In the first of our new series 'Who Got That Job' profiling senior appointments in the creative sector, The Big Idea caught up with new Fortune Theatre artistic director Jonathon Hendry in Dunedin.

Harking from the south in Marlborough, Jonathon first visited Fortune as a drama school student in the 80s. He went on to have an established theatre career as an actor, director, and training future generations at Toi Whakaari NZ Drama School and Unitec.

His passion for training is not surprising given his formative years being taught by his parents (school reports were "weird") and expanding on development programmes at Fortune is already in his sights. With a penchant for governance and leadership he's been involved in Toi Whakaari, Taki Rua/The Depot, Downstage Theatre, Shakespeare Globe Centre NZ and The National Youth Drama School.

We hear from Jonathon after five short months in his new role. In that time he's taken on the previously programmed season and directed ensemble comedy Over the River and Through the Woods.  He's also quickly emerged himself in the Creative Dunedin Partnership, to help drive the delivery of Dunedin's arts and culture strategy 'Ara Toi Ōtepoti – Our Creative Future'.

Qualifications: BA in English Lit at VUW doing as much drama as possible. Toi Whakaari/NZ Drama School graduate from many moons ago. Many, many workshops such as four months at the John Bolton School in 2014. Other little things, in between acting gigs years ago I decide I needed a new skill.  I have a certificate to say I can touch type...I can’t. 

Tells us a bit about your background

Grew up in a village called Marshlands at the top of the Wairau Valley. My dad as my teacher through primary school. Mum was a teacher’s aid. Had a terrific education. Naturally I wasn’t aware of that at the time. Found school reports well...weird. Walking with them across the paddock to the schoolhouse and a waiting Mum. School was a single classroom where we moved desks every year to a new position culminating in the much prized back of the class by the windows. There was so much space to play with friends in a small interwoven community - quaint events like pet and flower show day - the pa up the road - isolation – sun and stars - vast tracts of land to explore - heaps of imagination. 

Tell us a bit about your career 

Jobbing. Actor. Scribbler. Theatre director. Teacher. Perpetual student. 

What’s a highlight of your resume/portfolio?

Learning from brave, audacious people in such things as:

• Toi Whakaari/NZ Drama School at different points over nearly 30 years
• First Te Rakau season at the Depot Theatre Wellington 1990
• Richard III – 1992 Summer Shakespeare in the Wellington Arts Festival 
• Countless moments with students while leading work.

Tell us about your new role 

I’ve joined Fortune Theatre in Dunedin as their Artistic Director. It’s an organisation leadership role that's about developing and delivering a strong vision for the way forward. I’ve been here for five short months.

Tell us about the organisation/company - mission and vision

Our vision is to create Fortune experiences that are: Alive / with others / in the moment

Why did you want this role? What was a perfect fit? 

I’d been leading actor training at both Unitec and Toi Whakaari for over a decade. It felt time to leave, make space and challenge myself afresh. A theatre artistic director role doesn't come up very often, and sometimes you can’t jump, but last year the timing felt right. Ever since I hung around Downstage theatre as a teenager and watched Tony Taylor lead a company or felt my father drive the local repertory society I knew I wanted to do this. Laurence Olivier’s early British National Theatre Company inspired me at a young age. Then the RSC. And it continues to this day with local and international ventures. 

What did you need to adapt or learn?

Something I've found I re-learn each new job: Create space. Work fast while encountering newness, but remain steady. Take the time to really notice what’s going on around you.

What combination of people, partners and resources do you work with?

A small staff of full-time and part-time employees. Contract workers, bar staff, technical workers, actors and other creatives on a project. Members who give their spare time to usher and assist the theatre. A Trust Board. School kids, tertiary students and their teachers. Local writers. Community groups. Independent and established theatre companies and allied organisations. A theatre with two spaces. A workshop, wardrobe and grand old rehearsal space. Audiences. 

What was your early history with Fortune?

I first visited Fortune as a student. I was very interested to join an established theatre company and David Carnegie (a Fortune founder) who taught me at VUW encouraged me to look at Dunedin and then NZ Drama School director George Webby assisted my visit for a week as a student in 1988. I then was asked to join the Fortune in 1990 for six months when I graduated from drama school.  A great thing to do as new actor.

What are some of your recent and upcoming projects?

Great to have an ensemble comedy Over the River and Through the Woods on stage. I’m co-directing a kid’s show with Jordan Dickson, a BA Honours directing student from University of Otago. Following that, two incredible solo shows. Grounded with Claire Chitham and Krapp’s Last Tape with iconic Dunedin actor Simon O’Connor. Then there's an exciting range of guest work woven in.

What’s your short and long-term goals?

Short term: For the role - to connect more people to the theatre. For the organisation - to become a first preference for collaboration in the development and/or distribution of New Zealand work on a national scale.
Long term: The Fortune is diverse, sustainable and central in the lives of many local people. 

What is your involvement in the wider Dunedin arts scene?

I've been appointed to the Creative Dunedin Partnership, the overarching governance group that will bring key stakeholder voices together to drive the delivery of Ara Toi Ōtepoti – Our Creative Future, the city’s arts and culture strategy. The Creative Dunedin Partnership has been established as the governing body to oversee delivery on the ambitions of Ara Toi.

The key objectives of the Partnership are to:
•       raise awareness and profile Dunedin from a creative perspective and as a creative city
•       ensure responsible investment of ratepayer and other investor/ stakeholder funding in creative initiatives
•       communicate progress to the Dunedin City Council and other investors/stakeholders on a regular basis
•       identify and assess potential actions to facilitate the delivery of Ara Toi

The Creative Dunedin Partnership has a Dunedin City Councillor Aaron Hawkins as Chair.

We have established two groups:

1)  Dunedin Emerging Theatre Artists Cluster:  This is an informal group that meets about three times a year to address areas of collaboration and assist the development of local theatre artists. We have members from such things as local theatre company COUNTERPOINT and Improsaurus - Otago's Premiere Improvised Comedy Troupe.
2) Design Creatives Think Tank: This is another body that meets three times year to look at strategic issues around involving the Fortune in the development of local theatre light, sound, costume AV designers.

What advice would you give to someone pursuing a similar creative career or pathway?

Listen – listen – listen – see difference. 

What's your number one business tip for surviving and thriving in the creative industries?

Have transferable skills that can bring you additional income. 

What are the challenges and opportunities in your sector? 

There’s a sea change.  A lot is shifting worldwide. More arts activity but less money to go around. It’s difficult to sustain yourself as an artist. Looking across to Australia you can see funding priorities are shifting. Some of this is overdue: Indigenous arts, diverse voices, creating community through shared experiences..... But much of what’s happening is destructive. For example, at home I see our younger people losing recently won opportunities to engage in the arts. Collaboration, greater co-operation and sector-wide strategic thinking is needed. Theatre needs to look at what it does best through the live event and what it can become within communities. This is one hell of an opportunity. The theatre world I aspired to join in my youth has vanished. That’s what happens. Everything changes. However, there's so much talent ready and a greater range of voices to hear. Let’s work together and secure a solid platform for those coming through to be able to do what they need to. 

What’s your big idea for 2016?

A regular daily arts spot on what remains of prime-time TV news (yeah right).

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