Falling in Love Again
“Ward-Lealand is glorious as Marlene”
“This glamorous cabaret salute is above all
a night of wonderful music making.”
Falling in Love Again
In 2002 Jennifer Ward-Lealand was approached to play the title role of
Marlene Dietrich in a production of Marleneby British playwright, Pam
Gems. In mid 2003 the Potent Pause production opened at the Herald
Theatre in Auckland to a sold out season.
Following the success of this production, Jennifer was asked to perform
a Dietrich cabaret for The Edge / AK03 Festival Club. Falling in Love
Againwas devised in collaboration with Musical Director Grant Winterburn.
Singing highlights from Miss Dietrich’s films, concerts and recordings,
Jennifer features songs by Cole Porter, Edith Piaf, Frederic Hollander and
Pete Seeger. Jennifer and Grant are joined by bass player Aaron Coddel.
Beautifully lit by lighting designer Andrew Malmo, and featuring an exquisite
recreation of one of Dietrich’s famous gowns, this show vividly captures the
style and glamour of a time gone by.
“This show has been incredibly popular. We love
performing it and best of all, people leave the theatre
having had a great night out.”
- Jennifer Ward-Lealand
Contact: Andrew Malmo: [email protected]; 0274 732 480
“Ward-Lealand is glorious as Marlene. She sings, she is calculating and
coquettish. She cracks one-liners with cruel glee.”
Michelle Hewitson New Zealand Herald April 2003
“Everything rides on Jennifer Ward-Lealand’s performance. . . . Without a
sense of truth from her, the screen goddess would be no more than a piece
of cabaret mimicry. . . . she creates a genuine glamourpuss. The audience
warmed most to Marlene’s performance of great tunes from Cole Porter to
Samuel Lerner and Pete Seeger. Here Ward-Lealand dazzles, her seductive
voice helped by pianist Grant Winterburn and bass player Aaron Coddel.”
Gilbert Wong Sunday Star-Times April 2003
“When a luminary pays tribute to a legend, there’s an extra dusting of starlight.
This glamorous cabaret salute is, above all, a night of wonderful music
Jennifer Ward-Lealand, better known in this country as an actress, is also a
great singer. Her convincing reproduction of Dietrich’s extraordinary growls,
sighs, sneers and simpers takes us back to a time when stars burned longer
and stronger in the popular imagination.
And then there’s the fur coat! And the dress, skillfully lit by Andrew Malmo,
especially in blue light.
With Grant Winterburn’s sizzling piano and Aaron Coddel’s slinky bass, WardLealand covers a range of material in French, English and Dietrich’s native
She displays styles, from pert to coquettish, through poignant, patriotic and
passionate, to the wry vamp we all recall.
In particular, her delivery of Cole Porter and Piaf songs, quirky and edgy in the
timing, reflect the skill of both performer and subject at wringing nuance out of
Ward-Lealand has Marlene give brief introductions to her songs. We learn of
how she came to be in the movies with her first great film, The Blue Angel, of
her love of all things American, characterized in a mournful version of ‘My Blue
The emotional heart of the show is captured in the singing, in English, of the
great wartime tune ‘Lilli Marlene’ and, in German, Pete Seeger’s ‘Where Have
All the Flowers Gone? So many boys lured by song, gone to graveyards every
Gail Pittaway Waikato Times February 2004
“Auckland-based Jennifer Ward-Lealand is not only a consummate actress
but also an outstanding singer.
In her cabaret show she recreates perfectly the singing style of the legendary
Marlene Dietrich. With her uncanny natural resemblance to Marlene, wearing
a marvelous recreation gown, the illusion is complete. The elegance, glamour
and style of a past era is vividly caught. Ward-Lealand is Marlene in gesture,
mood and movement—masterfully capturing her alluring and seductive
personality from stage and screen.
