Auckland Art Festival (AAF) Artistic Director Bernie Haldane is finally able to make her first line-up official, with the reveal of the full 2025 programme for the 6-23 March event.

In her first year in the demanding, high profile role - she told The Lowdown "It’s been a wild ride assembling a festival programme in such a short timeframe, all while learning about the organisation and our audiences. 

"The journey has been energising and working with the team to discover what’s possible from both a programming point of view, but also considering new ways of bringing artists and audiences together has been fun!"

Having previously worked as Creative Director for Auckland Live, Haldane's had a working knowledge of AAF. It's a whole different kettle of fish putting the three week behemoth together, though.

"It has been a rewarding challenge for me personally, particularly the time frame to work to, both in discovery of what’s out there and programming, but also the jigsaw of what we want to do into the 18 days, where previously I have been able to work year-round. 

"I also had to reset my expectations a little bit - particularly on developing new works - because of time, but also locking down resources to enable new work development and commissions, but it’s been wonderful to start conversations this year with a view of delivering over the four festivals. 

"The easiest bit was finding people to work with who want to use the festival platform to encourage audiences to discover or rediscover our city through the lens of the arts."  

The wildly diverse range of creative mediums and partnerships will again be back on display, with local talent at the forefront.

"We open the festival with some of Aotearoa’s epic artists, aligned with the PANNZ Performing Arts Market, providing a platform for new works with potential for national touring and export. Movement of the Human (MOTH) will present Belle – A Performance of Air in the Kiri Te Kanawa Theatre after a remarkable premiere at the Aotearoa New Zealand Festival of the Arts earlier this year. The creative force of Malia Johnston, Eden Mulholland, and Rowan Pierce - alongside the all-female ensemble - is truly something to behold.

"Three works of great writing are key NZ highlights for me - a mixtape for maladies - which opens both the Auckland Theatre Company season and our first week - feels like an absolute win for us, as I consider Ahi Karunaharan as one of the most exciting voices on our stage. 

"Te Pou Theatre and KoKo Creatives’ Ration the Queen's Veges - a powerful one-man show written by Te Wehi Ratana and Tainui Tukiwaho - is testament to the writing team and the team at Te Pou to be able to dive deep so quickly into critical storytelling for our country. 

"We’re also featuring a staged reading of Ngā Whakamāoritanga (Translations), directed by Jason Te Kare. This work offers a compelling look at language, power, and identity through an adaptation of Irish playwright Brian Friel’s work, translated by Hēmi Kelly (Ngāti Maniapoto, Irish heritage).

"And we’ll close the festival with a unique collaboration with Auckland Live, where we hand over the keys to the Great Hall to Black Grace to recognise their 30-year anniversary. This Is Not A Retrospective will be an unforgettable experience, putting the audience at the heart of the celebration. This will be the ultimate party as only Neil Ieremia knows how to create."  

Another impressive smattering of overseas talent offering performances you wouldn't see coming (Soweto Gospel Choir celebrating the history of House dance music, anyone?) and the much loved Spiegeltent are always staples. But Haldane admits they don't come without obstacles. 

"There is no shortage of artists and companies eager to visit Aotearoa, but the rising costs of touring and freight logistics are significant challenges that place additional pressure on an already tight budget. 

"We’re working closely with partners across New Zealand and Australia to explore ways to streamline the touring of international artists. For instance, we’re collaborating with Dunedin Festival and Wanaka Festival of Colour to present Animal by Cirque Alfonse, and with the Royal New Zealand Ballet to extend the reach of Scottish Ballet in Wellington. 

"Our goal is to ensure that when artists and companies make the long journey here, we maximise their opportunities in partnership with our industry collaborators."

Auckland event a $20 million success story

This year's World Choir Games held in Auckland was a hit on the stages and on the streets - but the financial windfall that the creative sector can offer has also been underlined.

Just released figures show that 'the Olympics of choral singing' contributed nearly $20 million in national tourism expenditure to the country - not bad for a 11 day event.

Over 11,000 singers in 250 choirs and groups from over 42 countries descended on the city in July, while an audience of 25,000 enjoyed the many ceremonies, competition sessions and concerts held across the region.

According to event evaluation experts Fresh Info, the tourism impacts of the WCG2024 were well above average compared with other events it has evaluated. The Games attracted 9,395 visitors to Tāmaki Makaurau, generating 61,586 visitor nights and $14.5m of tourism expenditure in the region. At a national level, the event attracted 8,310 international visitors to the country, generating 81,676 international visitor nights and $19.9m of international visitor expenditure.

