Cavanagh says the team has documented and photographed all equipment and spaces during the work, including the fly floor and hemp rope system. Old timber pulleys, a selection of ropes, old light fixtures and memorabilia such as show programmes from across the decades have been kept for posterity.
“How these items will be showcased is still to be determined, but it was important to the council to retain these as they tell the story of the journey of the Royal Whanganui Opera House over time.”
Shand Shelton theatre specialist Phil Conroy, who’s been on-site, says it’s a privilege to work on the Royal Whanganui Opera House because it’s a significant piece of New Zealand theatre history as the only historic wooden theatre in the country.
Shand Shelton has delivered more than 20 theatre and performing arts venues throughout New Zealand and Australia in the past 27 years; many have been heritage theatres similar to the Royal Whanganui Opera House.
Conroy says he’s had a life-long association with theatre, growing up with a father and grandfather who were scenic artists painting backdrops for shows and a mother who danced with New Zealand Ballet.
“In those days, shows were light and used a lot of backcloths and scenery. With today’s technology, shows are bigger and heavier, so what hirers require has changed,” he said.
He recognises some of the vintage gear stored backstage at the opera house from when he was a child, such as carbon arc follow-spotlights, and says theatres around the country have had to move away from the ‘sailing ship’ rigging technology with ropes and pulleys that he sees at Whanganui’s opera house to more modern counterweight flying systems – as well as other systems to support lighting, drapes, scenery, video walls and audio in line with today’s requirements.
“In the past, it was all about finding workarounds for issues, but as an industry, we have grown up and want our theatres working for us instead of us working for them,” he says. “We’ve got touring shows and technicians who will be in Whanganui tonight and in Auckland, New Plymouth or Palmerston North tomorrow night, so they’re looking for a level of amenity that makes it safe and easy for them to set up and present their show.
“It’s also got to turn a dollar – hirers want a facility that enables them to put on a show that creates a fantastic experience and attracts good numbers, [with people] bringing the kids along to partake because they’re tomorrow’s audiences.”
Conroy says he enjoyed meeting the passionate, dedicated bunch of opera house volunteers and the changes will be a breath of fresh air for this well-loved building.
“We’re looking at how we can keep the magic of this historic theatre and set it up for another 122 years,” he said.