The song selection was varied and imaginative, apart from the expected
famous songs. There are unusual and quirky ones from Dietrich’s wide-ranging
The Cole Porter classics ‘You Do Something to Me’ and ‘I Get a Kick Out of
You’ were great. His slinky ‘Laziest Gal in Town’ was atmospheric, marvelously
funny and clever. Hollander’s ‘Johnny’ in German was suggestive and a real
Ward-Lealand’s ability to use Dietrich’s distinctive and unusual phrasing was
magical to listen to especially in ‘Where Have All the Flowers Gone’ in the
German version and in ‘Warum (Das Lied is Aus)’.
The beautiful songs ‘When the World Was Young’ and ‘The Apple Tree’ were
new to me, while an hilarious version of ‘Making Whoopee’, with different
musical accents, demonstrated Dietrich’s sly humour.
With Grant Winterburn smart and stylish on piano, and Aaron Coddel on
double bass, along with effective lighting from Andrew Malmo, the evening
The show is a stunningly good piece of sophisticated cabaret, hugely
rewarding and enjoyable.”
Garth Wilshire Capitol Times July 2005
Marlene back and brilliant
“Jennifer Ward-Lealand first played Marlene Dietrich in the title role of the
production of Marlene in 2002; she then devised a cabaret-styled performance
in 2003 for the Auckland Festival.
Falling in Love Again is not just a musical tribute to Marlene Dietrich —WardLealand takes the stage in full costume; having been introduced as Marlene
Dietrich. Backed by Grant Winterburn (piano) and Aaron Coddel (double
bass), Ward-Lealand takes the audience on a tour through Dietrich’s song
highlights (from both her albums and films) including such gems as Pete
Seeger’s ‘Where Have All the Flowers Gone’ and one of her signature songs
The Expressions Theatre is the perfect – intimate – space for this theatrical
performance. And Ward-Lealand is wise in her choice not to break character;
her dedication and conviction adds weight to her recreation of an icon and
an era. Marlene Dietrich was never the world’s greatest singer – but she was
an expressive performer as renditions of ‘Johnny’ and Edith Piaf’s ‘La Vie en
Winterburn’s melodic tinkling is reminiscent of Ralph Sharon and George
Shearing, with Coddel’s fingers doing a spidery dance down the neck of his
upright bass, showing empathy for the tunes every step of the way.
Ward-Lealand is a good singer in her own right (in actual fact she is a better
singer than Dietrich ever was) but she does a superb job in recreating the
phrasing and tone – the very colour – of her voice; her clipped intonation
on ‘Cream in My Coffee’ (from Dietrich’s first movie The Blue Angel) and the
drippy vowel sounds and buzzy consonants that surround her interpretation of
Cole Porter’s ‘The Laziest Gal in Town’ are highlights. Capable of moving from
tender ballads ‘I’ve Grown Accustomed to Her Face’ to rousing, bawdry ditties
‘Boys in the Backroom’ Ward-Lealand uses her skills as an actor to coax
obvious gestures – again reminiscent of Dietrich’s arrogance and charm.
‘One for My Baby’ (from the pen of Johnny Mercer) is a lovely touch – as
is Porter’s ‘I Get a Kick Out of You’. And knowingly, the band allows WardLealand space to stretch her vowels and claim the songs through her performance as Marlene. And yet, in some ways, the songs are the actual stars of
Simon Sweetman Dominion Post July 2005
‘Sizzling physicality’ brings Dietrich to life
“Stepping into the Pacific Crystal Palace last night was like slipping into an
elegant age gone by.
The traveling cabaret is surely the only venue in town fabulous enough to
host one of history’s greatest screen legends – and the fact that it is only
temporarily in the Bay gave the evening an even stronger sense of time travel.
Falling in Love Again, Jennifer Ward-Lealand’s mesmerizing performance
as Marlene Dietrich singing the songs of her career undoubtedly sent many
audience members home to fossick through their old record collections for
Ward-Lealand’s elegant sequin-encrusted gown, luxurious floor length white
fur coat, scarlet lips, platinum curls and suggestive arched eyebrow all oozed
the charm and sophistication of the movie icon.
As one of New Zealand’s foremost actors, we all expect Ward-Lealand to
carry a character – and she did, complete with German accent and sizzling
But it was her voice that was truly impressive.
