Bulls fur baby brought back
was bolted down, had eight pegs holding it to the ground, two bricks on its roof and all of its doors bolted shut at the rear of their property.
Chauval said she believed someone had unlocked the hutch and taken him.
On Tuesday, two young girls, aged about 13, found him in a bush near the property and returned him through Chauval’s cat door when they and found no one home.
Chauval was at work when Theo was found.
A woman across the street had directed the girls where to take the rabbit and then gave Chauval a call to tell her the good news.
‘‘When she told me I just burst into tears. I was so grateful.
‘‘I was so emotional because I had gone from thinking ‘oh my god, something awful is going to happen to him’ to having him in my cat door.
‘‘He was starving. Apparently he ran straight up to them looking for cuddles and some food.
‘‘I’m so glad to have him home.
‘‘I felt so sick on Monday, the relief I have now, I’m like on a high.’’
She said it was still unclear how he got out of the hutch, and where exactly he was found.
‘‘I guess we’ll never know how he got out or where he went but I guess it doesn’t matter, I’m just glad he’s home.’’
It is likely Theo would become an indoor rabbit from now on, Chauval said.
She said she was looking at it as a warning to keep him safer.
Chauval has had Theo for about four months. She was heartbroken when he went missing and searched the streets in an attempt to find him. It was a full house at the Regent on Broadway on Wednesday night to welcome the Royal New Zealand Ballet’s magnificent new version of A Midsummer Night’s Dream.
Staged in conjunction with Queensland Ballet, the production magically captured the very essence of this timeless tale, winning the hearts of a most enthusiastic audience.
Featuring a generally well chosen selection of Mendelssohn’s music, expanding his original work of the same name, the ballet was a visual feast from its entrancing opening as the fairies darted about their enchanted world.
Liam Scarlett’s sympathetically imaginative choreography animated Shakespeare’s tale with charm and sparkle further bought to life with a beautifully evocative set and exquisitely atmospheric lighting.
This was a company obviously deeply committed to sharing their obvious joy in this ballet, as Tonia Looker (Titania), Shane Urton (Oberon), and Shaun James Kelly (Puck) cast their magic around the theatre, easily comfortable in their individual roles.
Pleasing performances from Lori Gilchrist (Hermia), Joseph Skelton (Lysander), Laura Saxton Jones (Helena), William Fitzgerald (Demetrius) and Paul Matthews as Bottom completed the lineup of principals. Highlights among many others, were the charming pas de deux between Bottom and Hermia and a more celebratory scene between Titania and Oberon.
The Fairies and the Rustics making up the corps de ballet were superbly animated, mixing enchantment with humour in an obviously crowd pleasing performance. The RNZB has an obvious hit on its hands with this production and deservingly so. This was inspirational ballet for young and old alike.