“To make sure that Council’s operations were safe, I commissioned an independent safety review that’s going right across the whole council ... that will likely take until March to complete.” He says that covers everything across the board at all council venues, buildings and events.
He says the team commissioned to do that is ChasNZ — Construction Health and Safety New Zealand.
“On their most recent visit, they came to the Opera House ... and had a look through. We had specifically asked them to come here because prior to Christmas, some of the volunteers and some ex-staff members had raised concerns directly with me that there were concerns over safety that needed some action.” He says the team from ChasNZ came and saw him after their inspection with the news that there were things that needed fixing so urgently that they couldn’t wait until the final report in March.
“It was at my direction that we took urgent action to make the facility as safe as possible.” He says the council has already budgeted for what needs to be done in the way of lighting and rigging.
He says he also recognises the heritage value of some of the equipment, so nothing will be disposed of.
He then opened the floor for questions — and there were plenty.
One of the questions related to the treatment of the Friends of the Opera House and the communication — or lack of — with them. Mr Langford made no apology. He says safety was a priority and he acted immediately. There was no time for consultation.
“If you don’t like it, that’s fine. You don’t have to like it, I’m afraid. It’s my responsibility to keep you guys safe.”
In answer to another question: “The intention is to fully restore all the functionality with like-for-like replacement, in terms of what it can do and how it performs. It may look different and operate differently ... "
He says they’re looking at a short-term “make it safe” process to buy time before doing a complete, permanent replacement.
Langford was unable to provide a timeframe.
The question was asked about a new requirement for anyone working at heights and operating certain equipment to have correct certification - would that be an additional cost passed on to people wanting to hire the venue to put on a show?
The answer was inconclusive, but it seemed to require another “conversation”.
Langford also says there will always be a role for the Friends of the Opera House, but it may look different.
The general feeling after Langford left was one of scepticism. Most couldn’t see why everything had to be ripped out “to make it safe”.
“It could have been minimised,” says one. “There’s no plan,” says another. “I heard a lot of political double-speak,” says someone else. “We need to have a conversation ... going forward ... I can’t answer that ... that’s something we need to discuss, but not right now ... etc”. “A politician all the way.” There were tears, especially at the way the Friends were treated. Most felt their own skills and years of experience counted for nothing. The confiscation of keys was a sore point. “They’re telling us: ‘We [the Council] are in control’.” “They’re hiding behind health and safety when it should be a partnership.” “They’re ripping the heart out of the place.” “Simply put, the contractors and the council staff have no idea what we do.” “Where’s the expertise in Whanganui to cover what these guys [the Friends] do?”
The added expense to stage a show was an issue.
“How can we afford to pay for all these ‘certified’ people?”
There was optimism, too.
“What they’re explaining could possibly work, but people need a timeframe for their shows. Why couldn’t they have waited another seven weeks? After 120 years?”
It was also mentioned that the elected Whanganui District Councillors were not informed of the situation.
Most went home with no idea of when they might be called upon, if at all.
