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Jo Randerson
Jo Randerson (born 1973) is a New Zealand writer, director and performer. She is the founder and Artistic Director of Barbarian Productions, a Wellington-based theatre production company.
==Biography==
Jo Randerson was born in Auckland New Zealand in 1973 and moved to Wellington when she was four years old. She studied at Wellington Girls College, and then went on to Victoria University of Wellington to major in English, Theatre and Film.〔(【引用サイトリンク】url=http://www.playmarket.org.nz/playwrights/jo-randerson )〕 She wrote, directed and performed in theatre productions for the Victoria University of Wellington Student Drama Club. At the same time she also wrote for and performed at BATS Theatre Wellington, and made television appearances as a stand-up comedian. After graduating, She co-founded the theatre group Trouble in 1995.〔 In 2012 she finished her Master of Theatre Arts in Directing from Toi Whakaari New Zealand Drama School and Victoria University of Wellington as well as participating in the Leadership New Zealand Program. Randerson was a recipient of the Arts Foundation of New Zealand New Generation Award in 2008.
Randerson’s writing has been twice shortlisted for the IIML Prize (2006 and 2008), she has won Chapman Tripp Theatre Awards and was nominated for the Billy T Award in 2005. She has earned fellowships at home and abroad – she received the Robert Burns Fellowship in 2001 (Dunedin), Winston Churchill Fellow 2003 (Russia) and completed a CNZ/DOC Wild Creations Residency in 2002 at Cape Kidnappers’. As a playwright Randerson won the Bruce Mason Award in 1997 for her first play ''Fold'' (part of the Young and Hungry season at BATS). She won the Arts Foundation of New Zealand New Generation Award for Literature in 2008. Her books ''The Keys To Hell'', ''The'' ''Spit Children'', ''Tales From the Netherworld'' and ''The Knot'' have all been critically acclaimed. Her work is characterized as dark social satire. In a review for ''The Keys to Hell'' in ''Landfall 209'', Anna Smith wrote "Randerson’s world is a “holding tank” inside which we shriek, or remain terrified and mute witnesses to the despair that is life – a theme rehearsed over and over. Provocation, not subtlety, is the writer’s special effect".
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