{"id":147746,"date":"2025-08-19T16:16:13","date_gmt":"2025-08-19T16:16:13","guid":{"rendered":"https:\/\/showbizztoday.com\/index.php\/2025\/08\/19\/scene-by-james-2024-a-theatrical-year-in-review\/"},"modified":"2025-08-19T16:16:14","modified_gmt":"2025-08-19T16:16:14","slug":"scene-by-james-2024-a-theatrical-year-in-review","status":"publish","type":"post","link":"https:\/\/showbizztoday.com\/index.php\/2025\/08\/19\/scene-by-james-2024-a-theatrical-year-in-review\/","title":{"rendered":"SCENE BY JAMES: 2024 &#8211; A Theatrical Year in Review"},"content":{"rendered":"<p> [ad_1]<br \/>\n<\/p>\n<div>\n<figure class=\"entry-thumbnail\">\n<img decoding=\"async\" src=\"http:\/\/www.theatrescenes.co.nz\/wp-content\/uploads\/2024\/12\/santaclausshow-678x381.jpg\" alt=\"Production shot of The Santa Claus Show, featuring actors in costumes as Elfie, Santa, and young Alanah.\" title=\"santaclausshow\"\/><figcaption class=\"wp-caption-text\">The Santa Claus Show 2024, Tim Bray Productions, Pumphouse Theatre, Takapuna, Auckland. Photo: David Rowland <\/figcaption><\/figure>\n<p><iframe loading=\"lazy\" src=\"http:\/\/api.tweetmeme.com\/button.js?url=http%3A%2F%2Fwww.theatrescenes.co.nz%2Fscene-by-james-2024-a-theatrical-year-in-review%2F&amp;style=normal\" height=\"61\" width=\"50\" frameborder=\"0\" scrolling=\"no\"><\/iframe><\/p>\n<p>Back after I was a callow youth, I as soon as spent a magical summer season backstage of Takapuna\u2019s Pumphouse Theatre, working Tim Bray\u2019s <em>The Santa Claus Show<\/em>.<\/p>\n<p>I had simply completed my first yr of uni, and this was my first correct skilled theatre gig. I used to be the assistant stage supervisor. Truth be instructed, again then I might relatively have been onstage with the massive man and his sleigh, basking within the stage lights. And whereas my stage administration profession has but to take flight, that summer season stays one of the crucial influential theatre experiences of my life.<\/p>\n<p>There I learnt in regards to the precision and teamwork wanted to drag off a present (with a fast reset on two present days!) and make all of it look easy for the viewers. I learnt that younger audiences are to be revered, and deserve creative excellence. And I learnt what household means within the theatre \u2013 whereas many firms preach an ethos of household with out motion, right here was an organization that lived it, making this inexperienced ASM really feel welcome, and included. And above all, I learnt that there\u2019s nothing like experiencing the exuberant delight of youngsters and households attending a Tim Bray present.<\/p>\n<p>When I joined The Santa Claus Show in 2007, it was already an Auckland Christmas custom, having debuted in 1991, after which introduced again yearly from 2004.\u00a0<\/p>\n<p>As 2024 attracts to a detailed, so too does the curtain shut on <em>The Santa Claus Show<\/em>, enjoying its closing twentieth anniversary season on the Pumphouse.\u00a0<\/p>\n<p>After 33 years, <a href=\"https:\/\/timbray.org.nz\/\" target=\"_blank\" rel=\"noopener\">Tim Bray Theatre Company introduced its closure<\/a>. Tim has a uncommon incurable gentle tissue most cancers. There was a seek for a successor, however finally Tim\u2019s sickness made it inconceivable to proceed or plan out a brand new section for the corporate.\u00a0<\/p>\n<p>The second-largest theatre firm in Auckland by viewers measurement, Tim Bray Theatre Company was a rangatira of the theatre ecology. They have been the primary performing arts firm to supply NZSL interpretation for performances in 2004 and led the way in which in equitable and accessible theatre via contact excursions, audio description and sensory relaxed performances. They ran theatre courses, together with for autistic, neurodiverse, Deaf, and blind\/low-vision youth. They provided free tickets and transportation for youngsters in have to attend their exhibits (final yr 7,398 attended free of charge).