CHRISTCHURCH ROUND UP

CHRISTCHURCH

BY NATHAN JOE

One risks sounding like a broken record when calling Ōtautahi a city in transition, but that statement has never been truer than over the past year. The latter half of 2019 marked significant changes in the local theatre scene. July marked the opening of the Christchurch Arts Festival under the helm of new artistic director George Parker. The programme made a point to celebrate the homegrown artists that were formed in the city, including the likes of Pacific Underground, Tusiata Avia and Free Theatre. As I have previously said: “it was a love letter to a city that harbours more talent than we often acknowledge or realise.” This was followed by the opening of Little Andromeda in October, brainchild of producer Michael Bell, and the city’s long-awaited fringe theatre. While it had previously existed as a pop-up tent, this was its much needed transition to a fixed building. Ōtautahi finally had its very own BATS or The Basement. It has since hosted a variety of performances, though most notably it’s become a hub for the nation’s best comedians to tour their solo shows, creating a new bridge between many Aucklandbased theatremakers and the South Island, and culminating with Snort on Tour this year. In November, those hungry for more conceptually driven works had the joy of attending Tiny Fest, a performance art festival set over a single day, programmed by choreographer Julia Harvie. Packed to the rafters with music, live art and dance works, there were also notable theatre offerings, including Tom Eason’s dissection of toxic masculinity Mainman and Alice Canton’s development showing of Year of the Tiger (虎—hǔ). The Court Theatre underwent a major change with Artistic Director Ross Gumbley stepping down in December, delivering an extravagant swansong with Wind in the Willows to close 2019. A faithful production of A Streetcar Named Desire became their main show of 2020 when Covid-19 unfortunately decimated the rest of the year’s programming, beginning with the tragic cancellation of Ralph McCubbin Howell’s Lysander’s Aunty. The Court has since reopened post-lockdown with a production by their Youth Company, The Quarantine Diaries, and appointed Daniel Pengelly as new artistic director. Remnants of musical and theatre productions during this period were also salvaged by Blackboard Theatre Collective with Waiting in the Wings, featuring sixteen performers from over a dozen different cancelled or postponed projects. While none of these arts organisations hold enviable positions in the current postCovid-19 climate, they are a reminder of the need for theatremakers and space-makers alike. The future may be uncertain, but I can think of no other city that has proven its resilience like Ōtautahi has.

CLOCKWISE FROM TOP LEFT: George Fenn performing at Little Andromeda opening night. Image: Erik Norder. Fresh Off the Boat by Oscar Kightley and Simon Small, The Court Theatre in collaboration with Pacific Underground. Image: Danielle Colvin Photography. Escape from Haunted House by Brendon Bennetts and Kathleen Burns, The Court Theatre. Image: The Court Theatre.

The Pink Hammer by Michele Amas, The Court Theatre. Image: Danielle Colvin Photography.