WCG2024 Executive Director Kylie Sealy expands, “The research also shows that 92% of New Zealanders believe hosting events like the World Choir Games makes New Zealand a more enjoyable place to live. 

"While we and the 400+ team who helped pull this incredible event together know how wonderful it was for both participants and audiences, these figures confirm the significant impact that major arts and cultural events have on our communities and our country."

Tātaki Auckland Unlimited Chief Executive Nick Hill raves “The event exceeded our expectations in driving winter visitation to Tāmaki Makaurau and provided a significant boost to Auckland’s economy. It was truly a celebration of community and creativity, showcasing the best of Auckland to the world and proving again the value of events to our region.”

There's a legacy left behind too - 2,629 New Zealand singers participated at the Games and another 1,165 local performers taking part in its wider artistic programme. All up, New Zealand won the third most medals at the event - behind China and the USA.

This opportunity cannot be understated. This video of Manurewa High School’s Rewaken Polycation Choir's experience is proof positive.

New Zealand Choral Federation Chief Executive Christine Argyle enthuses, “The impact on the New Zealand choral sector has been profound. Our singers and choir directors have come away from the Games energised by the skills they’ve honed, the international relationships they’ve built, and the immense pride they’ve gained from showcasing Aotearoa on the world stage. We believe the benefits will reverberate for years to come.”

Stats don't lie

Speaking of important findings, Toi Mai Workforce Development Council have been busy sharing information that impacts the creative and storytelling communities this week.

Not only did the new research confirm New Zealanders’ wellbeing is improved by participating in arts and cultural activities, it found they value this boost at 6–20% of their annual income (around $2,800–$9,300 per person) at the median income level.

This is higher than the value participants place on the wellbeing benefits of sports participation, which is 5–17% of their annual income ($1,600–$7,700).

CEO of Toi Mai CEO Dr Claire Robinson states, “Public investment traditionally relies on the ability to quantify costs and benefits. This has been hard to do for arts and culture as there are many reasons people choose to participate, and any benefits to individuals are typically not measured monetarily. This has made it challenging to justify ongoing public investment in sectors, especially in fiscally tight times.

“By putting a value on participation using a reliable valuation method, we now have a critical economic argument for the need for public investment in the arts, given the benefits it brings to New Zealanders.

“Engaging with the arts isn’t just a luxury – it’s a key factor in maintaining mental and emotional health in the community."

Toi Mai has been fighting the arts corner with aplomb, especially recently. Other elements they've highlighted over the last year include the $310m-$420m gap between the annual income earned by performing arts workers and the average worker in Aotearoa - a figure that represents the unpaid and under-paid work performers provide to ensure communities can access live music and theatre.

Toi Mai has also released new data that makes for scary reading for the media industry. 

Ngā Awa Kōrero | The Rivers of Narrative, New Zealand’s first workforce development plan for journalism shows the number of journalists in New Zealand has dropped from 4000 to under 1300 between 2006 and 2023. It’s likely by the end of 2024, there will be barely 1000.

The plan - open for consulation until 29 November - underscores the need for modern training models, recommending a shift toward work-based learning programs to ensure new journalists gain hands-on experience. The plan also highlights the importance of regional newsrooms as vital spaces for nurturing talent, reflecting the diverse voices and stories of Aotearoa.

Additionally, there is a clear call for increased Māori, Pacific, and Asian representation within the sector to better serve the stories of New Zealand’s communities.

Opera for the people

When you think community based art projects, opera may not be top of your list.

But NZ Opera are looking to change that, announcing its line up for the organisation's 25th anniversary season in 2025.

Formed in the year 2000 through a merger of the Auckland and Wellington opera companies - with Christchurch joining in 2012 - it's a major milestone for NZ Opera.

And among its offerings for next year, the stand-out feature is the Australasian premiere of The Monster in the Maze - an opera designed to celebrate the embedding of a performing arts organisation within its community which will contain professional singers, a youth chorus, a children’s chorus, and orchestras of professional players playing alongside young or pre-professional players drawn from the local area - performed in Auckland, Christchuch, Wellington and Auckland during September.

NZ Opera General Director Brad Cohen told The Lowdown "Community is now at the heart of everything we do, audiences are our reason for being, and artist development is our future. 

