GISBORNE WAR MEMORIAL THEATRE FEASIBILITY STUDY - Prepared by Giblin + Associates Ltd May 2011 - Gisborne District Council
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GISBORNE WAR MEMORIAL THEATRE
FEASIBILITY STUDY
Prepared by Giblin + Associates Ltd
May 2011CONTENTS Page
Executive Summary 3
Feasibility Study Objectives 5
Background 6
Gisborne District Council 11
Gisborne War Memorial Theatre 17
Issues and Needs 26
Needs Analysis 40
Project Proposal 48
Options Analysis 62
Project Planning and Management 68
Funding 73
Appendices 76
2EXECUTIVE SUMMARY
This study reviews the rationale for undertaking the redevelopment of the Gisborne War Memorial
Theatre, taking into account the issues and needs facing the theatre, the projected demand for use
of a redeveloped theatre and the outcomes that will arise if the redevelopment does not proceed. It
assesses the redevelopment options considered, the project need, public support, economic,
environmental, cultural and social benefits, and the planning that has been undertaken for the
project.
The Gisborne War Memorial Theatre had its origins as a dance hall and the building was converted to
a theatre in 1975. Since that time limited maintenance work has been done on the building. While
the building structure appears to be quite robust, the fabric of the building has deteriorated and is
now threatened by a badly leaking roof. Numerous issues have been identified with the theatre
facilities by users and promoters of touring shows. Health and Safety issues identified with the
operation of equipment and use of facilities in the theatre are of particular concern.
The planned redevelopment has been motivated by complaints and dissatisfaction from the
community with the state of the theatre over many years. It is also motivated by the Gisborne
District Council’s desire to provide the community with a facility that will meet the needs and
expectations of the community for ongoing theatre provision, enhance the comfort, safety and
overall theatre experience for theatre‐goers and performers alike and to increase the revenue
potential of the facility by increasing performance/event capacity to attract new
performances/events.
The Gisborne War Memorial Theatre is considered by the local performing arts community to be the
only “true theatre” in Gisborne being able to provide a stage with wings. The project will significantly
improve the theatre experience for performers and audience through vastly improved theatre
infrastructure services (lighting, sound), quality spaces (stage, dressing rooms, foyer), upgraded
facilities (toilets, kitchen) and greater comfort (seating, heating/cooling). It will also preserve the
fabric of the building with a new roof.
A significant amount of planning and preparation has been undertaken for the theatre project.
Drivers for the project have been identified and the redevelopment will contribute to the district’s
3stated community outcomes. The architectural brief has changed as the project has developed with
various options considered for redevelopment. The project has seen the appointment of an
architect, who is an expert in theatre design, to draw up plans for the building.
Despite the economic recession, there is strong community support for the project. The War
Memorial Theatre is strongly valued by people in Gisborne, who see it as an important facility for
their city, and its cultural and social life. The Council has a responsibility to provide good social
infrastructure and keep it up to date for its citizens, and also in order to attract skilled immigrants
from other localities to relocate to Gisborne.
The report finds that the War Memorial Theatre is a feasible project based on the information
provided by the Gisborne District Council, the Gisborne arts community and other related parties. It
is feasible due to the requirement of the Council to provide such facilities for the benefit of the
people of Gisborne. It is recommended that the Gisborne District Council commits a minimum of
one third of the total cost of this project from its own funds in order to leverage funding from
external sources to pay for the balance. Combined with the Council’s financial support towards the
project and the positive support within Gisborne, it is considered that this is a viable and appropriate
project to undertake.
This assessment is conditional on the achievement of the fundraising targets, which is considered
likely, and the provision of appropriate resources for the successful ongoing operation of the theatre
in terms of revenue generation and marketing of the theatre to attract touring shows. A bold
marketing and funding strategy must occur in order for the ongoing theatre operation to be
successful and achieve the revenue generation outcome that is a driver of this project.
The assessment also assumes that appropriate project management controls will be in put in place
by the Gisborne District Council.
