Creative organisations closing their doors has become all-too-familiar a norm in recent years - but this one hits a little different.

The revelation that beloved creators of children's and family productions Tim Bray Theatre Company (TBTC) is coming to an end after one last Christmas run has been met with devastation around the creative community.

Usually, such news comes after missing out on funding or the lack of money to keep the lights on. Not in this case.

Financially, TBTC is in a good position - the charitable organisation operates as a nearly $2 million enterprise and is only behind Auckland Theatre Company for audience size in Tāmaki Makaurau (made all the more impressive without receiving multi-year funding or being an investment client of Creative New Zealand). 

Over the last 33 years, the global financial crisis, the pandemic pressures nor the recent recession were all navigated - but there are some obstacles no one can outrun.

The heartbreaking decision is off the back of the even more heartbreaking announcement that founder and Artistic Director Tim Bray has been diagnosed with desmoplastic small round cell sarcoma, a rare soft tissue cancer more commonly seen in children and young adults but occasionally seen in older adults. While the condition isn’t curable, Tim has recently started a course of chemotherapy to help control the cancer and will require ongoing treatment. 

Bray had hoped someone would continue the organisation's meaningful mahi. “While we have conducted a diligent search for a successor, our Chairperson, Peter Winder, aptly described the challenge as trying to ‘find a unicorn.’ Unfortunately, despite our efforts, we have not been able to secure a suitable candidate. Combined with my current health challenges, I do not have the energy or capacity for the essential handover and training required.”

The simple truth is no one could replace Bray - a tireless advocate and champion for children's theatre in this country who has poured his heart and soul into a kaupapa that have sparked imaginations and brought the power of creativity to countless young New Zealanders.

“We are immensely proud of our legacy and the joy we have brought to generations of children and their families,” Bray remarks. “It’s been an honour to contribute to the arts community and create unforgettable experiences for young audiences.”

TBTC Chair Peter Winder tributes “Tim Bray’s work to entertain, delight, and ignite the imagination of children over 30 years is legendary. He has an amazing ability to take simple children’s stories and bring them to life. Generations of children have seen Santa fly, pirates go to a rumbustification, Mahy's dragon grow to fill the stage, and dogs steal sausages. 

"Tim’s shows have brought New Zealand children’s literature to life and helped us all to laugh out loud. Tim’s contribution to NZ theatre will be sorely missed. 

“Not only has Tim delivered artistic brilliance for over 30 years, he has had the tenacity and energy to build a theatre company, to raise funds, and to build from very small beginnings a major NZ theatre company. His constant optimism, his passion and energy, and his pure sense of fun and laughter are infectious. 

"We are incredibly sad that we have not been able to find a unicorn to replace him."

The emotional reaction has been swift - with both Bray and his theatre company meaning so much to so many.

 Playmarket Director Murray Lynch responds “The news that Tim Bray is no longer able to run his theatre company for children is overwhelming. Tim is the most successful playwright for children in Aotearoa with over thirty joyous and beloved adaptations of children’s books, many of them staged multiple times.

"The theatre ecosystem and the lives of children will be the poorer for the loss of this company.”

Another icon on children's entertainment, Suzy Kato shared on social media "Arohanui Tim! So sorry to hear this news! All the mahi you have done for so many kiwi kids has been so amazing."

Take some of these extraordinary stats into consideration - since its inception in 1991, TBTC has delivered 112 productions (with December's The Santa Claus Show '24 at The PumpHouse Theatre set to be its 113th and swansong) reaching three generations of New Zealanders. In 2023 alone - 36,420 children and teachers, parents, grandparents and caregivers attended TBTC performances. 

But TBTC's legacy isn't just around what it put on, it's what it gives back. Its Gift a Seat has seen donor and funders create opportunities for kids to attend for free - 7,398 got the chance in 2023 and 1,053 will get have the same opportunity for next month's Santa Claus Show '24.

Bray's dedication to inclusivity saw TBTC become the first performing arts company in New Zealand to offer NZSL-interpreted performances - 20 years ago. 

As well as putting on shows, TBTC has been encouraging their audience to get involved in performance. For over 15 years, the Tim Bray Youth Theatre drama classesand holiday programmes  have been attended by over 10,000 young people  - including tailored classes for autistic, neurodiverse, Deaf, and blind/low-vision children and teens. 

Bray's vision also saw the organisation fill another crucial role in the creative community - jobs. The company has provided employment opportunities for countless creatives and technicians, with Bray's philosophy that children’s theatre required the same professionalism as adult professional theatre seeing TBTC pay adult theatre rates to those who worked for them.

They too are feeling the impact of this announcement. 

Bray noted "We are immensely proud of the incredible expertise our team has brought to delivering Youth Theatre programmes and professional performances. It is with sincere regret that we cannot continue this journey together, but we have no doubt that each member will be a fantastic asset to any future employers fortunate enough to have them."

