Not all heroes wear capes - and not all stars get the spotlight.

While many strive to see their name up in lights or on the marquee, there are just as many in the theatre world who don't court the attention.  

But that doesn't make them any less crucial - and it's important to celebrate them more often than just a point to the wings during the curtain call.

The Out of the Limelight Theatre Awards - run by the Arts Foundation and the Roger Hall Trust - acknowledge those theatre practitioners without whom most theatre productions could not take place, yet who rarely get the sort of recognition that is given to playwrights, directors, and actors.

Iconic New Zealand playwright Sir Roger Hall told The Big Idea "Any theatre production requires many people with many skills before it can be seen. Understandably most of the attention and publicity goes to those people whose skills are obvious to all: the actors, the writer, the director. 

"The theatregoing public is less aware of how essential is the work of the stage manager, for example; the person who designs the costumes; the music that might have been written especially; producers and theatre managers.

"When The Arts Foundation Te Tumu Toi first used money from my Roger Hall Theatre Trust in 2020 to make a Theatre Laureates Award, I asked that the same amount of money be used in alternate years to make five awards of $5000 to people in the industry whose work was essential, but less known. They went to people with a wide variety of essential skills:  Elizabeth Whiting (costume designer), Marcus McShane (lighting designer and visual artist), Harold Moot (set designer), Eric Gardiner (stage manager) and Playmarket (the playwrights' agency and script development organisation).

"All were delighted not only for the cash sum, but in particular to be given this recognition. And so here we are with the second tranche of recipients.

"I wish them well and congratulate them. Long may they continue in their essential work."

Time to give this year's recipients their moment in the limelight.

Vanessa Immink – Theatre Producer

Vanessa Immink (Ngāti Hāua, Ngā Wairiki Ngāti Apa) is a wahine Māori/Pākehā independent theatre maker and producer. With a degree in musical theatre, Immink has previously held positions such as the Senior Programmer (Fringe Club) at Adelaide Fringe Festival, Senior Producer & Marketing Manager at Kia Mau Festival and the Project Producer for Māori advocacy organisation Ngā Hua Toi. 

In 2021, Immink created VOLT, a digital education arts management platform for independent producers and self-producing artists, and in 2022 was selected as one of 25 emerging BIPOC producers to attend Theatre Producers of Color programme She is currently a 2023 International Society of Performing Arts (ISPA) Global Fellow.

Immink told The Big Idea "This award is an acknowledgement of all the incredible creative practitioners that have trusted me with their ideas, their works and their valuable time over the years. If it wasn’t for our artists and their trust in my skills, I wouldn’t be where I am today. 

"This acknowledgement also highlights the importance of strong formal and informal mentorship opportunities in various stages in your career as an arts practitioner. I have had many incredible mentors over the years who have allowed me to lead, make mistakes, learn, guide me and push me out of my comfort zone which has only enhanced my professional practice, as well as my personal growth. 

"It’s humbling to be recognised by your industry peers for the work that often is unseen, and if done correctly, people often don’t know exists.

"We all work in harmony to serve our communities and the stories we are trying to tell. I do not think those identified as “out of the limelight” are more important than anyone else in our eco-system, from our security guards, the bus drivers, the performers, set builders, ringawera, the designers etc. Sometimes we can actually get in the way by thinking we need to be involved when we actually don’t need to be. 

"However, I do think it’s important that an artist gets to play, test, and explore their idea to their full capacity (whatever that looks like for their own circumstance), and that’s where a good producer (interchangable with manager, leader, supporter, friend, mentor etc) can come in to hold space, fight for them and their vision, and push the work along, even if they don’t think they are ready for it yet. 

"I’d love to get to a place where everyone can be interchangeable depending on their interests, where they want to grow their skills and we can all just take turns supporting our friends across a myriad of roles. Many arts managers or producers also come from a performance/making background and so can support kaupapa in various ways outside of the spreadsheets."