"So community opera - where the community participates as performers with us - perfectly encapsulates these three goals. We are excited to invite our community to stand onstage with us to perform this incredibly successful work, alongside our professional opera singers and orchestral musicians. 

"This piece is currently the most successful community opera in the world, having been translated into more than fourteen languages and performed across the globe since 2015 – but never yet in Aotearoa!

"We will be partnering with schools, but also going out to the community, to invite participation in the show. 

"This spirit of collaboration extends into the orchestra, which is a side-by-side project where student and community performers will play alongside professional orchestral musicians (Christchurch Symphony Orchestra, New Zealand Symphony Orchestra and Auckland Philharmonia respectively)."

And they've already landed a coup for The Monster in the Maze production, with the acclaimed Anapela Polataivao making her NZ Opera directing debut.

She told The Lowdown "I first delved into opera with my own creation Alofagia:Le Opera that I co-produced and created with an amazing team of collaborators in 2019, with the crème de la crème of opera, Sol3 Mio. I’m excited to take the reins of The Monster in the Maze because of the sheer epic-ness of it and working with the community.

"Directing the hundreds on stage will be a challenge, I'm sure! I’m also eager to sink into the realms of what makes the opera world tick over.

"I sincerely cannot wait to get to work on it. I’m really lucky to have to have this opportunity to learn and also to offer what I have, in telling this story the best way we can."

While community casting plans for The Monster in the Maze will be detailed next year, the cast for the May-July run of La bohème in Auckland, Wellington and Christchurch has been released, with most of the main roles going to international talent.

"Our casting priority is always to begin with New Zealand singers," Cohen explains when asked about opportunity for local talent. "So many of our singers enjoy very busy international careers that, as always, they were our starting point – but availability was challenging in this case! 

"We’re thrilled to have Kiwis in our La bohème cast, including Benson Wilson, but we balance that with the desire to also present stars from further afield to NZ audiences." 

Cohen notes that casting for the returning Mansfield Park is 100% Kiwi - which will back up from this year's season but this time in Christchurch and Dunedin. 

"Part of our mission at New Zealand Opera is to deliver opera across Aotearoa. It is not always possible for us to perform a work across the country in a single calendar year, which is why we are so delighted we are in a position to share this critically acclaimed opera with our South Island audiences in Ōtautahi and Ōtepoti in 2025."

NZ Opera's recent push for new, Aotearoa-created operas is lacking in the 2025 offerings. When asked if that is still a priority, Cohen answers "Sustaining opera’s future - for our creative artists, performers and stage technicians here in New Zealand - is always our mission. Our artists, our singers, and our composers are at the centre of our long-term plans; we are driven by a desire to tell stories of and from our place here in Aotearoa. 

"We are in the middle of a strategic refresh in the way we commission and develop new work, embodied in our New Opera Wānanga in 2024 and its second iteration coming in 2025. Reflection, feedback and consultation are the foundations of our commissioning strategy going forward, and we are currently building a robust framework for the next few years."

Indoor/outdoor flow

To paraphrase the great bard, would Shakespeare in the Park held indoors still smell as sweet?

The annual outdoor performance event has announced its 2025 season (18 January – 15 February) at The PumpHouse Theatre’s Outdoor Amphitheatre - with a new offering that belies its title.

There will be a matinee of each of its 2025 productions - The Taming of the Shrew and Richard III - presented indoors at The PumpHouse Theatre, giving ease of access to those who are challenged by the outdoor amphitheatre.

Jeff Philp, President of Shoreside Theatre, told The Lowdown "Every year we have the option of moving inside for bad weather but this is the first year we’ve specifically sold tickets for an indoor show. We always prepared to be indoors, so there aren’t really any extra costs, and we aways had an indoor rehearsal.

"The decision to do a deliberate indoor show was driven by feedback from a couple of long-term patrons that due to their age, they wouldn’t be able to come anymore because they don’t drive at night, and/or no longer enjoy the outdoor experience. The indoor experience at The PumpHouse is also a lot more friendly to people with access needs and wheelchairs too."

They're also breaking new ground for the 29-year-old-event by putting out their first all female-identifying cast of The Taming of the Shrew. 

Director Mags Delaney-Moffatt notes “Shakespeare's The Taming of the Shrew was originally performed by an all-male cast, reflecting a time when strong women were often the subject of ridicule. By staging an all-female production, we can shift the story away from a woman's humiliation at the hands of a man and instead highlight the play's intrinsic comedy." 