<\/p>\n<p>Tim Bray Theatre Company has been a spot the place many individuals within the trade, like me, received their begin, or has provided a gentle and dependable skilled earnings for firm regulars. And for its younger audiences, its been a spot the place many have gotten their first theatre expertise. So many lives have been touched by Tim Bray\u2019s present of dwell efficiency. <\/p>\n<p>The exit of the corporate is immense. As <a href=\"https:\/\/artsaccess.org.nz\/tim%20bray%E2%80%99s%20theatre%20for%20everyone\" target=\"_blank\" rel=\"noopener\">Arts Access Aotearoa<\/a> write, its closure will \u201cleave a hole in the heart of Aotearoa\u2019s theatre for children\u201d<\/p>\n<p>There can be tamariki who will now not have the chance to expertise theatre. Following the collapse of the National Theatre for Children final yr, Aotearoa desperately wants a brand new technique for supporting youth arts. As my Te Whare Ngangahau\u2013Theatre and Performance Studies colleague <a href=\"https:\/\/thebigidea.nz\/stories\/opinion-systematic-change-needed-to-support-youth-arts\" target=\"_blank\" rel=\"noopener\">Dr Kerryn Palmer warns<\/a>, \u201cthere is a risk of an entire generation of children missing out on experiencing performing arts curated especially for them\u2026 if young people aren\u2019t exposed to the arts when they are children, then the arts are unlikely to become a valuable and integral part of their lives as adults.\u201d\u00a0<\/p>\n<h2><strong>FUTURE FUNDING<\/strong><\/h2>\n<p>There is area for brand new leaders in theatre for the younger to return ahead, however they are going to want backing. This is mission crucial for the way forward for theatre in our nation.\u00a0<\/p>\n<p>Tim Bray Theatre Company is obvious that the corporate is closing on account of well being relatively than funding, however famous in a press launch that the corporate \u201chas weathered significant challenges over the years. This includes surviving the global financial crisis, the COVID-19 pandemic, and the recent recession, all without the benefit of multi-year funding or being an investment client of Creative New Zealand.\u201d In <a href=\"https:\/\/www.rnz.co.nz\/news\/national\/536294\/why-is-the-tim-bray-theatre-company-closing\" target=\"_blank\" rel=\"noopener\">an interview with RNZ<\/a>, Tim defined every year they wanted to begin once more to lift the cash for his or her work \u2013 \u201cevery year we start at zero dollars and have to raise a million bucks.\u201d They had tried to get steady funding to introduce a normal supervisor function, however had been unsuccessful. \u201cIf we\u2019d had that support then maybe we wouldn\u2019t be closing because we\u2019d have the general manager within the organisation to help step us over into a new form.\u201d\u00a0<\/p>\n<p>While it comes too late for Tim Bray Productions, Creative New Zealand has introduced the <a href=\"https:\/\/thebigidea.nz\/stories\/creative-nz-to-end-totara-kahikatea-funding-programmes\" target=\"_blank\" rel=\"noopener\">subsequent main funding shakeup is on its method<\/a>, with the T\u014dtara and Kahikatea programmes winding up in 2026. These invite-only programmes funded choose funding shoppers over a number of years, and is the place most of CNZ\u2019s funding {dollars} are at present channeled. Soon, extra organisations may have the chance to use for multi-year contracts. But the funding pie isn\u2019t rising, and difficult choices lie forward.<\/p>\n<p>Meanwhile, demand stays excessive for CNZ\u2019s new \u2018For the Arts\u2019 funding programmes, and success charges are low. While processes have significantly improved, there simply isn\u2019t sufficient p\u016btea to share round.<\/p>\n<p>This was illustrated starkly at this yr\u2019s Wellington Theatre Awards, celebrating an exceptionally sturdy yr of performances. In a aggressive subject alongside Tusiata Avia\u2019s <em>The Savage Coloniser Show<\/em> and Pacific Underground\u2019s revival of Oscar Kightley\u2019s <em>Dawn Raids<\/em>, Eleanor Bishop and Karin McCracken\u2019s <a href=\"https:\/\/www.eleanorbishop.org\/gravity-grace\" target=\"_blank\" rel=\"noopener\"><em>Gravity &amp; Grace<\/em><\/a> was awarded Best Production. Playing on the Aotearoa Festival of the Arts and the Auckland Arts Festival, the variation of Chris Kraus\u2019 2000 novel <em>Aliens &amp; Anorexia<\/em> was a uncommon alternative to see a few of our prime theatre artists working at a grand scale. Following Kraus\u2019 doomed try at making a characteristic movie, the present too turns into a flirtation with failure, questioning the fantastic line between creative folly and genius, the lengths a few of us go for artwork, and what it means to offer it up. Smart, devastating, enthralling, <em>Gravity &amp; Grace<\/em> is the work of makers on the prime of their sport.