Among Bray's many accolades is the Queen’s Service Medal for his services to children and theatre, and he's currently the biggest selling playwright for children in the country.  

Bray is also proud of his involvement with the legacy of Auckland’s Big Gay Out. “Big Gay Out was an idea I came up with – both the event and name –  that I presented to my fellow Hero Trustees who loved it and set it up. I’m thrilled to see the Big Gay Out continue a quarter of a century on, often providing young LGBTQI+ people their first safe place to venture and find their tribe in their journey.”

Saying goodbye won't be easy - but it will be done, no doubt, with typical Tim Bray energy and spit with the final shows 1-22 December at The PumpHouse.

Funding demystified 

Ever tried to explain creative funding to someone? Not just those outside of the sector, but to those entrenched in it?

It's not always easy - and even those who say they know sometimes don't really get it entirely. (Note: that's because it's complicated!)

Creative New Zealand (CNZ) have heard this plenty of times and have made steps to try make it more understandable.

They've created a resource - Arts Funding 101 - with much loved and award-winning illustrator Toby Morris bringing the whole process to life to make it more accessible and understandable.

Morris explains “It's really important people understand all the work, skills and support that goes into putting creative work into the world. It doesn't just magically appear, it’s work – and it's so important for everyone that creative work is supported and resourced.

“Even as someone who has worked in the arts for decades, I still wouldn't say I've ever properly understood the big picture on how arts funding works, so I think it's helpful to explain it more clearly.” 

CNZ Chief Executive Stephen Wainwright gives the reason for the newly-commissioned explainer.

“Telling this story is long overdue. We know the funding ecosystem is complicated, so we wanted an engaging story to explain the many layers involved in creating vibrant arts experiences for New Zealanders. 

“We’re demystifying what sits beneath the surface: the infrastructure of arts funding, and where CNZ sits within the ecosystem. We hope this opens up conversations and stimulates thinking about how we can strengthen support for the arts, by understanding the funding environment and its impact on the sector."

The story is told largely in horticulture form - "we feed the garden, the garden feeds us" - but there are visuals like the pizza reference below that will grab attention.

Perhaps this will be the key to unlocking the process for many and simplifying the message for applicants and funders alike.

Either way, it has successfully made us hungry for pepperoni.

Waikato warning

The creative community in Waikato have had their wind taken out - as the ugly head of tertiary education financial pressure rears up.

Creative Waikato have stepped forward to spotlight the concerns around the proposed cuts to the School of Media Arts at Wintec, focused on programmes in music, performing arts and communications - even posing the question, Is the future of the creative sector at risk in the Waikato?

A vocational education institution looking for cost-cutting measures is sadly nothing new - Over the past few years, Victoria University of Wellington, Massey's College of Creative Arts and many more have felt the axe pressing on the back of their respective necks. 

The timing of such threats are never optimal, but they seem particularly counterproductive in a province that feels like its on an artistic upward tick. 

Creative Waikato CEO Dr. Jeremy Mayall told The Lowdown "Creative education providers do more than train future artists - they fuel our region’s growth, connect communities and drive cultural momentum. 

"Cutting these pathways risks stalling Waikato’s creative sector in the future. With initiatives like the Waikato Regional Theatre and strategies to attract creatives and support development, such cuts threaten to disrupt the region's cultural momentum.

"We have seen directly how staff, students and graduates of these programmes contribute to local events and venues including The Meteor, Clarence Street, Hamilton Arts Festival, Fringe Festival, Hamilton Operatic, Nivara Lounge, Last Place, and a significant part of the live music scene for a number of years."

With no other tertiary offering for popular music, musical theatre, and audio production in the region, the Waikato risks losing not just talent but the economic and cultural advantages that come with it.

Creative Waikato's urging for central government’s role in investing in tertiary education to be put up for discussion, stating "If Wintec is unable to secure funds, then costs (programmes and people) need to be reduced. This becomes a blunt numbers game, rather than examining the true value and benefit of these programmes in our region." 

Community opportunity

But it's worth noting not all opportunities are drying up.

Auckland Council's welcoming applications for the Creative Communities Scheme - a partnership with CNZ.

The scheme is open to all artists, performers, cultural or community groups - with the ambition to make arts and culture an enriching part of everyday life for Aucklanders through art, music, dance, film-making, toi Māori, Pacific arts, weaving, writing, poetry and theatre.

Auckland Council’s Regional Funding Advisor Marion Prebble explains “It supports creative projects anywhere across the Auckland region – on beaches, in parks, community halls, theatres, streets and galleries.” 

The average funding grant is around $5,000 per project - last year saw 214 community arts projects supported, reaching 292,910.

Applications close on 2 March next year.

