It's going to be a monumental weekend in Christchurch - with the country's largest theatre company finally opening the doors on its new home.

14 years after Christchurch was devastated by the earthquake, The Court Theatre's time of making do and finding ways to function are no more - with the long term dream becoming a reality.

After some extremely challenging times, more than its fair share of controversy and millions of dollars of fundraising, the Court will once again be a central city beacon of creativity ahead of the first performance at its new $61 million, three-storey CBD location at 129 Gloucester Street - part of the Garden City's new arts precinct. 

It's quite the upgrade from The Shed - their 'temporary' home in Addington which provided the organisation the chance to keep the lights on for over a decade. Ever since being forced out of its traditional base, the long road back to its rightful place as a jewel in Canterbury's creative crown has all been focused on this moment.     

Executive Director Gretchen La Roche told The Lowdown "The opening of a purpose-built theatre is a rare and special thing and for The Court Theatre, this is the culmination of 54 years of determination and hard work by many, many people. 

"That this wondrous new home has arisen out of great loss adds even more significance for those of us here in Ōtautahi and I'm pretty sure the tears will be flowing as we celebrate. 

"We are looking forward to all that this incredible theatre will enable for us, our communities and the wider theatre sector across Aotearoa New Zealand."

The new era in the Court's rich history will see its 380-seat auditorium - the Stewart Family Theatre - remove the training wheels and bolt out of the gate with nothing short than a New Zealand theatre classic - The End of the Golden Weather (3 May-7 June). Written by the iconic Bruce Mason - and poignantly the company version adapted by the recently passed Raymond Hawthorne - directed by Lara McGregor and a cast including stage royalty Sir Ian Mune and Mark Hadlow...you can tell the tone is to be set straight off the bat.

Court Theatre Artistic Director Dr Alison Walls enthuses "The End of the Golden Weather is an ode to childhood, to change, and to the landscapes—emotional and physical—that shape us. It feels beautifully fitting that we open our new home with this deeply personal, national story.”

With the likes of Victor Rodger's Black Faggot (directed by Anapela Polata'ivao) and the return of Court cornerstone Scared Scriptless all set for this month as well, it's lining up to be a May to remember for performing arts lovers in Christchurch.

Along with the main auditorium, the new, accessibility-friendly facility will also unleash the 150-seat, flexible and intimated Wakefield Family Front Room performance space, rehearsal rooms, an education space, the Carter Family Box Office and Bar, and the Gough Family Foyer.  

Given that in 2023, the theatre company itself considered its very existence under threat due to financial circumstance and having its reputation dragged through the dirt after allegations of a 'toxic culture' under former boss Barbara George hit the headlines - this milestone should not be taken lightly.

It's taken umpteen hours of blood, sweat and tears, late nights, plenty of phone calls and investment from as high as Government and Christchurch City Council all the way to the pockets of arts philanthropists and loyal, local theatregoers.

Ross Gumbley has acted as Artist Lead on the whole project - right from the jump. He could barely contain his excitement on it nearing fruition.

He told The Lowdown "This new theatre, this meeting place will open its doors, its arms, to any audience who may wish to attend. We will share with them a space designed for them and the practitioners of Ōtautahi. A space where journeys will be taken and memories forged. Where human connection is offered through the stories we will tell in a building with an open hearted and welcoming grace."

“This theatre belongs to the people of Ōtautahi Christchurch,” La Roche agrees. “Whether you're an artist, a student, a lifelong theatregoer, or stepping into the theatre for the very first time, there is a place for you here.

“It’s more than a venue; it’s a living, breathing cultural institution designed to bring people together, spark ideas, and showcase the very best of local and international storytelling.”

It will also be one of La Roche's last acts in her role with Court Theatre - she starts her new gig as Creative New Zealand (CNZ) Chief Executive on 12 May (you can read departing CNZ boss Stephen Wainwright's in-depth exit interview here on The Big Idea). 

Opening night is unsurprisingly a sell-out. The venue is ready - the performers are champing at the bit. Now all that's needed to bring this special moment to life is what matters most - the energy and electricity of an audience.