<\/p>\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><a href=\"http:\/\/www.theatrescenes.co.nz\/wp-content\/uploads\/2024\/12\/gravityandgrace.jpg\" target=\"_blank\" rel=\"noopener\"><img decoding=\"async\" loading=\"lazy\" width=\"750\" height=\"500\" src=\"http:\/\/www.theatrescenes.co.nz\/wp-content\/uploads\/2024\/12\/gravityandgrace.jpg\" alt=\"\" class=\"wp-image-10870\" srcset=\"http:\/\/www.theatrescenes.co.nz\/wp-content\/uploads\/2024\/12\/gravityandgrace.jpg 750w, http:\/\/www.theatrescenes.co.nz\/wp-content\/uploads\/2024\/12\/gravityandgrace-300x200.jpg 300w\" sizes=\"auto, (max-width: 750px) 100vw, 750px\"\/><\/a><figcaption class=\"wp-element-caption\">Gravity &amp; Grace. Photo Andi Crown<\/figcaption><\/figure>\n<\/div>\n<p>In accepting Best Production, Karin McCracken knowledgeable the theatre awards viewers that that they had been unsuccessful in funding for subsequent yr. While their firm EBKM\u2019s work is being programmed (and translated!) around the globe, they aren&#8217;t capable of afford to current their work in Aotearoa subsequent yr with out funding. To proceed their profession, they should work abroad.\u00a0<\/p>\n<p>Belts have been tightened throughout the theatre sector. Crucial venues for impartial artists like Basement Theatre, BATS Theatre, and Q Theatre undertook main fundraising campaigns this yr (with Chris Parker and Tom Sainsbury <a href=\"https:\/\/www.youtube.com\/watch?v=q9XkHsSJIzk\" target=\"_blank\" rel=\"noopener\">exposing the rusting situation of Q\u2019s aircon system<\/a>) to maintain the theatres ticking. Even Auckland Theatre Company decreased the season size of <em>Girls &amp; Boys<\/em>, and moved <em>a mixtape for maladies<\/em> to 2025, <a href=\"https:\/\/e.wordfly.com\/view?sid=MjE0NV8yNTUxOV8xNjQzMF83MTU0&amp;l=7042d6bf-f21e-ef11-a835-0050569d9d1d&amp;utm_source=ATC&amp;utm_medium=EDM&amp;utm_campaign=Subs24%3AProgrammechange&amp;utm_content=version_A&amp;promo=17266\" target=\"_blank\" rel=\"noopener\">explaining that<\/a> \u201c[ATC] is not immune to the current economic context. It\u2019s tough out there and we are feeling that also.\u201d<\/p>\n<p>With the financial outlook persevering with to look grim, it&#8217;s troublesome to see any instant aid for the artistic sector. As we make do with fewer and fewer sources, a era of artists are on the road.<\/p>\n<h2><strong>AMPLIFYING THE ARTS<\/strong><\/h2>\n<p>A glimmer of hope comes within the type of Amplify, the draft cultural and artistic technique from Minister for Arts, Culture and Heritage Paul Goldsmith and the crew at Manat\u016b Taonga. Seeking to determine New Zealand as a \u201cglobal creative powerhouse\u201d, the topline seizes on arts as an financial generator, however Amplify accommodates many encouraging noises (<a href=\"https:\/\/theconversation.com\/nzs-new-cultural-policy-will-be-called-amplify-it-is-timely-and-needed-but-not-ambitious-enough-244276\" target=\"_blank\" rel=\"noopener\">if not but bold sufficient, as I argued in The Conversation<\/a>). However, like many areas throughout society that allow social good, the Government is not going to be rising its funding into arts and tradition.<\/p>\n<p>But the brand new \u2018<a href=\"https:\/\/www.massey.ac.nz\/about\/colleges-schools-and-institutes\/college-of-creative-arts\/college-of-creative-arts-research\/measuring-and-articulating-the-value-of-live-performance-in-aotearoa\/\" target=\"_blank\" rel=\"noopener\">Measuring and Articulating the Value of Live Performance in Aotearoa<\/a>\u2019 report from researchers at Massey and Canterbury college has the receipts: for each $1 spent on dwell efficiency, $3.20 is returned in worth. Using the identical price\/profit instruments utilized by the Treasury, the analysis confirmed dwell efficiency enabled $17.3 billion in advantages over 12 months, together with a big enhance to wellbeing. Furthermore, the Government will get again in tax way over it invests ($75.5m Government funding in dwell efficiency vs $209m tax take generated by the sector).