21 Aug 2024
Playmarket’s annual survey of scripted works for 2023 reveals a strong commitment by New Zealand’s professional theatres to showcase local content. The theatres surveyed are all supported by Creative New Zealand through the Tōtara and Kahikatea investment programmes and have consistently prioritised the development of homegrown talent and storytelling.
According to the survey, 89% of the 187 scripted works staged in 2023 were New Zealand productions, a significant rise from the 159 works in 2022. This increase underscores the industry’s dedication to amplifying local narratives, which have been warmly received by audiences nationwide.
Claire Murdoch, Arts Development Services Senior Manager at Creative New Zealand, emphasised the positive impact of this investment.
“This survey demonstrates that our commitment to fostering the arts for all New Zealanders is yielding results. The increased presence of locally produced works on our stages is something every New Zealander can be proud of.”
A standout figure in the survey is the sustained strong representation of Māori productions, which accounted for 25% of all works staged for the second consecutive year. Companies like Taki Rua, Te Rākau, Te Pou, devoted their entire seasons to Māori productions, underscoring a dedicated effort to elevate Māori voices in theatre.
The funding is designed to enable companies to share stories fit for their audiences. “We are thrilled to see the continued audience appetite for local productions on local stages. We make great art in Aotearoa New Zealand; audiences obviously appreciate it, and we are keen to continue to support it.” Claire says.
Shane Bosher, Playmarket’s Publication and Events Coordinator, highlights the progress.
“We are particularly heartened by the increase in Māori-led work across our stages. Building on the decades-long advocacy and artistry of our leading Māori practitioners, we now enjoy the benefits of the considerable work done by them, and more recently by organisations such as Kia Mau Festival, Te Pou Theatre and Te Tairāwhiti Arts Festival. Having high-impact Māori programmers such as Dolina Wehipeihana , Tama Waipara, Mere Boynton and Ataahua Papa in leadership roles has also encouraged significant change in the sector.”
Shane also notes the broader cultural shift in Aotearoa.
“The growth of mana uplifting experiences, for both artists and audiences, has tracked alongside a wider cultural shift here in Aotearoa. We acknowledge the exponential growth of both Māori and non-Māori learning te reo Māori, the impact of artists such as Taika Waititi on the global stage, the expansion of Te Matatini and Māoriland Film Festival, and of platforms such as Te Mātāwai in recent years.”
Additionally, 12 of the 19 funded theatre companies presented programmes featuring 100% New Zealand content, reflecting the sector’s robust efforts to promote local stories.
“This [shift] isn’t a fluke,” Shane adds.
“This shift is the result of robust advocacy from artists and from Playmarket, as well as considered work from artistic directors, producers and programmers. Over time, companies have reconsidered their artistic reach and the audiences they want to connect with. Works like The Haka Party Incident, The Savage Coloniser Show, Things That Matter, Scenes from a Yellow Peril, Transmission, Yes Yes Yes, and Red, White and Brass have made significant artistic impacts while attracting large audiences across Aotearoa.”
While Pasifika and Asian works saw slight increases to 12%, these numbers may decline in 2024 as Proudly Asian Theatre pauses production to focus on capacity building. Works by women accounted for 56%, with New Zealand women contributing 51%. Playmarket also improved its recording of works by gender-diverse artists, who made up 8% of the total.
Playmarket has tracked the number of Aotearoa NZ works staged in professional theatres funded by Creative New Zealand’s investment portfolio since 2010.
Murray Lynch, Tumuaki/Director of Playmarket, reflects on this progress.
“Over the years, we’ve also monitored the representation of women, Māori, and Pasifika playwrights. In 2010, 71% of the works staged were from Aotearoa, with 34% written by women and 8% by Māori and Pasifika playwrights combined. In 2023, 89% of the works were New Zealand-made; 56% were by women, 25% by Māori, and 12% each by Pasifika and Asian creatives. It is exciting to see how markedly these figures have increased over the last 13 years.”
The survey covered major producing houses like Auckland Theatre Company, Centrepoint Theatre, Circa Theatre, and The Court Theatre, as well as receiving houses such as BATS, Basement Theatre, and Te Pou. These findings affirm the vibrant and diverse nature of New Zealand’s theatre landscape, showcasing significant strides in promoting and celebrating local stories.
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