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This year, James celebrates not one but two incredible milestones: 10 years as The PumpHouse’s Business Manager and directing his 40th production.  Recently, we asked him to reflect on his journey, his favorite moments, and what it takes to create magic on and off the stage.

Congratulations on directing your 40th show! What does reaching this milestone feel like for you?

I didn’t realise until I started counting just how many shows I’d directed! It’s a great sense of accomplishment and I feel really privileged to have had the opportunity to work on so many fantastic shows with hundreds of amazing actors and creatives.

What inspired you to start directing?

I started in theatre doing lighting and sound, so I got to watch the shows every night and see how the audience responded, and how actors would make subtle changes each night – refining and perfecting their performance.

When a local theatre company decided to offer new directors a chance to direct a one-act play I thought I’d have a go – even though I’d never acted before – and found I really enjoyed putting all the elements together to tell an engaging story.

James’ 40th show: Pride and Prejudice

Do you have any unique pre-show or directing rituals that help you get into the zone?

I like to have a quick check-in with the cast before each show. We’ve started to incorporate a pre-show karakia to bring everyone together to ground and focus the team for the performance ahead.

I like to watch the first and last performances of a season to see how the show has developed, but during the season I’ll often just listen at the door for how the audience is reacting.

Looking back, is there a particular show you directed that feels like a personal best, or one that taught you the most?

The great thing is that I feel I’m always improving. There are little bits of each show that I really like though – for “Proof” we rebuild the exterior of a house in a very small theatre using wood reclaimed for a renovation project, for example.

The Proof Set

The Crucible in 2021 was a highlight. A sold-out season, a fantastically dedicated cast, and we managed to finish the day before a COVID lockdown!

The Crucible, directed by James Bell

If you could direct any play or project with unlimited resources, what would it be and why?

I’ve always been a fan of Hamlet. It’s got such great storytelling elements all the way through. Performing Hamlet inside some castle ruins would be amazing.

I’d like to have a go at directing a musical one day, too.

Are there any standout moments or favourite memories from your 10 years at The PumpHouse?

For me, I’m most proud that we’re keeping The PumpHouse going for future generations.

The fact we are still going strong despite budget cuts and COVID shows just how important theatre – and The PumpHouse – is to our local community.

We’ve developed such a great diversity of shows too – there really is something for everyone.

Measure for Measure, directed by James Bell

How has working at The PumpHouse Theatre influenced your perspective on the local arts community?

Working with hundreds of different producers, it’s really clear what the challenges are – whether it be funding, finding volunteers, or effectively promoting a show.

But equally every group has passionate people working to bring amazing stories to life despite the challenges.

How do you approach directing a show versus managing business operations—are there similarities?

It’s quite similar I think. I’ve always thought “director” is the wrong term – it should be “co-operator” because you are really just bringing together many skilled and talented people and helping them work together.

It’s a bit like being the conductor of an orchestra, making sure all the musicians are working towards the same goal and staying on track.

What is something people might be surprised to know about you outside of theatre?

I don’t really have an “outside of theatre”.

If I’m not at work, I’m usually working on directing or producing a show somewhere or helping on a theatre committee.

I like to travel and take photos when I get a chance.

Celebrating International Artist Day at The PumpHouse Theatre!

This International Artist Day, we’re taking a moment to shine the spotlight on some of the local artists, theatre companies, and community groups that make The PumpHouse Theatre the vibrant, creative space it is today. While International Artist Day often celebrates well-known creatives, we want to turn the focus towards the hardworking, passionate people in our community who bring theatre to life on our stage.

At The PumpHouse, we are lucky to host a wide variety of performances, from cutting-edge dramas to family-friendly shows and everything in between. Our local artists pour their hearts into each production, creating experiences that resonate deeply with audiences.

How You Can Support Our Local Artists

Here are a few simple ways you can uplift and celebrate our local theatre and community groups:

1. Attend a Show! There’s nothing quite like the magic of live theatre! Check out the events calendar on The PumpHouse Theatre website and make plans to see a local production. Your ticket purchase directly supports the artists involved.
2. Volunteer Your Time! Many theatre groups rely on volunteers to help behind the scenes. From ushering to assisting with costumes, there’s always a need for extra hands. Plus, you get to experience the creative process firsthand!
3. Leave a Review! If you’ve enjoyed a performance, let others know by leaving a review online. Positive feedback not only helps spread the word but also boosts the morale of the artists involved.
4. Follow & Share! Social media is a crucial platform for artists. Follow local theatre groups and individual artists on platforms like Facebook, Instagram, and TikTok. Share their posts, comment on their work, and spread the word about upcoming shows. Your engagement helps build momentum for their projects.