Engine Room revs up

At a time where top level support to advance your creative career can feel few and far between, Auckland Theatre Company (ATC) has revived a proven pathway. 

The Engine Room programme is back for 2025 - a paid, full time launch-pad designed to support the training and development of early to mid-career theatre directors. Two directors will get the chance to work across three shows (in five month stints each), providing targeted skill development and cross organisation experience to get deeper knowledge of what making large scale theatre entails.

It's part of ATC's Learning and Participation programme, Artistic Director & CEO Jonathan Bielski details. 

“The Engine Room residency programme represents an essential investment in the future of theatre in New Zealand. We aim to support directors who are ready to immerse themselves in the creative, operational, and strategic life of a busy theatre company. 

"We’re excited by what directors can offer us, and for artists to gain new knowledge, invaluable industry contacts, and insights that will prepare them for the demands and opportunities of directing on stages of scale.” 

Expressions of interest (details here) close 20 November.

MASSAV step for Southland musicians

The Dunedin sound in the '80s was a movement that opened many doors and changed Aotearoa's musical landcape. Now its Deep South neighbour is ready for its own awakening.

Southland’s music scene just found its new champion with the launch of MASSAV Records, the region’s first record label. 

Co-founded by musician and local music industry entrepreneur Blair "Sav" Savory with fellow Southlander and NZ Marketer of the Year Shane Evans - the new label an extension of Savory's Invercargill-based recording venue MASSAV studio and live music production company MASSAV Productions.

Savory states “In four years, MASSAV Studios has become a vital space where local musicians can record their work, capturing their creativity before it fades.

“But recording music is just one part of the journey. The next challenge is ensuring these songs are heard. Creating a record label feels like a natural progression in the process to help showcase the talent of artists from the south. 

“MASSAV Records will offer local, Southland artists a complete package from recording and live performances to distribution and promotion.”

The first artist signed to the new label is singer-songwriter Lachie Hayes, who told The Lowdown "As an artist, anytime anyone has your back means so much. Sav has already given so much to the local music community, he has lifted us and filled us all with so much more confidence about the level of talent that can come from down here. 

"It used to always feel like stuff like that only happened overseas or up north. All the industry stuff seemed like it didn't reach this far south. Now we have MASSAV Records to help drag some of it our way."

Hayes has an upcoming albu, produced in collaboration with the award-winning Delaney Davidson, with the first single This River already well recieved. Savory decalres "I believe Lachie’s music will resonate with people far beyond Southland.

“The goal is to work extensively with one artist per year to create new music, release that music to a wider audience and develop live performance opportunities. We will also look to engage with established artists to further grow their existing profiles.” 

Breakthrough gigs for talented teens

It's a literal teenage dream - getting the share the same stage with international music icons. 

A couple of young groups from opposite ends of the country may be needing to pinch themselves then, after being selected as local support artists for January's Summer Concert Tour, headlined by Cold Chisel, Icehouse, Bic Runga and Everclear.

After being flooded with submissions to be part of the three-stop tour, two of the three chosen acts are still in school.

One of them - Rumpus Machine - is a talented quartet of teenage brothers and sisters from Auckland. Daniel, Matthew, Hannah and Ashley have been racking up the accolades, including an impressive third place finish at the NZ Smokefree Rockquest 2024 Nationals (with bass player Hannah taking the Musicianship Award), winning Auckland Council's SUSO competition  and third at last year's Battle of the Bands. 

Even more impressively, they've developed a big online following - over 40 million views online for some of their covers and tens of thousands of social media followers.

The band told The Lowdown the latest call-up is an incredible opportunity. "It’s our first major festival appearance and we’re amped to be performing on a big stage to a massive crowd. 

"It’s been a huge year for us as a band and this major gig just shows that all our hard work is paying off! 

"It’s awesome that (promoters) Greenstone have seen something in us and have chosen to help us on our journey as a band - beyond everything else it’s going to be an amazing concert to watch and we can’t wait!"
 

Rumpus Machine will play in Taupō on January 25, but the tour will be kicked off by South Island band Mistep in Queenstown on 18 January.

The five-piece band from Cromwell College have been together for the last two years, finishing in third place at the Smokefree Rockquest Central Otago regionals this year, with vocalist Grace Tiko winning Best Vocals the year before.

Mistep band member Laura Bates told The Lowdown "The opportunity to open for such a big crowd and for some big artists is such a growth opportunity for us. 

