Auckland Theatre Company Presents: Sir Roger Hall’s ‘End of Summer Time’ – A Hilariously Heartfelt Kiwi Yarn from a Grumpy Old Farmer

Leave it to Roger Hall, New Zealand’s beloved king of comedy and social satire, to capture the ache and hilarity of change in his new one-man play End of Summer Time, brought to life by the effortlessly charming Andrew Grainger. Staged by Auckland Theatre Company and helmed with a lively local touch by veteran director Alison Quigan, this is a production that’s equal parts biting, beautiful and belly-laugh funny. A heartfelt reflection on grief, aging, Auckland life and the healing power of sunshine, End of Summer Time is a standout piece of Kiwiana storytelling.

At the centre of it all is Dickie Hart: a 70-year-old South Island farmer with a dry wit, a deep love for his late wife Glenda, and absolutely no patience for Aucklanders or their ridiculous obsession with handbags. Forced to swap his peaceful rural life for a seaside apartment in Takapuna, Dickie arrives in the Big Smoke grumbling like a true-blue Jaffa-hater; moaning about the traffic, moaning about the prices, and definitely moaning about the wobbly world of apartment body corporates.

But it’s in this fish-out-of-water setup that Grainger truly shines. With his rich stage presence and razor-sharp comedic timing, he turns Dickie into an irresistibly loveable grump. There’s a twinkle in his eye as he delivers one-liners about Auckland’s absurdities, taking cheeky jabs at Smith & Caughey’s demise, “handbags, handbags, and more bloody handbags,” and offering an outsider’s wry guide to Auckland life that had the audience in fits of laughter. His character impressions, whether it’s nosy neighbours, clueless city folk, or uptight bureaucrats, are gold, each one distinct and dripping in personality.

But beneath the chuckles is real emotional weight. Act II shifts tone as the pandemic hits. Dickie loses Glenda to COVID, the walls of the apartment close in, and that trademark southern stoicism starts to crack. The loneliness becomes palpable. The jokes soften. And suddenly, the man who once found Auckland unbearable is clinging to the ghost of a life left behind.

Yet it’s here that End of Summer Time soars. Hall’s script doesn’t wallow, it uplifts. Through a quiet, measured rediscovery, Dickie slowly climbs back. A visit from a friend, a swim at the beach, a hot Takapuna summer, it’s these small moments that breathe life back into him. He trims the beard, washes the dishes, and opens himself up to life again. By the play’s final beats, Dickie’s evolution is nothing short of inspiring. From grieving widower to beach-walking local, he embraces his new world; and we love him all the more for it.

Quigan’s direction keeps things lively, colourful and true to the uniquely Kiwi flavour of the material. The transitions between comedic banter and heartfelt confession are seamless, and the pacing never drags despite being a one-man performance. There’s an intimacy to the staging that pulls you into Dickie’s world, and Quigan makes excellent use of voice, lighting and sound to create a full experience with just one man and his memories.

And it goes without saying, Roger Hall is a national treasure. This script may be inspired by his own journey moving to Auckland to be closer to grandkids, but what he’s crafted in End of Summer Time is universal. It’s a gentle yet deeply funny meditation on letting go, moving forward, and embracing life’s later chapters with open arms and a sunhat.

End of Summer Time is an ode to resilience, wrapped in laugh-out-loud Kiwi wit and anchored by a truly touching performance from Andrew Grainger. This is classic Hall: warm, wise, and wickedly funny, and an unmissable night at the theatre.