Here is just a few of the wonderful groups who use our space, who you should totally go and follow on social media (click their name and it’ll take you directly to their Facebook/Instagram page!

Written by Mags Delaney-Moffatt

Happy Mental Health Awareness Week! If you’re searching for ways to improve your mental health – and enjoy yourself while doing so – engaging with theatre or other performing arts experiences is a great way to go.

Theatre Creates a Community
One of the most obvious of perks of theatre is the community feeling it fosters for everyone involved. This includes:

• Creating bonds between actors, crew members, and theatre leadership, from the first audition to the close of the final curtain
• Creating bonds between audience members, who enter into a shared emotional experience as they watch a show
• Creating bonds between enthusiasts across the globe who are all enjoying the same performance. This was really brought home for me during lockdown by being able to access theatre digitally through National Theatre at Home and Sir Andrew Lloyd Webber’s ‘The Show Must Go On’ initiative.

Theatre Offers Representation
Seeing yourself in a beloved character on the stage means a great deal to those who feel invisible or pushed aside in their day-to-day lives. Theatre offers a positive representation of:

• Those with the struggles of mental health
• Those dealing with chronic or invisible illnesses
• The neurodiverse
• Marginalized communities, from minorities to those in poverty to those in the LGBTQ+ community

Theatre Teaches Empathy
By providing emotional connections with others, theatre helps its audiences to better understand their fellow man. Within the theatre, empathy can be learned about:

• Your fellow cast members – if you’re in the show itself, teamwork and compassion will combine to further your emotional intelligence and capacity for empathy
• Plights of people outside your own circle – through characters in a show or other real-life people in their day-to-day lives
• Those in history – making you a more well-rounded, educated citizen of the world that can empathize with those in the past, present, and future (Think about what you learned through watching performances such as Hamilton, Rent, Hatupatu | Kurungaituku: A Forbidden Love, Awhi Tapu, Les Misérables, and Shakespeare)
Theatre has the unique ability to introduce students to different cultures and perspectives, which leads to developing a better understanding of the world resulting in greater empathy.

Theatre Inspires Hope
It’s no secret that the world can be a dark place. Theatre can often act as a safe haven, where people escape for a few hours to feel inspired. If someone’s mental health is low, stories of triumph, resilience, and perseverance can bleed over into day-to-day inspiration. The only thing more powerful than fear, after all, is hope!

Theatre Increases Confidence
Theatre provides a safe, supportive space for people of all ages and skill levels to explore their emotions and develop self-confidence. Taking social risks, expressing oneself freely, and connecting with others will build self-esteem. Theatre programs, then, are crucial for promoting personal growth and preparing people for success in the future.

For more information this Mental Health Awareness Week 2024 here are a few links you can follow:

mhaw.nz
https://shop.mentalhealth.org.nz/ – lots of free resources
https://mentalhealth.org.nz/workplaces
https://www.cph.co.nz/mental-health-awareness-week/
https://mhaw.nz/whats-on/

Kia ora, theatre whānau!

It’s Mark and Meg here, bringing you some kōrero to celebrate Te Wiki o te Reo Māori. We are both on our own Te Reo journey at Te Wānanga o Aotearoa, where we have been studying Te Reo full-time this year. We have been loving every moment of embracing the tikanga and beautiful indigenous language of Aotearoa.

The theme for Te Wiki o te Reo Māori 2024 is ‘Ake ake ake – A Forever Language’. It represents the resilience, adaptability, and endurance of our language. It also reflects the commitment New Zealanders have to embracing and learning te reo Māori long into the future.

Learning and speaking a language that is deeply connected to this land has been incredibly special. One of the coolest things about Te Reo is that it isn’t just about the words; it’s about the mana and wairua behind them. It’s storytelling at its finest.

We’re learning and growing together, and we hope to bring more Te Reo to the theatre and to our lives. We have been incorporating karakia before and after rehearsals, performances, and team meetings. The inclusion of karakia of this grounds the whole experience in something greater. It’s a way to connect not just with each other but with the land and the stories that have been told here for centuries.

We encourage everyone to jump on board and start their journey with Te Reo Māori – we promise your life will feel fuller and greater.