Immink adds "I believe that Aotearoa creatives and stories are the best in the world – and I want to help support that vision coming to life. I came through Wellington at a time when there was a variety of opportunities for emerging artists such as Young & Hungry, Emerging Artist Trust and various other programmes, where I was able to learn about theatre-making, and connect with other artists, mentors and leaders which helped shape my earlier years. 

"I want our emerging practitioners who dream of working in live performance, in Aotearoa or overseas, that they can see that pathway forward, and know that it is possible for them no matter where they are based. I also do what I do because I get to help support bringing joy to communities – which I believe is foundational to how we work in the live performance sector. While your kaupapa might not always be joyful, the way you make it, lead it, share space should be."

On her next steps, Immink details "I am currently developing a new digital educational platform for live performance practitioners called VOLT - coming soon! This aims to be a hub for independent practitioners who want to upskill in producing or arts management, in affordable short courses or through 'learn on your own' content. Thanks to Manatū Taonga, I am able to advance my original concept idea and share the knowledge, access and resources I have wider into our community to help build capacity, capability and confidence in our creatives so they can go and take on the world, no matter where you live."

John Gibson – Musical Director, Auckland Theatre Company

John Gibson has been writing music for film, theatre, television and dance since 1980. He has established many long-standing collaborations with many of New Zealand’s finest artists, including Vincent Ward, Colin McColl, Douglas Wright, Shona McCullagh and Michael Hurst. 

Gibson’s work for theatre numbers over 80 original scores, including over 150 original songs. His scores for Auckland Theatre Company include The Life of Galileo, The Master Builder, The Good Soul of Szechuan, A Doll’s House, Awatea, On the Upside Down of the World and many others. 

In 2008, Gibson was awarded a New Zealand Film and Television Award for Achievement in Original Music in Film for his work on Vincent Ward’s Rain of the Children. In 2021, he composed the score for the feature film Coming Home in the Dark, which premiered at Sundance Film Festival. He is currently in the final stages of a solo album, Blow for Humanity.

Gibson told The Big Idea this award "means being acknowledged for 4 decades of commitment to creating new worlds of thought and feeling in collective enterprises with other brilliant New Zealand creatives to make something unique for us and from us.

"(it means) Celebrating the courage to express, feel and tell our stories - to celebrate originality as evidenced in the play I am currently working on, I want to be happy from Nightsong.

"It is wonderful to be acknowledged but the privilege and the joy has been mine."  

Helena-Jane Kilkelly – Theatre Producer

H-J Kilkelly (Kāi Tahu, Kāti Mamoe) is an Ōtepoti-based producer, with a passion for the development of new works from New Zealand and decolonisation through performance. She is the co-director of Prospect Park Productions, and its professional development platforms Ōtepoti Theatre Lab and Ōtepoti Writers Lab, and an independent contractor across multiple projects.

Her experience is extensive, having produced shows, festivals, practitioner development platforms and workshops for companies such as Tawata Productions, Kia Mau Festival, Barbarian Productions, BATS Theatre, Playmarket, Toi Māori, and NZ Young Writers Festival. 

Kilkelly told The Big Idea "Acknowledgment like this is great because so often producers are slogging away in the background, without folks realising how creative and actually fun it can be. 

"To hustle (if that's your thing, it's definitely mine!), to sell dreams to those who can make it a reality, and then bring it all together, it's a pretty cool process. 

"We need to encourage more people into producing - so what better way than showcasing the people who do it and actually enjoy it!

"In Ōtepoti, where I'm now based, there are very, very few opportunities - particularly for theatre makers - and it can be fairly isolated in terms of access to all the things we need to nourish our creative practice - opportunities for professional development, networking, benchmarking.

"I'm back home to be part of the community trying to uplift the scene there. I've been lucky to have incredible mentors and work in some pretty cool spaces across the motu, so it feels like a real privilege for me to help people to share their stories and to make connections."