No talent shortage at Portage

The winners of the annual Portage Ceramic Award are usually sitting on tabletops - not hanging on walls.

But the 2024 incarnation has been collected by Wendelien Bakker for her work Sea of Grass, after being selected for the top prize by judge Kate Newby.

Internationally recognised artist Newby notes "This work wriggles out from any expectations of sculpture," detailing "As the unfired porcelain slowly dissolves into the grass, the stack of black-and-white prints (available for the audience to take home) diminishes as well, creating a parallel between the physical material and the image of the work.

"Sea of Grass is in constant flux, always changing, always happening. You can’t pin it down, because it exists in multiple forms and at varying stages of transformation. The porcelain may dissolve into the grass, but it still lives on through the documentation. It forces us to question: Where is the work? Is it in the porcelain? The photographs? The space in which the porcelain disappears, or the homes where the photocopies eventually end up?"

Auckland-based Bakker - by way of the Netherlands and Ōtautahi - told The Lowdown "I’m completely taken aback and thrilled with winning the award, and feeling very honoured that Kate Newby liked my work. 

"It’s a beautiful show that they have put on, with incredible artists and their works and I am lucky to be part of it.”

Bakker's is one of 40 finalists - from 257 entrries - who have had their work chosen for the Portage exhibition at West Auckland's Te Uru until 23 February - with another three prizes handed out.

This year’s Merit Award winners are Terry Bell for The Clay Pulls You In, Ted Kindleysides for Figure Bottle Form (set of two) and Raukura Turei for Nau mai e hine.

For rangatahi, by rangatahi

Finding platforms for young people to be creative and feel supportive more important than ever - and a new project has come to live in Christchurch focused on just that.

Life/Styles is set to become an annual photographic project that creates an image archive of rangatahi, by rangatahi in Ōtautahi. The inaugural exhibition launched on Tuesday (26 November) with the work of twelve students from Shirley Boys’ High School both on the walls of Tūranga Central Library and in zine form -  each year young people from different communities will participate. 

It's the brainchild of Heather Milne, who told The Lowdown "I think that seeing 'everyday' photographs in print is a bit of a novelty for people now. Everything is on phones and can feel like throwaway ephemera. Having the images formally displayed in a way that reflects the deliberate nature of the photography felt significant." 

After several workshops, the Shirley dozen were set loose on their city with DSLR cameras donated by members of the public, "The outcome was a diverse body of work - including landscapes taken at the beach and on family trips in the South Island, rugby practice action shots, early morning commutes, cityscapes (and ruins), and plenty of entertaining photos of friends."

Milne sees Life/Styles as a way for people to understand perceptions and contributions of youth in Christchurch, and to discover what has changed, and what is consistent through the years.

The idea came from Milne's time photographing disaster relief work in the Hawke's Bay after Cyclone Gabrielle. 

"I noticed a teen sitting on his back doorstep with a backyard that had turned into a swamp. I thought that he should be the one taking the photographs. I was just a visitor, but he knew the people and places that should be photographed best. This memory really lodged itself in my head until I figured out the basic concept.

Caroline Aindow, art teacher at Shirley Boys, reflects "(the programme is) A beautiful way for students to make sense of the world they live in, connect with their community and their wairua, work with a professional photographer and designer. 

"It's been an incredibly valuable 'real world' experience. Great for their wellbeing and need to slow down and take notice of their surroundings, and gain an appreciation for the little moments." 

The students work is on display until 1 December and online until 15 December.

All is Wellik

A major opportunity for Auckland composition student Grace Wellik - selected as the Auckland Philharmonia’s 2025 Young Composer-in-Residence.

The coveted residency programme - a partnership between Auckland Phil and University of Auckland - supports young composers "to step up an octave to a professional career." 

Under the mentorship of professional New Zealand composers, including Ryan Youens, Wellik will compose three works during the residency: two full orchestral works and a piece for chamber ensemble. They will be performed by the Auckland Philharmonia at Learn & Participate events in 2025.

Wellik states “I’m so excited to work with such a phenomenal orchestra over the next year. As a composer, nothing quite compares to hearing your music performed live, and the grand scale and quality of an orchestra is truly a magical experience.”

Wellik is an adept musician with an impressive résumé, which includes experience singing with the New Zealand Youth Choir and the Auckland Youth Choir, training with the New Zealand Choral Federation as a Young Conductor, and is coming off this year's Young Composer-in-Residence for Auckland Youth Choir.

Making his mark

Well travelled Kaupapa Māori scholar and author Dr Pounamu Jade Aikman is primed for a big 2025 - after being named the next Te Herenga Waka—Victoria University of Wellington International Institute of Modern Letters (IIML) and Creative New Zealand Emerging Māori Writer in Residence for 2025.  