4FEASIBILITY STUDY OBJECTIVES
The Gisborne War Memorial Theatre Feasibility Study objectives are:
1. To outline Gisborne District Council’s rationale for considering the redevelopment project.
2. To undertake a needs analysis of the project.
3. To ascertain the level of community support for the project.
4. To identify the strengths, weaknesses, opportunities and threats for the project.
5. To explore in detail the components of the proposed project.
6. To provide an options analysis of the project.
7. To identify the projected demand of the project.
8. To highlight the social, cultural, environmental and economic outcomes that are expected as
a result of undertaking this project.
9. To determine the financial feasibility of the project.
10. To provide a high level fundraising strategy for the project.
11. To provide a document to support funding applications for the project.
5BACKGROUND
GISBORNE DEMOGRAPHICS
Gisborne District Council covers 8,360,060 hectares (based on the high water mark) 1 and is the
largest district council in the North Island. It has a population of 44,499 with 41,922 people living in
Gisborne city. The district includes the smaller rural communities of Tolaga Bay (831); Tokomaru Bay
(447); Ruatoria (753) and Te Karaka (546).
The main iwi of the region are Ngati Porou, Rongowhakaata, Ngai Tamanuhiri and Te Aitanga a
Mahaki. 2
The Māori name for the district is Tairāwhiti which means “The coast (Tai) where the new sun (ra)
shines (whiti)”. Kaiti Beach, near the city, was where the Māori immigrational waka Te Ikaroa‐ā‐
Rauru landed; and is also the first landing place of Captain Cook in New Zealand. 3
Gisborne is the easternmost city in New Zealand and proudly claims to be the first city in the world
to see the sun each day.
The Gisborne region has the highest proportion of Māori compared with non‐Māori in New Zealand,
with 47.3% compared to the national average of 14.6%. 4
The Gisborne region has a higher proportion of youth (under 15 years) than the whole of New
Zealand, with 26.2% in Gisborne compared to 21.5% nationally.
The Gisborne region has a lower median income than New Zealand as a whole ($20,600 compared to
$24,400); has a higher proportion of the population on an annual income of $20,000 or less than the
whole of New Zealand (49% compared to 43.2%); and a lower proportion of the population on an
annual income of more than $50,000 than the whole of New Zealand (11.8% compared to 18%).
1
Gisborne District Council 2009‐2019 Ten Year Plan
2
Gisborne population and iwi information from www.gdc.govt.nz/our‐district
3
Gisborne District Council Long Term Council Community Plan 2009‐2019
4
Statistics NZ, Census 2006 is the source of the statistical data in the “Background” section of this report.
6Data provided by Statistics New Zealand from the 2006 Census:
Total population
44,499 people usually live in Gisborne Region. This is an increase of 522 people, or 1.2
percent, since the 2001 Census.
Its population ranks 13th in size out of the 16 regions in New Zealand.
Gisborne Region has 1.1 percent of New Zealand's population
Population of Gisborne Region and New Zealand, 2006 Census
Region/City/District New Zealand
Male 21,687 1,965,618
Female 22,812 2,062,329
Total 44,499 4,027,947
Māori ethnic population
19,758 Māori usually live in Gisborne Region, an increase of 393 people, or 2.0 percent, since
the 2001 Census.
Its Māori population ranks 9th in size out of the 16 regions in New Zealand.
3.5 percent of New Zealand's Māori population usually live in Gisborne Region.
Māori Population of Gisborne Region and New Zealand, 2006 Census
Region/City/District New Zealand
Male 9,468 274,860
Female 10,290 290,466
Total 19,758 565,329
Note: The Māori ethnic population is the count for people of the
Māori ethnic group. It includes those people who stated Māori as
being either their sole ethnic group or one of several ethnic groups.
7Ethnic Groups
54.3 percent of people in Gisborne Region belong to the European ethnic group, compared
with 67.6 percent for New Zealand as a whole.
47.3 percent of people in Gisborne Region belong to the Māori ethnic group, compared
with 14.6 percent for all of New Zealand.