\u00a0<\/p>\n<p>There\u2019s a robust case for elevated and well-targeted funding to attain the financial and social goals of Amplify, and it&#8217;s troublesome to see how Amplify\u2019s targets will be reached with out it. The technique talks about leveraging non-public and native authorities funding, however that is troublesome to tally with the Government\u2019s message to Councils to stay to the \u201cbasics\u201d and the elimination of cultural wellbeing (<a href=\"https:\/\/www.rnz.co.nz\/news\/political\/536898\/taken-the-local-out-of-local-government-councils-react-to-crackdown\" target=\"_blank\" rel=\"noopener\">alongside 3 different wellbeing provisions<\/a>) as a function of native authorities. Local Government is a <a href=\"https:\/\/www.tetaumatatoiaiwi.org.nz\/resources\/mappingtheaucklandfundingecosystem\" target=\"_blank\" rel=\"noopener\">essential supply of arts funding<\/a>, and important for native resolution making to assist arts and creativity particular to every area. Arts and cultural funding must be recognised as a primary operate of native authorities, and reductions because of the Government\u2019s intervention could be disastrous.<\/p>\n<p>An all-of-Government arts and tradition technique could be a welcome transfer, enabling better cross-portfolio collaboration between ministries to assist arts, tradition and creativity nationally. We\u2019ll be watching this area keenly over the subsequent yr.\u00a0<\/p>\n<h2>ANNUAL REVIEW<\/h2>\n<p>Here at Theatre Scenes, it has continued to be a wrestle to maintain going. We understand how helpful and wanted critiques are, and we remorse that our output has been so inconsistent over the yr. As a totally voluntary platform, we now not have the stamina or sufficient out there reviewers to interact with as many productions as we used to. We\u2019re prioritising new NZ work, however there are various productions we simply haven\u2019t been capable of cowl. We\u2019ve been going because the finish of 2010, and I&#8217;ve puzzled if it&#8217;s time to wind it up.<\/p>\n<p>I&#8217;m deeply grateful to Irene Corbett for persevering with as Auckland editor, organising and modifying the 19 critiques posted this yr. This has ensured Theatre Scenes has made it to the tip of 2024. As have our crew of reviewers this yr: Anuja Mitra, Ben Shand-Clennell, Rand Hazou, Jess Karamjeet, Tim George.<\/p>\n<p><a href=\"https:\/\/www.pantograph-punch.com\/posts\/long-live-pantograph-punch\" target=\"_blank\" rel=\"noopener\">The Pantograph Punch went on hiatus<\/a>, <a href=\"https:\/\/www.facebook.com\/story.php?story_fbid=815856677244061&amp;id=100064592085523&amp;_rdr\" target=\"_blank\" rel=\"noopener\">writing<\/a> \u201cthere are many systemic issues underpinning arts publishing. They are heartbreaking and have only gotten harder, not easier, to swim our way through \u2014 and we have had to make the immensely difficult, bittersweet choice to protect our platform and sustain its legacy.\u201d  I\u2019m grateful that <a href=\"https:\/\/www.theatreview.org.nz\/\" target=\"_blank\" rel=\"noopener\">Theatreview<\/a> proceed to overview Auckland productions once more, and that we nonetheless get Sam Brooks critiques courtesy of his e-newsletter, <a href=\"https:\/\/dramatic-pause.ghost.io\/\" target=\"_blank\" rel=\"noopener\">Dramatic Pause<\/a>. But theatre (and humanities) reviewing stays endangered. Our crucial conversations are poorer for it, and our historic archive grows ever patchier.\u00a0<\/p>\n<p>It even makes penning this annual year-in-review troublesome, as I&#8217;ve fewer critiques to attract from! But right here\u2019s an (incomplete) survey of the theatrical yr.