Open for business

If you missed tickets to The Court Theatre's grand opening performance, you've still got a chance to be among the first to experience its new home this weekend.

It's one of the headline venues in Ōtautahi's annual festival of architecture, Open Christchurch (2-4 May) with a special focus on performance spaces this year.

Other elements of the arts precinct that neighbour the Court will be on display like Isaac Theatre Royal and The Piano as well as the Douglas Lilburn Auditorium at the Christchurch Town Hall and the CSO Centre.

Event Director Jessica Halliday told The Lowdown "We wanted to celebrate the central city's performance spaces as a key thread for Open Christchurch this year as with the opening of the Court Theatre building, the idea of a 'performing arts precinct' for Christchurch is - at least from a government perspective - complete. 

"Both despite and because of the earthquakes, Ōtautahi has these superb spaces for performance from the twentieth and twenty first centuries - and they're all within walking distance of each other.

"The new Court Theatre is a remarkable work of architecture and we're thrilled we can invite people to explore the building the very weekend it opens. 

"If you are an artist, performer, producer, creative or just love the arts, this is a chance to explore and connect with these spaces as works of architecture. To discover their differing and complementary qualities and characters, to consider how architecture as an art - the most public of the arts - contributes to and serves other creative practices."

There are also several architecturally themed exhibitions as part of this weekend's festival. The Sir Mile Warren Gallery has notable works of architecture from the region in miniature form at Objectspace’s Model City, while the Arts Centre hosts Ghosts on Every Corner, featuring landmarks of pre-quake Christchurch. There's also a spotlight on the works of pre-eminent local Gothic Revival architect, Benjamin Mountfort.

All up, 51 buildings, two designed landscapes, five guided walks and over 40 activities, craft and design workshops ensure that it's the largest Open Christchurch programme to date.

Return of Aotearoa Art Fair

One of Auckland's fastest growing and largest creative events is taking place this week too - with the return of the Aotearoa Art Fair to the Viaduct Events Centre (1-4 May).

There will be no shortage of visual stimulation - over 150 artists will be on display, with 44 participating galleries featuring many of the sector's leading names and a dozen coming from across the Tasman.

Sue Waymouth, Aotearoa Art Fair Director notes "The combination of established, prominent galleries complemented by a number of new, cutting-edge younger galleries will bring a fresh dynamic to the Fair. 

"We’re thrilled to present what we believe will be our strongest edition yet, bringing together an incredible community of artists, gallerists, collectors, and the art-curious for four days of inspiration and connection."

Valued at over $500,000, teamLab's piece The World of Irreversible Change will be the highest priced work on show, with a number of established talent also lined up to present.

The event states it's looking to increase its focus on toi Māori, with a number of established Māori artists involved like cultural advisor Dr Robert Jahnke, the next NZ Venice Biennale artist Fiona Pardington, Brett Graham, Jade Townsend, Reihana and Nikau Hindin.

Hindin told The Lowdown "As a Māori artist I negotiate being a cultural practitioner working within a contemporary art space. I was fortunate to come through both schools of thought with many great teachers who also navigate similar spaces.

"Toi Māori is grounded in whakaaro Māori and is the oldest living art practice that is produced from Aotearoa. It can only be created here, from this whenua and it comes from generations of observation, development and transmission. It is this countries most unique offering to the global art world. It is no surprise that there is an increase in global recognition for Māori artists as Indigenous practices are becoming more widely recognised.

"Toi Māori is an essential part of our Māori world as it is connects us to the lands, rivers and ocean. It brings us intimately closer to our ancestors and future ancestors and it gives us the opportunity to traverse the spaces of tapu and noa." 

The fair isn't just growing in size, it's evolving into much more than just an arts show. 

The introduction of the sculpture trail around Viaduct Harbour has already helped turn the area into a vibrant art hub (and will remain up until 14 May).

The city will come alive with art, including large-scale sculptures, live performances, and activations in retail and gallery spaces. 

Waymouth told The Lowdown "I have been inspired by Art Fairs around the world, where the whole city lights up with art during the week of the fair. 