Kilkelly continues "I'm currently in the UK, with a lofty plan on the cards to get our show Faovale Imperium - featuring James Nokise & DJ Don Luchito - into some fairly epic venues for 2024/2025. We're off to decolonise the colonisers on their home turf - wish us luck!"

Giles Tanner – Head Technician, The Court Theatre

Giles Tanner is a graduate of Hagley Theatre Company, where he concentrated on technical production. Currently Head Technician at The Court Theatre, Tanner has worked on more than 50 Court productions including Amadeus; When the Rain Stops Falling; Constellations; Educating Rita; Waiora: Te U Kai Po - The Homeland; The Events; Ropable; Venus in Fur; Titus Andronicus; In the Next Room, or The Vibrator Play; Stephen King’s Misery; Hedwig and the Angry Inch; The Father; Fresh Off the Boat; The Wind in the Willows; A Streetcar Named Desire; The Girl on the Train and Sense and Sensibility; Rēwena and Be Like Billy?

He told The Big Idea "This just came out of nowhere. My initial thought was that it must be some sort of scam. However, on reading the letter informing me of the award I began to believe it must be legitimate!

" Frankly, I was incredibly humbled and blown away! I had no inkling that I was being considered, so finding out really was a bolt from the blue.

"I work with an amazing group of incredibly skilled practitioners, many of whom have been in the industry for decades. We all work for modest remuneration but are driven by the desire to produce consistently high-quality art. 

"The designers, technicians, directors, fabricators, stage managers, crews and administrators involved with The Court Theatre and so many similar organisations are absolutely essential in facilitating the work of those in the public eye. We are the support that allows performers to shine, to deliver their best possible work.

"I get an immense sense of satisfaction upon seeing a vision delivered well. Especially when it is challenging, when it is difficult. I really see my job as supporting my directors in bringing their passion to life and making it manifest and tangible. We are all storytellers in this industry, we just use different tools."

Tanner's busy adding to his growing production tally. "I have to say that The Court's next project, Dance Nation is a fantastic, fun, twisted but joyful celebration of friendship, girlhood and dance competitions! I think it is a really thought-provoking script and I am looking forward to doing my part to make it magic!"

Alister McDonald – Dramaturg and Archivist

Alister McDonald was the Dramaturg of the Fortune Theatre in Dunedin from 1985 until its closure in 2018, has served on the Playmarket Executive since 1996 and has been the Secretary / Treasurer of the Writers’ Cottage Trust since 2014. 

His theatre reviews and journalism have been published in Mercury, Critic, The Otago Daily Times, The Christchurch Star, The New Zealand Times, Act, Centre Stage Australia, Free Copy, Playmarket News, Theatre Australasia, Angles, Playmarket Annual, Playmarket e-bulletins and the theatreview.org.nz website. 

He has previously written short histories of Dunedin theatre, Otago University Capping Concerts, the Otago University Dramatic Society and the Fortune Theatre. He has also recently completed a 75th-anniversary history of the Dunedin Film Society.

McDonald told The Big Idea "Being the dramaturg at the Fortune for those 34 years was a sort of essential backroom job that simply passes unnoticed and yet it's so essential to the running of a theatre company. It's just nice to see that role acknowledged and taken seriously in the form of the award,

"To see that those not-so-glamorous but key functions in the arts infrastructure are worthy of being acknowledged and rewarded, that's totally commendable that the Arts Foundation and the funder have looked at the broad scene and its personnel and not simply stopped at the headline. The front stage individuals couldn't achieve what they have were it not for the work of the backroom boys and girls in many cases."

When asked what led him to become a dramaturg, McDonald explains "It was a chance to put a very particular skill set that I had, which was from a very early age, meaning very early teens. I read plays - and the truth is that very few other people could put their hand on their heart and say that they do that in their spare time," he laughs. 

"But really reading plays requires a skill set, the ability to turn that what the words on the page into a sort of a mental 3D image."