<\/p>\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><a href=\"http:\/\/www.theatrescenes.co.nz\/wp-content\/uploads\/2024\/03\/Screen-Shot-2024-03-23-at-7.38.13-PM.png\" target=\"_blank\" rel=\"noopener\"><img decoding=\"async\" loading=\"lazy\" width=\"1024\" height=\"377\" src=\"http:\/\/www.theatrescenes.co.nz\/wp-content\/uploads\/2024\/03\/Screen-Shot-2024-03-23-at-7.38.13-PM-1024x377.png\" alt=\"\" class=\"wp-image-10769\" srcset=\"http:\/\/www.theatrescenes.co.nz\/wp-content\/uploads\/2024\/03\/Screen-Shot-2024-03-23-at-7.38.13-PM-1024x377.png 1024w, http:\/\/www.theatrescenes.co.nz\/wp-content\/uploads\/2024\/03\/Screen-Shot-2024-03-23-at-7.38.13-PM-300x110.png 300w, http:\/\/www.theatrescenes.co.nz\/wp-content\/uploads\/2024\/03\/Screen-Shot-2024-03-23-at-7.38.13-PM-768x283.png 768w, http:\/\/www.theatrescenes.co.nz\/wp-content\/uploads\/2024\/03\/Screen-Shot-2024-03-23-at-7.38.13-PM.png 1095w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\"\/><\/a><figcaption class=\"wp-element-caption\">Lusi Faiva in AIGA<\/figcaption><\/figure>\n<\/div>\n<p>Lusi Faiva\u2019s <a href=\"http:\/\/www.theatrescenes.co.nz\/review-aiga-te-pou\/\" target=\"_blank\" rel=\"noopener\"><em>AIGA<\/em><\/a> was a transparent spotlight of the Auckland Arts Festival, with Ben Shand-Clennell praising the Disability and Pasifika-led manufacturing\u2019s accessibility on and off stage, guaranteeing \u201cthat all audience members are able to extract meaning and engage with the piece. It is incredible to see such a performance of meaning, and the normalisation of accessibility in the arts. The creative team does a remarkable job of incorporating these elements, and making this accessibility feel inherent to the show.\u201d Ben noticed that \u201cIt is vital that art which centres people with disabilities, and art that has accessibility so that baked-in, is normalised and abundant. It is particularly important that these stories be told now as, at the time of writing, the current government has announced immediate changes which would narrow the scope of disability support services and what funding can be used for.\u201d<\/p>\n<p>Rand Hazou described <a href=\"http:\/\/www.theatrescenes.co.nz\/review-te-tangi-a-te-tui-te-pou\/\" target=\"_blank\" rel=\"noopener\"><em>Te Tangi a Te T\u016b\u012b<\/em><\/a> as \u201ca ground-breaking collaboration between Te R\u0113hia Theatre, The Dust Palace and The Cultch, which weaves together elements of M\u0101ori p\u016brakau, circus theatre, spectacular visuals, and stunning choreography to tell the story of the T\u016b\u012b\u2019s song which becomes an allegory for the beauty and persistence of te reo M\u0101ori.\u201d\u00a0<\/p>\n<p>Hannah Jamieson praised Auckland Theatre Company\u2019s manufacturing of <a href=\"http:\/\/www.theatrescenes.co.nz\/review-o-le-pepelo-le-gaoi-ma-le-palaai-auckland-theatre-company\/\" target=\"_blank\" rel=\"noopener\"><em>O le Pepelo, le Gaoi, ma le Pala\u2019ai (The Liar, the Thief, and the Coward<\/em><\/a> by Natano Keni and Sarita So as setting a \u201ca new standard for bilingual theatre in T\u0101maki Makaurau.\u201d <\/p>\n<p>The movie-to-stage switch of the 2023 hit comedy <em>Red, White &amp; Brass<\/em> was remarkably quick, with Leki Jackson-Bourke\u2019s adaptation a joyous crowd-pleaser later within the yr and ATC\u2019s first Tongan mainstage play (that includes a mixture of the movie\u2019s stars with new solid \u2013 and sure, a full brass model for the ending). Leki Jackson-Bourke was the deserved winner of 2024\u2019s <a href=\"https:\/\/www.rnz.co.nz\/news\/national\/534682\/leki-jackson-bourke-honours-his-grandfather-after-winning-bruce-mason-playwriting-award\" target=\"_blank\" rel=\"noopener\">Bruce Mason Playwriting award<\/a>.<\/p>\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><a href=\"http:\/\/www.theatrescenes.co.nz\/wp-content\/uploads\/2024\/12\/Screen-Shot-2024-12-07-at-8.30.04-AM.png\" target=\"_blank\" rel=\"noopener\"><img decoding=\"async\" loading=\"lazy\" width=\"834\" height=\"549\" src=\"http:\/\/www.theatrescenes.co.nz\/wp-content\/uploads\/2024\/12\/Screen-Shot-2024-12-07-at-8.30.04-AM.png\" alt=\"\" class=\"wp-image-10859\" srcset=\"http:\/\/www.theatrescenes.co.nz\/wp-content\/uploads\/2024\/12\/Screen-Shot-2024-12-07-at-8.30.04-AM.png 834w, http:\/\/www.theatrescenes.co.nz\/wp-content\/uploads\/2024\/12\/Screen-Shot-2024-12-07-at-8.30.04-AM-300x197.png 