"These large scale-sculptures by renowned New Zealand artists like Anton Forde, Gregor Kregar and David McCracken, look fantastic around the harbour. It is brilliant seeing people interact with Lisa Reihana’s giant Octopus Te Wheke-a-Muturangi, especially when she has - as Reihana says - her disco clothes on at night. 

"There is art in retail stores like Wynn Hamlyn by emerging artist Tony Guo and Britomart is hosting a performance by Kalisoliate ‘Uhila. We hope these art activations encourage people to come and see more amazing art at the fair and it allows everyone to experience the joy of art."

That continues into the Fair itself with interactive and immersive experiences from the likes of Sound art collective Shall I Be Mother?, artist Elliot Collins sharing poetry and the chance to engage with Bill Culbert’s Venice Biennale piece, HUT 11.

For those involved in the sector looking to lift their own practice or techniques, there seems to be an uptick in opportunities for growth - with a wider focus on artist support and development at the Fair.

For those navigating a creative career, From Passion to Profession: How to Thrive as an Artist in 2025 will offer practical guidance on building a successful artistic practice with Arts Laureate Brett Graham, Raukura Turei and Jude Rae giving insights from their own well-regarded careers.

But for those directly involved in the Fair - sales will be a major driver. Exposure is always nice but it doesn't taste great on toast.

A Fair source notes the importance of directly connecting the artists and gallerists "with a diverse collector base, institutional representatives, and curators, creating real opportunities for sales, commissions, and future exhibitions. Galleries work closely with artists to position their work effectively, and many artists are actively involved throughout the weekend — meeting buyers, speaking on panels, and engaging in real-time feedback.

"It’s also an important professional exercise for artists -presenting work in a commercial context sharpens how they think about their practice, pricing, audience, and presentation."

That's especially helpful for the number of fresh faces at this year's fair. 

The Horizons sector is a debuting initiative to ensure a spotlight on emerging talent, with 22 individuals getting their first taste of presenting at an event of this scale.

Hindin knows what they'll be going through.

"In 2019, I was an emerging artist within the Aotearoa Art Fair and it was like jumping in the deep end of the New Zealand art world - in a good way! 

"I love to see emerging artists at the fair and I encourage them to ask the more senior artists as many questions as possible because I remember how naive I was back then. 

"There is huge support for artists here which we can see in the great number of full time practicing artists. Even though we are small we do everything to high standard of excellence." 

And for those looking to dip their toe in the world of being an art collector, there are a number of curated tours designed to make the process a little less daunting. 

Podcaster Graeme Douglas will give strategies on making confident purchases with his How to Start an Art Collection tour, while arts academic Linda Tyler helps break the ice with the First Time at the Fair Tour.

The Paper sector and Gow Langsford’s ‘New Collectors’ booth are set to cater for new buyers with accessible priced pieces (for those of us without half a mill burning a hole in our wallet).

Fair's maiden outing

Tāmaki art lovers are spoiled for choice - with inaugural May Art Fair also slated for this weekend (2-4 May). 

Gallery Directors Sarah Hopkinson (Coastal Signs) and Andrew Thomas (Michael Lett Gallery) have initiated a new gallery-led fair, held at the historic Methodist Mission Hall off Karangahape Road.

They've described it as "a vibrant, international, and inter-generational mix of galleries and artists" crediting "leaders in their creative fields who share our commitment to making interesting things happen in Tāmaki Makaurau."

May will feature 15 contemporary galleries from Aotearoa, Australia, and the UK, with the local offerings ranging from established names like Season and Sumer through to the likes of Envy from Wellington, early-career artist focussed Grace and Treadler, a small gallery located in a one-room flat behind K Road.

After a preview day on Friday by invitation only (2 May), the fair is open to the public on Saturday (3 May) and by appointment on Sunday.

On ice

Another creative event sadly won't be back this year - but they're refusing to wave the white flag completely.

Organisers of Toi Kiri have announced they won't be running the annual celebration of indigenous cultural arts in Mount Maunganui in 2025 - postponing the next full-scale event until 2026.

In a statement, they've pointed the finger at the challenges presented by the modern-day funding environment, declaring the move is a strategic one.