Kupu to use when you’re next at te whare tapere:

• Te Whare Tapere I Te Taha O Pupukemoana – The PumpHouse Theatre
• Whare Tapere – Theatre or place of performing arts
• Whakaari – Play, drama, or show
• Atamira – Stage
• Mahi toi – The arts (including theatre, painting, etc.)
• Kaiwhakaari – Actor
• Kaitohu – Director
• Kaiwhakahaere Atamira – Stage Manager
• Kaitito Whakaari – Playwright
• Kaihautū – Producer
• Tīkiti: Ticket
• Ngā mihi – Thank you
• Whaia te iti kahurangi – Aim for the highest (inspirational phrase before a performance)
• Ka pai te mahi – Good work (to compliment a fellow actor)
• Tēnā koe mō tō mahi – Thank you for your work (acknowledging someone’s performance)
• E noho – Please be seated
• Ka pai! – Well done! (to praise a performance)
• Ka mau te wehi! – That was awesome!
• Ka rawe! – Excellent!
• Kaua e kōrero i te wā o te whakaari – Do not talk during the performance
• Whakamātau, whakamātau – Rehearse, rehearse

Our team and their roles:

• James is our Kaiwhakahaere Whare Tapere (Theatre Manager)
• Meg is our Kaiwhakahaere Tīkiti (Ticketing Manager) and Kairuruku Hokohoko (Marketing Coordinator)
• Mark is our Kaitiaki Tapere (Venue Operations Coordinator)
• Mags is our Urunga Hapori (Community Engagement Coordinator)
• Helena is our Whakahaerenga (Administrator)

A guest appearance by renowned Kiwi singer Tina Cross ONZM was the highlight of The PumpHouse’s Theatre annual general meeting on Wednesday 21 August.

In her first official duty as the theatre’s Patron, Tina gave a fascinating talk tracing her career in pop music, musical theatre, and her more recent work with powerhouse ensemble The Ladykillers. Tina hopes to fit more time supporting The PumpHouse into her busy touring schedule in the future.

PumpHouse Board Chair Peter Burn and Tina Cross ONZM

Three new Board members were elected to the PumpHouse Trust Board. Production manager Teresa Sokolich and IT Consultant Jeff Philp formally joined the board after a 12-month secondment, and Health Researcher Michelle Atkinson was appointed to the Board for the first time.

Board Chair Peter Burn thanked the PumpHouse staff and volunteers for their hard work over the year, supporting a wide variety of performances at The PumpHouse.

The theatre made a small loss overall in the last year and is actively looking for sponsors and fundraising opportunities to replace reductions in funding from both Auckland Council and other philanthropic funders.

Read our Annual Report for 2023-2024

Join Friends of The PumpHouse

Co-written by Mags Delaney-Moffatt & Meg Andrews

The PumpHouse has a rich and colorful history that fascinates many of our visitors. In this blog we have collated ten interesting facts about the vibrant past that makes The PumpHouse and its surroundings a unique landmark.

• The building of the pump house was completed in 1905 as a result of a competition to take fresh water down to Devonport and served the community as a water pumping station for about 30 years when it was left to deteriorate.
• In 1968 two hundred people attended a public meeting in support of preserving the building and turning it into an arts venue. This meant the Rowing Club who used the building as a store for kayaks had to move out.

Meeting overflow

• The ‘formal official opening’ on Friday 29th April was to be performed by the Mayor of Takapuna, Mr A.F. Thomas with guest speakers Hon. Alan Highet, Minister for the Arts, and Hamish Keith, chair of the QE ll Arts Council.

Mayor of Takapuna, Fred Thomas opens The PumpHouse

• In October 1976 the road from Manurere Ave was sealed, toilet facilities opened in the ‘green shed’ (now the French Rendez-vous), the chimney strengthening progressing and windows were installed and the first goal of the completion of phase one was nearing completion. But the solid Kauri entrance doors still needed to be hung as well as some outstanding structural jobs to be completed.

Manurere Ave tar-sealed

The unsealed drive down to theatre

• A pen and ink drawing of The PumpHouse by local artist Ron Kirkham was donated to the board. This image was used on notelets that were sold in packs of 5 for $1 at various outlets.

Ron Kirkham’s picture

• North Shore Theatre & Arts Trust (formed in 1971) took over. Money was raised including $1500 from a PumpHouse Gala Day – a fundraising picnic with donkey rides and a Punch & Judy show. Trust members were busy every weekend with working bees – chipping the old concrete off the brickwork and slowly transforming the building into something that could be used as a theatre.
• The very first stage production held at The PumpHouse was Euripides Electra in 1977. According to a local theatre stalwart, the show was
  long and patrons had difficulty holding onto their bladders between intervals!