300w, http:\/\/www.theatrescenes.co.nz\/wp-content\/uploads\/2024\/12\/Screen-Shot-2024-12-07-at-8.30.04-AM-768x506.png 768w\" sizes=\"auto, (max-width: 834px) 100vw, 834px\"\/><\/a><figcaption class=\"wp-element-caption\">Camping. Photo Andi Crown <\/figcaption><\/figure>\n<\/div>\n<p>Silo Theatre\u2019s programming introduced present work like Ana Chaya Scotney\u2019s <em>Scattergun: After the Death of R\u016baumoko<\/em> and Chris Parker and Tom Sainsbury\u2019s <a href=\"http:\/\/www.theatrescenes.co.nz\/review-camping-silo\/\" target=\"_blank\" rel=\"noopener\"><em>Camping<\/em><\/a> to extra audiences, in addition to debuting Freya Silas Finch\u2019s <a href=\"http:\/\/www.theatrescenes.co.nz\/review-a-slow-burlesque-silo\/\" target=\"_blank\" rel=\"noopener\"><em>A Slow Burlesque<\/em><\/a>, which left Hannah Jamieson \u201cfeeling acutely aware of my own gender \u2014 like a bandaid I want to tear away yet can\u2019t quite remove despite persistent efforts to pry it off.\u201d First seen as a 2016 Basement present, <em>Camping<\/em> returned larger and higher, its outrageous climax the proper technique to finish the yr. Here\u2019s Hannah Jamieson: \u201cwhat could\u2019ve been crude or gratuitous instead becomes an unexpectedly joyful celebration of sexual liberation. Draped in sparkly bodysuits (complete with dangling bits, bush, and all), the characters embrace their desires, smashing stereotypes about sexual orientation and challenging notions of repression.\u201d<\/p>\n<p>Te Pou Theatre\u2019s K\u014danga Festival celebrated ten years of storytelling on the time of K\u014danga (Spring). Ben Shand-Clennell reviewed the double invoice <a href=\"http:\/\/www.theatrescenes.co.nz\/review-maori-krishna-altarnative-koanga-festival-2024\/\" target=\"_blank\" rel=\"noopener\"><em>M\u0101ori Krishna + AltarNative<\/em><\/a> by Hone Taukiri and Acacia O\u2019Connor:<\/p>\n<blockquote class=\"wp-block-quote\">\n<p>At the center of each items is a query about identification, of how we are able to go about defining ourselves and our relationship to the world, when our upbringing and experiences appear to vary a lot from these round us. It is essential to additionally spotlight the title of this present, <em>M\u0101ori Krishna + AltarNative<\/em>, which centres each faith and tangata whenua in every morpheme. Both items incisively and compellingly painting the ups and downs of being raised away from the mainstream, and the reclamation of identification. The present is hauntingly earnest and deeply compelling.<\/p>\n<\/blockquote>\n<p>Sadly unreviewed by Theatre Scenes, I&#8217;ll finish with a particular shoutout to a few exhibits.<\/p>\n<figure class=\"wp-block-image size-large\"><a href=\"http:\/\/www.theatrescenes.co.nz\/wp-content\/uploads\/2024\/12\/thetiwhas.jpg\" target=\"_blank\" rel=\"noopener\"><img decoding=\"async\" loading=\"lazy\" width=\"1024\" height=\"576\" src=\"http:\/\/www.theatrescenes.co.nz\/wp-content\/uploads\/2024\/12\/thetiwhas-1024x576.jpg\" alt=\"\" class=\"wp-image-10876\" srcset=\"http:\/\/www.theatrescenes.co.nz\/wp-content\/uploads\/2024\/12\/thetiwhas-1024x576.jpg 1024w, http:\/\/www.theatrescenes.co.nz\/wp-content\/uploads\/2024\/12\/thetiwhas-300x169.jpg 300w, http:\/\/www.theatrescenes.co.nz\/wp-content\/uploads\/2024\/12\/thetiwhas-768x432.jpg 768w, http:\/\/www.theatrescenes.co.nz\/wp-content\/uploads\/2024\/12\/thetiwhas-678x381.jpg 678w, http:\/\/www.theatrescenes.co.nz\/wp-content\/uploads\/2024\/12\/thetiwhas.jpg 1446w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\"\/><\/a><figcaption class=\"wp-element-caption\">Promo artwork for The T\u012bwhas: A Matariki Spectacular<\/figcaption><\/figure>\n<p>The first is <a href=\"https:\/\/thespinoff.co.nz\/pop-culture\/26-06-2024\/review-the-tiwhas-matariki-spectacular-is-energetic-indigenous-joy-for-a-maori-new-year\" target=\"_blank\" rel=\"noopener\">The T\u012bwhas: A Matariki Spectacular<\/a>. I\u2019m an enormous fan of The T\u012bwhas, a Takat\u0101pui drag woman and cabaret powerhouse. The T\u012bwhas have taken Te Whanganui-a-Tara Wellington by storm over the previous few years, and are actually exhibiting extra of the nation what makes them particular. The Matariki spectacular introduced a successful combo of glamour, activism, and \u2013 within the spirit of Matariki \u2013 remembrance. Long dwell The T\u012bwhas!