A Bold Theatrical Portrait of a Political Icon

Crafted by acclaimed playwright Fiona Samuels and directed with precision by Sophie Roberts, Helen Clark in Six Outfits presents a bold and striking portrait of Helen Clark. Structured as a two-woman show, the play unfolds through six defining fashion moments, blending political insight with sharp comedic timing.

The narrative introduces two versions of Clark: the ambitious young Helen, portrayed by Lauren Gibson, and the seasoned elder Helen, embodied by Jennifer Te Atamira Ward-Lealand. Together, they engage in a dynamic back-and-forth, charting Clark’s ascent through New Zealand’s political landscape; her determination to effect change, her resilience in the face of scrutiny, and her role in breaking glass ceilings.

Sharp Writing Meets Energetic Direction

Samuels’ script is whip-smart and consistently engaging, brimming with clever insights and comedic flair. The decision to anchor the narrative through Clark’s wardrobe proves a masterstroke, adding both visual dynamism and thematic depth. Each outfit becomes a marker of transformation; identity expressed through fabric, colour, and presence.

Roberts’ direction keeps the production moving at a lively pace, infusing the play with energy and spontaneity. There’s an infectious sense of fun throughout, with off-the-cuff humour and theatrical inventiveness ensuring the audience remains fully engaged from start to finish.

Two Performances, One Unified Voice

The production’s success rests firmly on its two leads, and both performers rise to the occasion with remarkable synergy. Ward-Lealand’s elder Clark serves as both narrator and conscience, guiding her younger self through the trials of political life. Her command of Clark’s distinctive voice, combined with impeccable comedic timing, creates a performance that feels both authoritative and warmly engaging.

Opposite her, Gibson delivers a standout turn as the younger Clark. Tasked with embodying the future Prime Minister’s evolution across decades, she brings a vibrant energy and emotional depth to the role. From early idealism to steely determination, Gibson captures Clark’s unwavering self-belief and dedication with striking clarity. Her performance grows in confidence and intensity, making her a true revelation on stage.

Together, Ward-Lealand and Gibson form a seamless partnership, their dual portrayal merging into a single, cohesive voice that captures the essence of Clark’s character.

More Than Comedy: A Conversation on Power and Perception

While Helen Clark in Six Outfits is undeniably sharp-tongued and entertaining, it also carries a deeper thematic weight. The play explores the broader political landscape, particularly the challenges faced by women in positions of power, and the scrutiny that often accompanies leadership.

It invites audiences to reflect on the qualities we value in those we elect, and the barriers that still exist within systems of power. Yet it does so with a lightness of touch; balancing thought-provoking commentary with humour and theatrical flair.

Final Verdict: A Stylish, Spirited Theatre Experience

Filled with energy, colour, and plenty of visual flair, Helen Clark in Six Outfits is a thoroughly enjoyable theatrical experience. It’s a production that delights as much as it provokes, anchored by two exceptional performances that bring its central figure vividly to life.

Smart, funny, and effortlessly engaging, this is a show that pulls you in and keeps you captivated; leaving you both entertained and with something to think about long after the curtain falls.

Helen Clark in Six Outfits is now playing at the ASB Waterfront Theatre.

Image: Auckland Theatre Company/Andi Crown

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Under the guidance of playwright Fiona Samuels and director Sophia Roberts, the production traces Clark’s journey from the charged atmosphere of student protests in the late 1960s and early 1970s through to her leadership of the Labour Party and her tenure as New Zealand’s 37th Prime Minister from 1999 to 2008. It’s a sweeping narrative, but one grounded in personal evolution as much as political transformation.

For Auckland Theatre Company, the decision to bring Clark’s story to the stage was both deliberate and deeply aligned with its mission. Creative Director Jonathan Bielski explains, “I commissioned this play because we are committed to backing our playwrights to write new stories about Aotearoa. I chose the subject of Helen Clark because she has led a big life. In the theatre, we should examine big lives… lives that laid a path, that changed the way we think and live. Clark is all of that and more.”

At its centre are two commanding performances. Jennifer Te Atamira Ward-Lealand embodies the elder Clark, while Lauren Gibson steps into her younger years. Together, they create a layered portrait of ambition, conviction, and resilience, reflecting the choices and motivations that defined Clark’s rise, and her determination to give voice to those often unheard.

Yet Helen Clark in Six Outfits refuses to be a conventional political retelling. Instead, Samuels finds a visually rich and thematically resonant entry point through Clark’s wardrobe. Known for its bold, unapologetic colour palette, her clothing becomes a narrative device in its own right. Gibson’s younger Clark moves through vintage corduroy jackets and bell-bottom jeans, while the now-iconic crimson power suit emerges as a defining symbol of leadership. Here, fashion is more than aesthetic: it’s identity, strategy, and statement, illustrating how image and authority intertwine.

Samuels describes the play’s creative spark with vivid clarity: “The piece of grit came to me as I researched the heck out of my subject. I was struck again and again by the astonishing barrage of criticism she copped while going about her business.” That criticism, she realised, became the story’s antagonistic force. After a period of creative gestation, the concept revealed itself: “It’s the clothes!”, a breakthrough that unlocked the dual structure of the play and its striking theatrical language.

That sense of becoming, of identity forged under scrutiny, is central to Samuels’ script. The production leans into a subtle meta-theatricality, blurring the boundaries between performance and politics, and asking where one ends and the other begins.

Beyond its stylistic flair, the play also aims to ignite meaningful conversation. It confronts the systemic barriers that have long shaped, and often limited, women’s pathways into leadership. At the same time, it celebrates Clark’s resilience in overcoming those constraints, emerging from an era where female leadership was too often dismissed as novelty rather than necessity.

With Helen Clark in Six Outfits, Auckland Theatre Company delivers more than a portrait of a political life; it presents a vivid, stylish, and thought-provoking meditation on power, perception, and the cost of carving out space at the top.

Helen Clark in Six Outfits runs at the ASB Waterfront Theatre from April 7 to April 26.

Image: Auckland Theatre Company/Rachel Sung

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