Ranging from deep growl to coquettish whisper, she delivered each song as
if from Dietrich’s own heart, with expert accompaniment from pianist Grant
Winterburn and bassist Aaron Coddel.
Her acting was at its peak when she performed ‘White Grass’ by Charles
Marawood about a soldier returning from war to find his wife dead and baby’s
‘War is over, it seems we won – Hooray,’ she crooned through clenched teeth,
as if suppressing a soul-shaking sob.
Another highlight was the German song ‘Johnny’, about a girl seducing her
lover on the telephone.
Standing centre-stage bathed in red light, Ward-Lealand communicated the
yearning of the young girl beautifully while still maintaining the worldly-wise
persona of Dietrich beneath the performance.
Picture Dietrich and those dreamy heavy eyelids immediately come to mind.
Ward-Lealand even managed to channel this detail by pausing at the end of
songs with a dramatic look up as if waiting for the last notes to float down
from the ceiling and settle on the enchanted audience.”
Frances Morton Bay of Plenty Times October 2005
Ward-Lealand brings Dietrich to life
“Last night Marlene Dietrich came to Nelson, dressed in a full-length white
fur coat and shimmering gown. A consummate performance from our fine
actress, Jennifer Ward-Lealand, brought this magnetic screen and stage
goddess to life. The mannerisms, movements, phrasing, and husky smoking
voice were all there.
It is said that the glamorous and alluring Marlene Dietrich was a self-created
work of art. One story is that she insisted Max Factor add gold dust to her
wigs to give them glitter. Another that she sucked lemons to keep her mouth
Be that as it may, Dietrich had a special way of making a song her own. WardLealand gave us her raucous rendition of ‘The Boys in the Back Room’, the
sensuous ‘You Do Something to Me’, lyrical ‘La Vie En Rose’, ‘Honeysuckle
Rose’ with its double entendres and Cole Porter’s wickedly funny ‘The Laziest
Gal in Town’. Every word of every song was crystal clear.
Pete Seeger’s ‘Where Have All the Flowers Gone?’ was even more touching in German, a hilarious version of Eddie Cantor’s ‘Making Whoopee’ was
delivered with glee and the anticipated finale ‘Falling in Love Again’ had us
Grant Winterburn on piano and Aaron Coddel on bass provided smooth and
sophisticated support. I particularly enjoyed their cool laid back playing of
‘You’re the Cream in My Coffee’ though they were excellent throughout.
There were two disappointments in this wonderful show. I missed the top hat
and tails and a number on the musical saw. (Dietrich was a proficient musical
saw player. Little known fact.) Other than that, it could hardly be faulted. There
is another chance to see Falling in Love Again tonight.
Gail Tresidder The Nelson Mail October 2005
“It’s no easy feat stepping into the shoes of such a masterful screen legend as
Ward-Lealand’s interpretation of this chameleon of a woman is right on the
money, and confirms to us why she is still classed as one of the nation’s
From the moment she stepped on stage looking gorgeous, she had the audience in the palm of her hands. She suspended all disbelief in reality – the
minute she walked through those curtains she was Dietrich.
What I particularly enjoyed about Ward-Lealand’s work is her ‘less is more’
approach to the interpretation of this character.
With no action to play, and no properties to play with, she told the story
through the subtleties of the inner action. With what is essentially a cabaret
performance, most of the story was told through what she didn’t do. She
played the sub-text if you like – be it a smoking smile, or the delightful naughty
glimpse she constantly had in her eyes – she was so consistently believable.
The repertoire of songs was well thought through – with a mix of old favourites
like ‘Lily Marlene’, ‘You Do Something to Me’, and ‘You’re the Cream in My
Coffee’ had the audience tapping their toes.
I did think however, that Ward-Lealand captured Dietrich’s famous sonorous
mid-notes through the French and German songs mainly – she inspired tears
in her rendition of ‘Don’t Ask Me Why I Cry’.
Grant Winterburn on piano was delightful, his obvious talent prevalent in the
clever arrangements, Aaron Coddel on double bass provided the depth to
this wonderful evening of music – their relationship with Ward-Lealand was
A canny lighting design by Andrew Malmo – he changed the mood through
good use of colour and direction – working beautifully with the white of the
costume, which can traditionally be difficult to light.