<\/p>\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><a href=\"http:\/\/www.theatrescenes.co.nz\/wp-content\/uploads\/2024\/12\/shorthistory2.jpg\" target=\"_blank\" rel=\"noopener\"><img decoding=\"async\" loading=\"lazy\" width=\"750\" height=\"500\" src=\"http:\/\/www.theatrescenes.co.nz\/wp-content\/uploads\/2024\/12\/shorthistory2.jpg\" alt=\"\" class=\"wp-image-10871\" srcset=\"http:\/\/www.theatrescenes.co.nz\/wp-content\/uploads\/2024\/12\/shorthistory2.jpg 750w, http:\/\/www.theatrescenes.co.nz\/wp-content\/uploads\/2024\/12\/shorthistory2-300x200.jpg 300w\" sizes=\"auto, (max-width: 750px) 100vw, 750px\"\/><\/a><figcaption class=\"wp-element-caption\">Nathan Joe in A Short History of Asian New Zealand Theatre<\/figcaption><\/figure>\n<\/div>\n<p>The second present is <em><a href=\"https:\/\/nathanjoe.com\/a-short-history\/\" target=\"_blank\" rel=\"noopener\">A Short History of Asian New Zealand Theatre<\/a><\/em> by Nathan Joe. Over 5 nights on the Basement 5 totally different performers hopped on a spin bike to relate and reply to Nathan\u2019s textual content canonising and complexifying Asian NZ theatre historical past. I used to be there for Amanda Grace Leo\u2019s spin class, the bike an apt metaphor for cycles of inspiration and despair of creating a artistic profession in Aotearoa, and the significance of recognising the individuals who have ridden earlier than you, the individuals who have ridden beside you, and the individuals who will experience after you.\u00a0 In an accompanying Satellites essay <a href=\"https:\/\/www.satellites.co.nz\/magazine\/issue-4\/beyond-the-monolith\" target=\"_blank\" rel=\"noopener\">\u2018Beyond the Monolith: In Search of Representation<\/a>\u2019, Nathan asks, \u201cAfter all, what is the point in all this progress, all this representation, if we take the past for granted? How can we know what progress we\u2019re even making if we have nothing to measure ourselves against?\u201d<\/p>\n<p>(Nathan\u2019s questions makes me consider Dr Nicola Hyland\u2019s <a href=\"https:\/\/e-tangata.co.nz\/arts\/eat-my-stories-the-futures-of-maori-theatre\/\" target=\"_blank\" rel=\"noopener\">survey of latest M\u0101ori theatre<\/a> for E-Tangata, the place \u201cit\u2019s not just about teaching our theatrical whakapapa but re-animating it\u201d and difficult\u00a0 \u201cM\u0101ori theatre to be future-facing and fighting for it.\u201d)<\/p>\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><a href=\"http:\/\/www.theatrescenes.co.nz\/wp-content\/uploads\/2024\/12\/thelmandlouise.jpg\" target=\"_blank\" rel=\"noopener\"><img decoding=\"async\" loading=\"lazy\" width=\"500\" height=\"380\" src=\"http:\/\/www.theatrescenes.co.nz\/wp-content\/uploads\/2024\/12\/thelmandlouise.jpg\" alt=\"\" class=\"wp-image-10872\" srcset=\"http:\/\/www.theatrescenes.co.nz\/wp-content\/uploads\/2024\/12\/thelmandlouise.jpg 500w, http:\/\/www.theatrescenes.co.nz\/wp-content\/uploads\/2024\/12\/thelmandlouise-300x228.jpg 300w, http:\/\/www.theatrescenes.co.nz\/wp-content\/uploads\/2024\/12\/thelmandlouise-80x60.jpg 80w\" sizes=\"auto, (max-width: 500px) 100vw, 500px\"\/><\/a><figcaption class=\"wp-element-caption\">Thelma and Louise Don\u2019t Die<\/figcaption><\/figure>\n<\/div>\n<p>The third present is Julia Croft and Nisha Madhan\u2019s <em><a href=\"https:\/\/www.juliacroft.com\/thelma-louise\/\" target=\"_blank\" rel=\"noopener\">Thelma &amp; Louise Don\u2019t Die<\/a><\/em>. An idiosyncratic riff on the film basic, Americana, artistic friendship, and \u2013 there\u2019s a theme right here \u2013 the challenges of sustaining a creative profession in Aotearoa, Julia and Nisha took over The Civic\u2019s mainstage over two nights. There was no method I used to be going to overlook it. The ending was a transcendent apotheosis, Julia and Nisha using a suspended automotive as much as the heavens of the Civic, disappearing in a cloud of vibrant smoke. Will we ever see its like once more?