"It means a lot as we have been working hard to achieve bigger things, so to finally have a gig as big as the Summer Concert Tour has really shown us that our perseverance has paid off. 

"For us, it's an outlook into the bigger leagues and is a great learning experience for us to get to know more about gigs and doing the performances we love."

At the other end of the experience spectrum, Vegas Brown - AKA Jarod Brown - will get the chance to perform with the international headliners at the tour's 26 January finale in Whitianga. 

Brown is a Whitianga local legend, bringing 30 years of experience as an entertainers including for bands   He is an award-winning vocalist and gold selling recording artist and entertainer. 

With over 30 years’ experience in the NZ Music scene, Brown  has been a drummer or vocalist for a number of bands  Mama Said and 48May  before going solo in 2009.

Whanganui shines in spotlight

It promised so much - and the grand re-opening of Te Whare o Rehua Sarjeant Gallery in the weekend delivered in spades for those who attended.

As detailed in last week's Lowdown, it was an event a decade in the making and the turnout was a special one for the opening weekend events.

The Gallery's Senior Curator and Programmes Manager Greg Donson told The Lowdown "The vibe was fantastic..People were so excited to be back in the building and for those who haven’t been before, to discover it for the first time. We had a huge amount of support from colleagues in the sector who had travelled from around the motu to be with us.

"It was just such a joy seeing the building come alive and to be at the end of a really long journey, seeing people engage with our opening programme of exhibitions that we have been working towards for the last couple of years. Our dawn blessing of the building and the support of local iwi was hugely moving."

One of the region's devoted arts advocated Dr Emma Bugden - the Council's Strategic Lead for Creative Industries the Blumhardt Foundation Chair - told The Lowdown "Whanganui has been waiting a long time for this moment.  We’re a hugely creative city, a UNESCO City of Design with a large community of artists, but there’s been one crucial gap. The opening of Te Whare o Rehua Sarjeant Gallery means we finally have a platform for dialogue with the rest of the art world.

"I saw a lot of tears on that opening Saturday, a lot of happy  - and relieved - grins. And that was just the locals - suddenly the art world landed in our city and it was overwhelming. We were heroes, even if just for two days; the centre of the art world.

"I’m especially excited for the generation who have no idea about what a public gallery can offer—for example, my daughter, who’s ten, has never lived in a city with a fully-fledged public art gallery. And to have a building which acknowledges the stories of the awa so beautifully is hugely significant—I think it will change who we are as a city."

Decorated artist Jade Townsend can testify to that. A proud local (Te Āti Haunui-a-Pāpārangi, Ngāti Kahungunu), she is one of the featured artist in the Gallery's opening exhibition.

Townsend told The Lowdown "I believe Te Whare o Rehua Sarjeant Gallery is the reason why I have a career in the arts today. I went there frequently as a child with my parents and would often see local artists platformed, my godmother worked there, the late director Bill Millbank knew our names. 

"That is the magic of this gallery – those who are from Whanganui or live there will likely have a connection that begins on the inside with people. I look forward to witnessing the next generation of artists, gallerists and curators born beneath the glow of Rehua and within the shimmer of Te Awa Tupua. I am so proud to have an artwork in the opening exhibition and to have witnessed the mauri being restored to a place I hold so dear."

Townend describes the opening weekend events as "awe-inspiring", highlighting "Kōrero shared by descendants of Whanganui -  Cecelia Kumeroa (Curator – Programmes & Engagement) and Eugene Kara (Designer) - reminded me that the gallery re-opened exactly when it was meant to, spiritually. I have always known my hometown carried a mysterious, creative quality - on the weekend, that vital essence was made tangible, again."

Now the work really begins, to make sure that momentum is followed through.

Donson notes "It’s about ensuring that as a team, we maintain a balanced programme, where hopefully we can offer something for everyone who visits, be that seeing familiar historical works to the best of contemporary practice. 

"We also want to make sure we tell local stories as well as keeping our visitors engaged with the best of what’s happening in the artworld in Aotearoa and internationally. 

"We’re lucky that our artist-in-residence programme at Tylee Cottage is a really lively and vital way to showcase work that’s connected to this place. We’ll be looking to expand our engagement with our community from pre-schoolers to senior citizens and everyone in between. 

"I think we carry on the momentum by ensuring that this place feels like a place that people can gather and come together and that everyone feels welcome."