This was a thoroughly enjoyable evening. Well done to the organizers of the
Hastings Blossom Festival for having the foresight to bring this alluring piece
Lisa-Jayne Hay Hawke’s Bay Today September 2006
Since she first trod the boards at the age of seven, Jennifer has become one
of New Zealand’s leading actresses. In 1982 she trained at Auckland’s
influential Theatre Corporate, joining the main company soon after and
appearing in plays including Hedda Gabler, The Trial, Top Girls, and King
Since then she has worked extensively in theatre, film, TV, musical and
radio. Theatre performances include Carousel, Agnes of God, Nana, The Irving
Berlin Show (Mercury Theatre), Cabaret, Assassins (Watershed Theatre),
Breaking the Silence, The Real Thing, Side by Side by Sondheim (Centrepoint
Theatre), The Threepenny Opera (Downstage Theatre), Tell Me on a Sunday
(Auckland Philharmonia Orchestra), Into the Woods, The Herbal Bed, The
Graduate, The Bach, Twelfth Night, My Name is Gary Cooper (Auckland
Theatre Company), Pinter’s Old Times, the title role of Marlene Dietrich in
the sell-out production of Marlene [(potent pause) Productions], The Goat,
Decadence (Licentious Productions), and the sell-out production of Berlin
(Silo Theatre), which she co-created.
In 1989/90, she toured New Zealand and internationally with The Front
Lawn, and in the mid-90’s moved to Australia to join the core cast of the
comedy series Full Frontal, and played Viola in the Adelaide International
Festival’s production of Twelfth Night.
Jennifer’s film work includes The Footstep Man, Desperate Remedies, The Ugly,
Fracture, Linda’s Body and The Painted Lady. Television includes Full Frontal,
Xena: Warrior Princess, Hercules: The Legendary Journeys, Shortland Street,
Duggan, and Interrogation.
Awards include Best Actress (Sitges, Spain) for Desperate Remedies, Best
Actress (GOFTA, NZ) for Danny and Raewyn; Best Theatrical Performer
(NZ Entertainment Awards),The Evening Standard Best Actress Award
for Breaking the Silence (Centrepoint Theatre), and most recently Best New
Zealand Actress in the Metro Readers’ Poll for her role as Stevie in Edward
Albee’s The Goat.
Jennifer’s directing credits include Sister Wonder Woman, Arahaotearoa (Silo),
Let Yourself Go (which she also devised), Big River and By Thunder for Unitec
School of Performing and Screen Arts, Handel’s Acis and Galatea for NBR
New Zealand Opera, assistant director (to Michael Hurst) of Macbeth for
The Large Group, A Christmas Carol for Auckland Theatre Company, and
The Mystery of Irma Vep and Jacques Brel is Alive and Well and Living in Paris
for Silo Theatre. She was also producer of Macbeth for The Large Group.
In 2003 Jennifer devised her one-woman cabaret Falling in Love Again and
has since toured the show throughout NZ plus performances in Australia.
She has also introduced the cd Falling in Love Again, a studio recording of 23
songs from her touring show. 2007 saw Jennifer introduce her new cabaret,
The Look of Love - Evocative/Provocative.
In 2008 Jennifer played Jenny Diver in The Threepenny Opera for Silo
Theatre/The Large Group; played Dominique in Le Sud (ATC The Next
Stage), directed Top Girls for Unitec graduating students, and toured The
Look of Love to Canberra, Nelson, Hastings, and Wellington. She is a
member of the core cast voicing the upcoming animated tv series Buzzy Bee.
Jennifer was awarded an ONZM “for services to theatre and the community”
in the 2007 New Year’s Honours List and is President of New Zealand
Jennifer’s official website is www.jenniferwardlealand.com.
Grant Winterburn is one of New Zealand’s leading keyboard players on both
piano and organ and has many years experience as a musical director, soloist,
session musician and keyboard lecturer.
He is highly regarded for his jazz organ and piano interpretations of the
classic jazz repertoire and performs at concerts and festivals around New
Zealand with some of the country’s most talented performers.