\u00a0<\/p>\n<p>2024 seems like a bridging yr, filled with contradictions: gravity and charm; quick histories and lengthy legacies; loss and hope; continuity and transformation, persevering with on and letting go.\u00a0\u00a0<\/p>\n<p>We hold the previous alive.<\/p>\n<p>The future? Let\u2019s make it.\u00a0\u00a0<\/p>\n<p><strong>SEE ALSO:<\/strong><\/p>\n<p>Sam Brooks \u2013 Dramatic Pause: <a href=\"https:\/\/dramatic-pause.ghost.io\/critical-corner-best-of-theatre-2024\/\" target=\"_blank\" rel=\"noopener\">Best of Theatre 2024<\/a><\/p>\n<p>Theatre Scenes Theatrical Year in Reviews: <a href=\"http:\/\/www.theatrescenes.co.nz\/scene-by-james-2023-a-theatrical-year-in-review-part-1-the-issues\/\" target=\"_blank\" rel=\"noopener\">2023<\/a> ; <a href=\"http:\/\/www.theatrescenes.co.nz\/scene-by-james-2022-a-theatrical-year-in-review-pandemic-edition-year-three\/\" target=\"_blank\" rel=\"noopener\">2022<\/a> ; <a href=\"http:\/\/www.theatrescenes.co.nz\/scene-by-james-2021-a-theatrical-year-in-review-pandemic-edition-year-two\/\" target=\"_blank\" rel=\"noopener\">2021<\/a> ; <a href=\"http:\/\/www.theatrescenes.co.nz\/scene-by-james-2020-a-theatrical-year-in-review-pandemic-edition\/\" target=\"_blank\" rel=\"noopener\">2020<\/a> ;\u00a0<a href=\"http:\/\/www.theatrescenes.co.nz\/scene-by-james-2019-a-theatrical-year-in-review\/\" target=\"_blank\" rel=\"noopener\">2019<\/a> ;\u00a0<a href=\"http:\/\/www.theatrescenes.co.nz\/scene-by-james-2018-a-theatrical-year-in-review\/\" target=\"_blank\" rel=\"noopener\">2018<\/a> ;\u00a0<a href=\"http:\/\/www.theatrescenes.co.nz\/scene-by-james-2017-a-theatrical-year-in-review\/\" target=\"_blank\" rel=\"noopener\">2017<\/a>\u00a0;\u00a0<a href=\"http:\/\/www.theatrescenes.co.nz\/scene-by-james-2016-a-theatrical-year-in-review\/\" target=\"_blank\" rel=\"noopener\">2016<\/a> ;\u00a0<a href=\"http:\/\/www.theatrescenes.co.nz\/scene-by-james-2015-a-theatrical-year-in-review\/\" target=\"_blank\" rel=\"noopener\">2015<\/a>\u00a0; <a href=\"http:\/\/www.theatrescenes.co.nz\/looking-back-2014-a-theatrical-year-in-review\/\" target=\"_blank\" rel=\"noopener\">2014<\/a>\u00a0;\u00a0<a href=\"http:\/\/www.theatrescenes.co.nz\/looking-back-2013-a-theatrical-year-in-review\/\" target=\"_blank\" rel=\"noopener\">2013<\/a>\u00a0;\u00a0<a href=\"http:\/\/www.theatrescenes.co.nz\/looking-back-2012-%e2%80%93-a-theatrical-year-in-review\/\" target=\"_blank\" rel=\"noopener\">2012<\/a>\u00a0;\u00a0<a href=\"http:\/\/www.theatrescenes.co.nz\/looking-back-2011-a-theatrical-year-in-review\/\" target=\"_blank\" rel=\"noopener\">2011<\/a>\u00a0;\u00a0<a href=\"http:\/\/www.theatrescenes.co.nz\/looking-back-2010-a-theatrical-year-in-review\/\" target=\"_blank\" rel=\"noopener\">2010<\/a><\/p>\n<\/p><\/div>\n<p>[ad_2]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>[ad_1] The Santa Claus Show 2024, Tim Bray Productions, Pumphouse Theatre, Takapuna, Auckland. Photo: David Rowland Back after I was a callow youth, I as soon as spent a magical summer season backstage of Takapuna\u2019s Pumphouse Theatre, working Tim Bray\u2019s The Santa Claus Show. I had simply completed my first yr of uni, and this [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":147747,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[35],"tags":[457,779,2076,1526,2491],"class_list":{"0":"post-147746","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-theatre","8":"tag-james","9":"tag-review","10":"tag-scene","11":"tag-theatrical","12":"tag-year"},"_links":{"self":[{"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/posts\/147746","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/comments?post=147746"}],"version-history":[{"count":0,"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/posts\/147746\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/media\/147747"}],"wp:attachment":[{"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/media?parent=147746"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/categories?post=147746"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/showbizztoday.com\/index.php\/wp-json\/wp\/v2\/tags?post=147746"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}