"This festival has always been about more than just skinmarking, cultural arts, performances, or exhibitions. Cultural arts are a language of their own — they embody expression, connection, storytelling, resilience, and relationships," explains Festival Manager Chontelle Hohaia. 

"By postponing 2025, we are creating the time and space necessary for Toi Kiri to grow, evolve, support, and authentically reflect the diverse indigenous communities it represents on an international level."

Julie Paama-Pengelly, Chairperson of festival organiser Te Tuhi Mareikura Trust, adds, "Toi Kiri is delivered by a small but deeply committed team. With existing commitments for 2025 and the current economic climate, this decision was not made lightly. It reflects our long-term vision: to ensure every edition of the festival is impactful, well-resourced, and meaningful. 

"We are confident that with additional time for planning, collaboration, and creativity, Toi Kiri’s return in 2026 will be stronger than ever."

While a major festival will not take place in 2025, a series of smaller events and community-led initiatives - including its rangatahi projects - will continue throughout the year.

Big change at Auckland Art Gallery

Another of the creative sector's high profile 'pandemic era' leaders has vacated their position.

Tātaki Auckland Unlimited (TAU) has confirmed Auckland Art Gallery (AAG) Director Kirsten Lacy is leaving her post in what has been a low-key, largely under the radar announcement. The Australian started with the high profile Tāmaki Makaurau art institution back in 2019. 

In a statement, TAU Chief Executive Nick Hill notes "Kirsten has been at the helm of the Gallery for six years and during that time has managed visitation growth driven by ambitious and dynamic programming; growth in commercial and donor engagement, including the joint Auckland Art Gallery Foundation Endowment programme; major internationally renowned commissions and acquisitions by global artists; and major capital projects, such as the Heritage Restoration Project."  

Lacy will continue working at AAG until 14 June to deliver some of the key projects she's been focussed on, include A Century of Modern Art exhibition opening on 7 June.

The NZ Herald reported that Lacy's resignation announcement to staff noted that after much deliberation and with a heavy heart, it was time to step down.

“It has been an absolutely extraordinary experience, and I am filled with enormous gratitude for the opportunities that have been afforded to me and the trust that has been put in my leadership by so many of you.

“The Auckland Art Gallery is a truly remarkable place and our mission to enrich lives through exceptional visual art encounters is deeply felt and lived every day by the staff and gallery whānau who devote so much care, insight, and manaakitanga to this task.”

No reason for her departure has yet been made clear. The NZ Herald report alluded to some disquiet among staff regarding a $20,000, two-week trip to India with international art senior curator Dr Sophie Matthiesson to investigate a future exhibition late next year to align with Auckland’s Diwali Festival.

The now-vacant position will no doubt be a coveted one and would likely draw interest both nationally and overseas.

Hill says TAU will advise an interim appointment next week, "who will be an acting director to guide Auckland Art Gallery while a permanent replacement is recruited. The new acting director will be ably supported by a stable and experienced leadership team and strong, established governance."

Any further details around recruitment are unknown at this stage, with the gallery unable to comment until after the interim announcement.

Parkinson's major move

Another leading arts adminstrator on the move is New Zealand Portrait Gallery Director Jaenine Parkinson - but her next step is already mapped out.

She's been announced as the new Head of Art at the Museum of New Zealand Te Papa Tongarewa - a position that will make her a creative administrator many will want to have on their radar.

Parkingson's put in an impressive, progressive seven and a half year shift at the NZ Portrait Gallery - and assesses the current state of the sector. 

“The gallery ecosystem in Pōneke is doing it tough right now but I believe in its strength and resilience. By keeping the value of our arts and artists in focus, and continuing to show up in support, we can and will endure. 

"It has been an incredible opportunity and immense honour to lead the New Zealand Portrait Gallery Te Pūkenga Whakaata. I am proud of all we have achieved together and confident that the Gallery will continue to thrive and inspire under new leadership.

"I will continue to remind people, to their astonishment, that the Portrait Gallery is a charity that must start fundraising from scratch every year. I remain amazed that the Portrait Gallery not only exists but thrives, thanks to the incredible generosity of its supporters."