Fundraising Picnic Gala Day

• The PumpHouse sits on what’s known as the ‘tuff ring’ or crater edge. Pupukemoana is 57m deep and home to some very large and clever eels.
• The aptly named Mrs. Shakespear, related to the Shakespears of Wendlholm near Waiwera, owned the land we are currently on during the 1800s. She sold the land to the Devonport Waterworks, who built pump houses to supply water from Lake Pupuke to Devonport. Our pump house is the last of the three constructed.

A more recent aeriel photo of The PumpHouse on the shores of Pupukemoana by Navy Photographer Chris Weissenborn

• A Māori myth surrounding the lake tells of a tupua couple, children of the fire gods. After quarreling and cursing Mahuika, the fire-goddess, their home on the mainland was destroyed by Matahoe, the god of earthquakes and eruptions, on Mahuika’s behalf. Lake Pupuke resulted from the destruction, while Rangitoto Island rose from the sea as their exile. The mists surrounding Rangitoto at certain times are considered the tears of the tupua couple for their former home.

One part of the theatre experience that is often overlooked is the technical side. In this blog, we’re shining a light on the talented technical designers who often illuminate the shows you see at The PumpHouse Theatre, and also provide their talents to theatre productions both nationally and internationally.

I had the opportunity to interview these remarkable humans who shared their insights, experiences, and the magic behind their craft. Enjoy!

MICHAEL: A cursed question! Recently, running as Head of Lighting for Tim Bray Theatre Company and seeing their absolute love and admiration for children’s theatre go beyond when approaching accessibility, inclusivity and the whole team is a long-standing staple. Champions (Basement Theatre), Dr Drama (Q, VUW, Bats), and Tampocalypse (TAPAC, Meteor) are core lighting design memories of my early career that I’m grateful for. In the non-design world, I’ve thoroughly enjoyed getting stuck into programming and operating shows, the roots of watching others’ designs – The Effect (Auckland Theatre Company), AIGA (Touch Compass), Thelma and Louise (Civic) are recent shows that constantly drive home that I’m so lucky to do what I love every day.

MATT: 3 of my favourite projects are Love and Information, RISE: Regeneration and Labyrinth. Love and Information was my college’s year 13 production in 2022 performed at Q Theatre Loft. For this show, I was the lighting designer and this was my first major theatre show outside of college. It was a fun show because it was at a new venue for me but still connected with the college but still being able to freely design a show and still having support from school staff. The second show, RISE: Regeneration was the second time I worked with Auckland Dance Co. This time I was the lighting designer. The show was at TAPAC which also at the time was a new venue for me. That show was a bit of a stressful show because it was on a lighting console which I had never used before but spending heaps of time before the show learning the console helped but was still rusty when we arrived at the venue. The third show I did a few weeks ago. Labyrinth at Q Theatre Rangatira was such a fun one. I spent nearly 2 months designing the dance show which gave me heaps of time to put my vision and the director’s vision out into the lights. Once the show started it was amazing to see all the hard work pay off on the stage.

GARETH: There’s no single show I’ve worked on that stands out from the rest; I’ve loved my time designing and creating lighting for each one. Every show has its own unique character, and my biggest role as a designer is to bring that to life for the performers and the audience. Sometimes through the use of spectacle, and sometimes through subtlety. It’s important to find that unique point that brings everything together.

ALONE at Edinburgh Fringe, produced by Glow House Ltd and Dusty Room Productions. Lighting by Michael Goodwin.

MICHAEL: Everything starts with the script (or vision in those non-scripted projects). I normally read through a script for the first time completely blind and ignoring all sorts of design elements, just to enjoy it. If you can’t enjoy the show you’re involved with, the whole enjoyment factor is completely destroyed, not only impacting you but your fellow creatives and cast. The second time I read through I start writing down rough thoughts about how particular parts make me feel – does this conversation feel warm? Happy? Isolated? Once you start combining these tones with more tangible answers from the script (ie time, place, setting), you start building a great picture of what you want the show to feel like, before working out what it looks like. The best shows I’ve seen have been ones that have blended lighting and sound design so effectively are ones where I have physically felt sick, comfortable, horrified (1984 at the ASB Waterfront in 2018, I’m looking at you…) – rather than just “oh it’s green because they’re in a forest”.

MATT: My creative process for any show is to sit down with the director early on in the process and to get an idea of what the director is wanting. Then later on when the show is mostly blocked, I go and watch a rehearsal and create a plan on how the tech will run with the show. Just constantly running ideas by the director and other crew is such a good way of getting a vision out on stage.

