Filmed in Aotearoa, Mr Hugo’s Little Library features a glittering cast of characters brought to life by talented performers from New Zealand and Canada’s drag communities, alongside original music performed by renowned singers including Tami Neilson, Ladyhawke and Richard O’Brien.
With Mr Hugo's bookwork bestie, Dewey, each episode invites young viewers inside the magical books where they’ll find a world of larger-than-life characters, incredible outfits, hilarious lip-syncing, and show stopping songs. A selfish dragon will learn to share, a croaky frog dreams of pop stardom and a shy horse learns his friends love him just the way he is. At its heart, Mr. Hugo’s Little Library is about the magic that happens when a great story is shared.
The series is directed by WIFT NZ member Caroline Bell-Booth who is a seasoned director who excels at complex character projects. She is passionate about developing quality New Zealand content that celebrates local voices on a global stage. Alongside her directorial work she has taken on advocacy and leadership roles in her community, deepening her commitment to telling stories with social impact.
Her recent directing credits include A Remarkable Place to Die, One Lane Bridge, My Life Is Murder S2 and Brokenwood Mysteries. In addition, she’s directed Power Rangers Dino Fury; Mystic and the finale episode of the The Gulf, starring Kate Elliot.
She is currently enrolled in a Screen Arts Master’s Degree at Massey, is transitioning into filmmaking and is preparing to shoot her debut feature.
The series lands April 12 on TVNZ+ (and weekly on TVNZ 2) and is made with the support of NZ On Air.
We managed to pin this busy Wiftie down for a quick Q&A about her latest passion project, and she did not disappoint!
Q&A WITH CAROLINE BELL-BOOTH
Mr Hugo’s Little Library
KR: Caroline congrats on your series release - always cause for celebration especially in these challenging times in the local and global screen environment. How does it feel to deliver to kiwi audiences?
CBB: Honestly, that Mr Hugo’s Little Library even got made, feels miraculous. That it exists, is a tribute to the care and determination of its creators and producers. That I got to play a part in the making of it, is an immense privilege… and to deliver to Kiwi audiences feels incredibly gratifying.
KR: There is always an appetite to serve the young minds and hearts of kiwi tamariki, what was it about this concept and the stories you’re telling which drew you in?
CBB: Two things: its joy and its heart. To present a story world to children that celebrates inclusion feels like an increasingly pertinent idea to be offering when society and politics are so profoundly splintered.
KR: Working as a co-production with Canada, how was this process for you and what did it add to the creative storytelling as well as on the production side?
CBB: In any co-pro there is always a process of two or more ‘work cultures’ coming together and learning about each other’s needs and requirements – just like any relationship. As a director, you need to be mindful of both your national and international audiences to ensure that everyone understands and can connect with the content. Sometimes this means ramping up our quintessential laconic kiwi delivery style, sometimes this means articulating our vowels – and sometimes it means trusting that fun is a universal language! A couple of the stories have a particular Canadian context whilst others are distinctly NZ but all of them transport the viewer to a charming, magical world covered in more sequins and glitter than you have ever seen before. Seriously, one of the most common things I said through production was “this is great, but could we bedazzle it a bit more please?”
KR: How did your experiences working on Power Rangers and Mystic feed into your approach here when it comes to mainlining into the younger audiences?
CBB: Well, I could wax on about playing looser frames to incorporate the comedy and the unexpected or using composition and blocking to keep a movement in every frame… but ultimately, when I watch the monitor I try to invite my child-self to sit next to me. Whilst my brain is scanning for problems, my heart is looking for joy – am I having fun when I watch it? Is there a sense of excitement? Do I laugh? For all the responsibility of being a director, I still question whether I am emotionally mature enough to do this job… so maybe kids TV is my happy place…?
KR: Your series is clearly steeped in a deep love of storytelling, when did that love become a part of your personal journey into becoming a storyteller yourself?
CBB: Thank you for recognising that! I feel very seen. I have been directing shows for as long as I can remember. My poor brother – and sometimes cousins – were regularly commandeered of a primary school holiday into yet another thrilling performance that I was determined to mount. I cannot attest to whether they carry childhood trauma from the experience but reviews include my aunt saying (only last year) that she “had never laughed so much in her life – still hasn’t”.
I was a hyper-vigilant child that escaped into performance and storytelling at every chance I could get. And I still do. I think that sometimes storytelling is how I self-soothe (quite a flawed plan, given the stress of the industry…). It’s a way to invite new thoughts, to feel understood, to vicariously explore ourselves and the depth of our humanity – or to just have a cathartic laugh. I am fascinated with how stories – and the emotions they evoke – help us understand ourselves and others, where we have come from and who we could become… if we have the courage.
KR: Tami Neilson, Ladyhawke and Richard O’Brien - wow! Can you describe what these true musical talents brought to the production?
CBB: I know right?! Each collaborator brought their own unique layer to the recordings that truly brought the songs to life and along with the musical team, elevated the work to a level that I am genuinely humbled by. Furthermore, I think the endorsement of these phenomenal creative powerhouses choosing to be a part of our silly little show, is also an incredibly heartwarming validation of the importance of inclusive, joyful work that celebrates diverse art forms and stories. Seriously, Richard O’Brien agreeing to be a part of your show is a solid win. Possible career high.
KR: What was the most nourishing part of this project for you?
CBB: Unquestionably, being invited into an art form and culture that I have so much admiration for. I have now watched a lot of drag, (I seriously don’t think I’ll ever tire of it) and developing an appreciation for the artistry and the craft has been a true gift. I’m so grateful to George Fowler (aka Hugo Grrrl) for trusting me and for everything I learned about this incredible art form from all the Kings and Queens. True story: the cast did start teasing me for being a “Drag Mom” – think: “Ballet Mom” but for drag – because I am so utterly in awe of… but possibly slightly competitive about, so let’s just settle for… “fiercely proud” of their undeniable talent. I hope you watch our show and that it makes your tamariki happy and that you all sing the songs together for many years to come.