NZ Portrait Gallery Board Chair, Dr. Alan Bollard adds, “Jaenine’s impact on the Gallery and the wider art community has been transformational. She has consistently brought bold, thoughtful, and inclusive leadership to her work, ensuring the Gallery remains a place where identity, community, and creativity intersect. We are thrilled for her new opportunity and deeply grateful for all she has contributed.”

Of her highlights as Director, Parkinson notes "One of the great privileges of this role has been celebrating the iconic impact of some of Aotearoa’s most remarkable artists during their lifetimes. 

"I’ve especially loved working closely with communities on exhibitions exploring rich, layered themes — from filmmaking about the New Zealand Wars, to being Chinese in Aotearoa, to the lives of transgender women from Carmen Rupe’s generation and women sculptors."

The hunt for Parkinson's replacement will begin shortly.

Have your say

If you're reading this, you're clearly invested in the creative sector and its role in Aotearoa.

The Big Idea has been doing the same for over two decades, and we've been calling for your feedback to help us shape the future of TBI.

Knowing what our audience wants and the priorities of the creative sector has always helped guide our kaupapa - and we've been getting some crucial insight into how we can best serve the creatives of this country

If you haven't done it  - complete the short survey by 3 May and you could be in to win one of five $100 Prezzy Cards.

We are here to amplify the creative voice - so use yours to let us know what matters to you.

Cello? It's me you're looking for

The missing piece of leading chamber ensemble NZTrio's puzzle has been found.

Award-winning cellist Matthias Balzat has been announced as the new permanent member of the group, replacing founding member Ashley Brown who declared he was stepping down last year. 

Balzat states “After several years working as a freelance musician in Germany, the chance to return home to Aotearoa for a role like this feels incredibly special. NZTrio has long been a group I’ve admired—for their artistry, adventurous spirit, and deep connection to New Zealand’s musical landscape. 

"Stepping into this role is both a personal homecoming and a professional milestone. To take it on fully, I’ll be unfortunately reducing the number of my commitments in Europe, yet driven to focusing my energy on this next chapter with the Trio.”

Balzat will join the trio on a guest basis this year before taking on the role permanently in February 2026, with his first performances slated for their Magnifique concerts in May. 

 He Taonga Wairere are thrilled to announce the appointment of new permanent cellist,  Matthias, an award-winning performer, brings a wealth of local and international performing experience to the trio’s next chapter.

The other two-thirds of NZTrio, Amalia Hall (violin) and Somi Kim (piano) commented “Matthias’ name was one of the first to spring to mind in our search for a new cellist, and we are excited to start this new chapter of NZTrio with him. We knew after just minutes of rehearsing with him that he was the one! Matti’s energy and musicianship completely align with our core values at NZTrio, and we’re going to have so much fun on and off stage together."

Scholarship success

At the other end of the spectrum, two rising musicians are being backed to help achieve their potential in Canterbury.

Kaitlyn Rodley and Myah Somers have been named as the inaugural recipients of the Bronwyn Bijl Scholarship by Chrustchurch performing arts venue The Piano. 

Director of The Piano, Marcus Norman expresses “We’re thrilled to launch this important new opportunity. Kaitlyn and Myah will receive a comprehensive professional development package of monetary contributions, mentoring and production support, and the free use of The Piano’s venue and equipment to produce two projects in 2025.” 

Rodley will “realise her dream” of recording her debut EP, performing a live concert of her original music in The Philip Carter Family Concert Hall. 

“'It blows my mind to know that I have the opportunity to perform my music at The Piano” she states. “It's something I would not have been able to do without this scholarship, so I'm hugely grateful and excited.” 

Somers will create a multidisciplinary music video that “embraces diversity and incorporates multiple artforms”. Somers says “receiving this scholarship gives me the ability to explore my creativity and work with professionals to bring my vision to life while advancing my music career.” 

The scholarship - named after The Piano's previous Director - is a central part of the venue's Next Generation Initiative, supporting young people and emerging artists through gifted tickets to concerts, venue hire support, and mentoring and performance opportunities.