Musical Director credits include Geoff Sewell (Amici) and Incognito Artists,
Falling in Love Again and The Look of Love starring Jennifer Ward-Lealand,
The Threepenny Opera, directed by Michael Hurst for SiloTheatre/The Large
Group, and The 25th Annual Putnam County Spelling Bee and The Rocky
Horror Show for Auckland Theatre Company.
Aaron started his musical career in high school playing drums and guitar
before focusing on the bass. After cutting his teeth on the Capitals live music
scene, he embarked on a music degree in jazz performance, graduating from
Massey University in Wellington with a BMus.
A stint in London saw Aaron working consistently in both the live music and
studio scenes. Since his return to New Zealand, he has continued to work
with an impressive array of artists including King Kapisi, Annie Crummer,
Hello Sailor, Hammond Gamble, Jan Hellriegel, Peter Urlich, Caitlin Smith,
Karen Hunter, Chicago Smokeshop, Auckland Philharmonia Orchestra, The
Lounge Lizards, and The Beatgirls.
In addition he has toured or recorded with jazz greats Cleo Laine, Mark
Murphey and George Coleman. This fusion of music styles, from rock
to pop, jazz to hip hop, Latin and blues to classical and drum & bass
complement his overall music approach, and has cemented Aaron as a much
in-demand electric and acoustic bassist.
Since performing in the sell out season of Marlene at the Herald Theatre
in Auckland, Aaron has toured extensively with Jennifer Ward-Lealand in
New Zealand and Australia with the hugely successful Falling in Love Again
and most recently with her new show The Look of Love at Wellington’s
Andrew Malmo is a producer, production manager, lighting designer and
photographer, and is managing director of Strata Creative Limited.
Through Strata Creative Ltd., Andrew currently acts as Programme Manager
for Auckland Festival 2009, where he also acts as executive producer on their
major new commission, The Arrival.
He also produes and production/tour-manages Silo Theatre’s Bare by Toa
Fraser, and The Case of Katherine Mansfield by Catherine Downes, as well
as Jennifer Ward-Lealand’s acclaimed cabaret shows, The Look of Love Evocative/Provocative and the Dietrich tribute Falling in Love Again, and has
recently started acting as agent for Wellington-based The Playground and
their groundbreaking new show Sleep/Wake for national and international
His company Strata Creative is producing three theatre works in various
stages of development in 2009 - Electric with Warwick Blair, AThousand
Hills with Margaret-Mary Hollins, and Little Che with Paolo Rotondo, and
is establishing local and international networks, with a view to touring more
New Zealand work internationally.
Andrew coordinates Auckland Festival’s Watch This Space, from 2007 and
Andrew has a technical background as well as professional sales experience
and is in the 2008-09 ART Venture acceleration program for creative
Andrew is also a professional and art photographer.
1 I Can’t Give You Anything But Love McHugh/Dorothy Fields
2 Laziest Gal In Town Cole Porter
3 Cream in my Coffee B G De Sylva/L Brown/R Henderson
4 Boys in the Backroom Hollander/Loesser
5 Johnny F Hollander
6 Lilli Marlene Schulz/Leip/Conner/Philip
7 La Vie En Rose Piaf/Louiguy
8 Where Have All The Flowers Gone Seeger
9 Falling In Love Again Hollander/Connelly
10 You Do Something To Me Cole Porter
11 I Wish You Love Trenet/Beach
12 Honeysuckle Rose Waller/Razaf
13 Lola Hollander
14 Warum (Das Lied ist aus) Reisch/Robinson/Stolz
15 Makin’ Whoopee Kahn/Donaldson
16 When The World Was Young /The Apple Tree P Gerard/Mannier/Mercer
17 I Get A Kick Out Of You Cole Porter
18 My Blue Heaven W Donaldson/G Whiting
19 I’ve Grown Accustomed To Her Face Lerner/Loewe
20 White Grass Marawood
21 One For My Baby J Mercer/H Arlen
22 Come Rain Or Come Shine Mercer/Arlen
23 Look Me Over Closely T Gilkinson