ladies Night (play) - Wikipedia
    Ladies' Night is a play by the New Zealand writers Stephen Sinclair and Anthony McCarten about a group of unemployed workers who develop a male strip show.
  32. [32]
    Ladies Night - Theatreview
    Barry, Gavin, Norman, Craig and Wes find themselves down on their luck outside the pub on Saturday night. What starts as a drunken joke, rapidly becomes a ...
  33. [33]
    Ladies Night - Otago & Southlands Professional Theatre in Dunedin
    "Brash, loud, funny and updated just enough to be at home in the 21st century, Ladies Night makes a fine choice for end-of-year frivolity." Read the full review ...Missing: criticism | Show results with:criticism<|separator|>
  34. [34]
    Stephen Sinclair | NZ On Screen
    Stephen Sinclair - Playwright and novelist Stephen Sinclair was part of the writing team behind Peter Jackson's bad taste duo Meet the Feebles and Braindead ...<|separator|>
  35. [35]
    RUSSIAN SNARK, a film by STEPHEN SINCLAIR (VM DVD)
    A once-acclaimed Russian film director, who arrives in New Zealand in the late Nineties with his wife-cum-muse Nadia (Elena Stejko) in a tiny lifeboat.
  36. [36]
    Movie Review: Russian Snark - Entertainment News - NZ Herald
    Jun 15, 2011 · Movie Review: Russian Snark. Peter Calder. NZ Herald·. 15 Jun, 2011 12 ... Misha (Papps) is a Russian film-maker in self-imposed exile ...
  37. [37]
    Russian Snark a wee gem - Stuff
    Jul 10, 2011 · Brief, good natured, defiantly idiosyncratic and eccentric, Russian Snark is a wee gem. With bugger-all money, but a pack of great actors, a ...
  38. [38]
    Thief of Colours by Stephen Sinclair | Goodreads
    Rating 2.9 (15) A terrifying adventure begins when Margie and Henry are led to an old mine shaft. What is the significance of the stone? Who is the thief of colours and can he ...
  39. [39]
    Review: Russian Snark | The Big Idea
    Arriving in a small orange submarine, Nadia (Elena Stejko) and Misha (Stephen Papps) are a Russian couple who have come to New Zealand looking for a new life.
  40. [40]
    [PDF] Reverse chameleon in the Kiwi jungle: - University of Canterbury
    and Stephen Sinclair. The group is most remembered for producing the first ... (The Bellbird). Especially in the 1980s he wrote plays and films that ...
  41. [41]
    ALL | Stephensinclair
    Dec 24, 2024 · When I first became interested in going to the theatre as an adolescent in the early '70s, New Zealand plays were fairly thin on the.Missing: playwright life upbringing