Review: NOT CHRISTMAS, BUT GUY FAWKES BY BRUCE MASON at Circa Theatre

Bruce Mason’s Not Christmas, but Guy Fawkes was written toward the end of his life and remains one of his lesser-known solo works compared to the iconic The End of the Golden Weather. Originally performed only by Mason himself, it has rarely been staged since — making this revival a rare treat.

The play unfolds as a series of cautionary tales, weaving personal reflection with sharp social commentary. It moves through three distinct phases: an adolescent boy navigating an adult-dominated world; a young man confronting the bully who once tormented him, exploring themes of power and vulnerability; and finally, a playwright in his twilight years, meditating on art, mortality, and what it means to be a New Zealander.

Presented in conjunction with The End of the Golden Weather at Circa Theatre, this work feels deeply introspective — a journey into Mason’s own psyche. It takes us back to his childhood, revealing the seed of his lifelong love for storytelling. From there, we are drawn into the classroom and home life, culminating in an unexpected friendship with a former bully.

Stephen Lovatt commands the stage from the moment he appears, greeted warmly by an intimate but enthusiastic audience. The set is striking in its simplicity: a crumpled paper backdrop, a lone chair, and scattered sheets of paper — nothing more is needed when the words themselves are this rich.

Lovatt’s delivery is impeccable. Mason’s language is vivid and textured; at one point, a description of a burnt biscuit was so evocative I could almost taste its bitterness. His diction is flawless — an example every actor should aspire to. Mason’s prose is art in its purest form: lyrical yet meaningful, trusting the audience to engage without compromise or condescension.

Of the three segments, the final one resonated most deeply. Here, Mason reflects on the role of theatre in New Zealand — a labour of love often met with indifference and scant financial reward. He acknowledges the playwrights who followed in his footsteps and offers pointed observations on the eloquence and artistry within Māori culture. These musings feel as relevant today as when they were first penned.