Aikman (Ngāti Maniapoto, Ngāti Wairere, Ngāti Apakura, Ngāti Awa, Ngāi Te Rangi, Ngāti Tarāwhai, Te Arawa, Ngāti Uenukukōpako) will spend his three-month residency - starting in February - working on a book of essays titled Whose Knowledge Counts? From Warp Drive to Waka Huia. 

The book will be published by Bridget Williams Books, and will critically and creatively explore the tension between Indigenous and settler knowledge systems, focusing on the fundamental question of whose knowledge is prioritised in Aotearoa today. 

It adds to Aikman's impressive collection of scholastic achievement, which includes a PhD at Australian National University, a Master of Arts in Anthropology with Distinction where he also completed a Bachelor of Arts with Honours First Class in Māori Studies at the University of Otago, as well as a Fulbright-Ngā Pae o te Māramatanga Scholarship that saw him study at Harvard University and the University of Hawai’i. 

Aikman states “It is an honour to be appointed, and I am excited to work alongside tuākana in creative writing as I develop Whose Knowledge Counts? With universities subjected to increasing pressure throughout Aotearoa and the world, I am privileged to return to a community that has nourished me in the past, and does so once more, so I may contribute to the mauri of Te Herenga Waka.” 

Director of the International Institute of Modern Letters, Damien Wilkins adds “Pounamu is part of the new wave of Māori writers and thinkers re-drawing the cultural map of Aotearoa. His writing is witty, sophisticated, penetrating and highly accessible. We’re delighted to support him.” 

Single success

Christmas has come early for 32 local singers or groups - with New Zealand on Air announcing the recipients of the November New Music Single funding round. 

It will see up to $11,000 given to local artists in the coming months to help with their recording, video and promotion costs - with the aim of helping their work reach the audiences of Aotearoa and beyond.

The magic number was whittled down from 203 eligible applications, with eight first-time NZ On Air New Music Single recipients making the cut - Bella Rafflyn, Brooke x Starce, Em, KRISTN, Kyla Greening, Made You Look, Mirage, The Mons Whaler.

Part of the selection process involves supporting a diverse and inclusive music industry, noting that this funding is set to reach a broad range of audiences and show strong potential to reach those audiences via broadcast, streaming and online media.

NZ on Air's next New Music Single round will open on 16 January, 2025.

All a-Board at MOTAT

The refresh at MOTAT continues, with some real experience added to the Board and promotion coming from within.

Amit Prasad has been appointed the new Chair, having jointed the board in 2018 and serving as the outgoing Helen Atkins' Deputy for the last three years. It's another addition to a board portfolio that currently includes Independent Chair of The Pinnacle Group and Midland Regional Health Network Trust.

Prasad states, “I am passionate about enabling MOTAT’s Vision to inspire the future innovators of Aotearoa and helping to build a brighter future for the country. The Museum is kaitiaki of an important collection of transport, science and technology objects telling stories of Kiwi progress and ingenuity and the MOTAT Team is doing an incredible job bringing those stories to life though exhibitions and programming.”

While Prasad's new Deputy has MOTAT experience as a former General Manager in Wayne Schache, it's one of the two new board members who may be most familiar to the creative community.

Former NZ Film Commission Chair Alastair Carruthers has joined, adding to his heavyweight credentials that include Chair of TVNZ, Deputy Chair of Auckland War Memorial Museum, Board member of Tātaki Auckland Unlimited, the Auckland Regional Amenities Funding Board and Cornwall Park Trust Board.

Heather Ruru (Ngāi Tai, Te Aitanga-a-Māhaki, Whakatōhea), a Principal Advisor at Houkura – Independent Māori Statutory Board, and Co-Chair National Board of Te Whānau Tupu Ngātahi Playcentre Aotearoa, rounds out the new additions.

Dunedin domination

A tribute to her father has given Dunedin poet Nicola
Thorstensen a career boost.

She's claimed the $1000 Kathleen Grattan Prize for a Sequence of Poems - run by the International Writers’ Workshop and judged by Prime Minister's Awards for Literary Achievement recipient Anne Kennedy from Tamaki Makaurau Auckland.

Thorstensen's sequence ‘Reclamation’, an homage to her father John Thorstensen is an exploration of childhood loss and grief she wrote as part of a creative-critical Masters’ thesis while studying at Massey University, and edited it during an NZ Society of Authors mentorship this year. She notes, “I’m grateful and honoured to win this award, and wish to thank the Grattan family for their generosity and passion for poetry, IWW for running the competition, and judge Anne Kennedy for her thoughtful feedback.”

It was double delight for Ōtepoti-based poets, with US ex-pat writer, editor and creative writing teacher Michelle Elvy awarded runner-up for her sequence, ‘The map in your palm’. 

Kennedy also awarded Highly Commended nods to Kerrin P. Sharpe (Christchurch) and Sarah Scott (Wellington).