GARETH: The first step is to read the script, and to talk with the director about their concept for the show. Sometimes it’s also useful to talk to other people on the creative team or the cast, especially if we’re coming in later in the process. From these conversations, you can really get a feel for what they are trying to present to the audience, and how it might work with the text. Once you’ve got a good understanding of the show and the concept, the rest generally falls into place, which gives me the ability to create the ambiance and any extra visual spectacle for the show.

Love and Information at Q Theatre, 2022. Lighting by Matt Goldsbro’.

MICHAEL: I think technical design in general is such a core component, working alongside the other factors they are the main driving forces of telling your audience the where, why, when of the show, before a single word has been spoken. Lighting designs that are able to mimic society and real life help the audience be completely absorbed into the show, whilst abstract left-field designs allow designers to have full reign of the creative setting, getting to mess with expectations.

MATT: The impact on shows is massive. For theatre lighting helps set the scene. It can show the mood and feel of the show. Lighting can change the show soo much. Lighting has the ability to make a good show great. For live shows like dance, lighting is another person on stage. It can also set the mood but with more power to it.

GARETH: Lighting is genuinely a really important part of the show. Both practically, as without lights the cast cannot be seen, and emotionally as lighting supports & sometimes drives the mood and actions of the actors. So well-considered lighting, specifically crafted to the show, becomes another performer that’s integral to the show.

Lighting also provides critical cues for the audience, as well as ambiance. This conversational cueing for both audience and cast is part of what makes live theatre unique, as part of a shared experience, rather than a movie which is about observing an experience.

MICHAEL: Paperwork. Know your show in and out. Keep learning. Aside from the standard lighting knowledge, the mental strength is also a must have – it can be a lot of long hours; taking breaks and looking after yourself is so, so, often an afterthought! If you’re walking into a theatre you’ve never worked in before, find out as much as you can about it before arriving – what console/lights does it have, what is the setup like, what is the email address and phone number of the closest person that I can ask questions to. Always ask questions, ask, ask. Be the most prepared you can be. Time is money. Sleep.

MATT: Get connected to a local community theatre company. Community theatre is such a good place to get started. It’s also a good place to get connected to other shows. Community theatre is where I started and I’m still part of it.

GARETH: There are so many community theatres in Auckland, and most of which are keen to have people learn and have a go. The basics of lighting programming are easy to learn with someone helping you and then from there it’s learning skills as you need them for projects.

Spring Awakening (2023) produced by Bravi Theatre. Lighting by Gareth Evans.

MICHAEL: Getting to be the technical manager/designer/operator for the “ALONE” project, originally built as an experimental 2020 Auckland Fringe show in the MOTAT hangar, evolved to be toured around the North Island, then an award-spot in Sydney Fringe, and eventually becoming my ticket to a month long season in Edinburgh Festival Fringe last year through the financial support of so many of my closest friends, family and complete strangers. Being able to travel overseas with a design, watching a project morph, grow, and adapt with the varying level of venues, requirements, logistics, time factors – nothing will ever train you as much as that! (we don’t mention the induced stress…)

MATT: A memorable moment I had was late last year when I started my production company. Having other people representing me around the country was scary at first but so worth it. Having more flexibility in my scheduling but still being able to give clients amazing tech has been good.

GARETH: The lighting for ‘Hanna’ really stands out to me. I created this long, gentle fade that slowly pulled her into this tiny pool of light as she felt more and more isolated. Watching this fade, and experiencing the audience’s reaction to it, is genuinely one of the most memorable moments of my time as a designer. It’s what I come back to when I need to remind myself about the impact we can have on productions as designers.

Written by Mags Delaney-Moffatt

The PumpHouse has a long history with VOLUNTEERS.

Without them and their tireless work, we wouldn’t actually be here – the building would have been long gone.

The nature of volunteering at The PumpHouse may have changed over the years – the projects may vary from the days of clearing soot off bricks or making cushions to sit on but are no less important to us.

Whether you come to usher or help evict our eight-legged ‘friends’ we appreciate and value everyone who comes to volunteer for us.

This is National Volunteers Week and we want to celebrate ALL our volunteers who have helped us over the last year whether it was a one-off or an ongoing project.

Why is volunteering important?

As well as helping others, volunteering has been shown to improve volunteers’ wellbeing too.

It’s human nature to feel good after helping someone out. Volunteering can also help you gain valuable new skills and experiences, and boost your confidence.

If you wish to volunteer at The PumpHouse contact Mags mags@pumphouse.co.nz

The tasks vary throughout the year and depend on which hirers are using our space.

Some of our community hirers also seek volunteers. If you have an interest in helping out with shows then Mags can put you in touch with the right people.