Age – Total population
The median age (half are younger, and half older, than this age) is 34.7 years for people in
Gisborne Region. For New Zealand as a whole, the median age is 35.9 years.
12.0 percent of people in Gisborne Region are aged 65 years and over, compared with 12.3
percent of the total New Zealand population.
26.2 percent of people are aged under 15 years in Gisborne Region, compared with 21.5
percent for all of New Zealand.
Age ‐ Māori ethnic population
The median age of Māori (half are younger, and half older, than this age) is 24.7 years in
Gisborne Region, compared with a median of 22.7 years for all Māori in New Zealand.
5.9 percent of Māori are aged 65 years and over in Gisborne Region, compared with 4.1
percent of New Zealand's Māori population.
34.5 percent of Māori in Gisborne Region are aged under 15 years, compared with 35.4
percent for all Māori in New Zealand.
Income – Total population aged 15 years or over
For people aged 15 years and over, the median income (half earn more, and half less, than
this amount) in Gisborne Region is $20,600. This compares with a median of $24,400 for all
of New Zealand.
49.0 percent of people aged 15 years and over in Gisborne Region have an annual income of
$20,000 or less, compared with 43.2 percent of people for New Zealand as a whole.
In Gisborne Region, 11.8 percent of people aged 15 years and over have an annual income of
more than $50,000, compared with 18.0 percent of people throughout New Zealand.
Income‐ Māori ethnic population aged 15 years and over
8 For Māori aged 15 years and over, the median income (half earn more, and half less, than
this amount) in Gisborne Region is $17,500, compared with a median of $20,900 for all
Māori in New Zealand.
In Gisborne Region, 56.3 percent of Māori aged 15 years and over have an annual income of
$20,000 or less, compared with 48.3 percent of Māori throughout New Zealand.
6.1 percent of Māori aged 15 years and over in Gisborne Region have an annual income of
more than $50,000, compared with 10.2 percent of all Māori in Zealand.
The Gisborne district is geographically
secluded but is easily accessible by road or
air. Visitors from all significant New Zealand
centres can reach Gisborne in 2.5 hours using
a combination of road and air travel.
Direct one hour flights from Auckland and
Wellington arrive daily at Gisborne airport,
which is located on Aerodrome Road, a five
minute drive from the city centre.
THEATRES
Gisborne Performing Arts Heritage
Gisborne was a popular show town from its earliest days and in the late 19th and early 20th centuries
most of the high‐class theatrical companies, vocalists and other entertainers from overseas included
it in their itinerary. 5
Gisborne was well‐off in terms of the performing arts with a Musical Society from 1872 and an
orchestra known as “The Musicale”. The Turanganui Amateur Dramatic Club was established in
1873, the Gisborne Choral Society was established in 1886, the Gisborne Operatic Society formed in
1892 and the Gisborne Harmonic Society formed in 1906 but disbanded in 1909.
5
Historic Poverty Bay and the East Coast, N.I., N.Z; Gisborne a Popular Show Town by Joseph Angus Mackay,
1949
9Gisborne’s first theatre, the Music Hall (later the Theatre Royal) was opened in January 1873 and the
first public ball was held there on the 23rd January 1873. The Gisborne Opera House was opened in
October 1912 and used for some years as a picture theatre.
Gisborne can boast a rich heritage in the performing arts and today has an active and diversified arts
scene in the district. To quote from the Gisborne District Council Arts and Culture Strategy (Appendix
4) “Tairāwhiti is a hot bed of passion, talents and energy of its artists and people who love the arts.” 6
Attitudes, Attendance and Participation to Performing Arts
Creative New Zealand undertakes a three yearly survey to gauge New Zealanders’ attitudes,
attendance and participation in the arts 7 . The most recent survey conducted in 2008 showed that
60% of New Zealanders aged 15+ attended performing arts events in the previous 12 months, 44%
had attended concerts or music events, one third (31%) had attended the theatre and 19% had
attended a ballet or dance event. Nine out of ten New Zealanders (87.5%) are involved in the arts as
participants or audience members which suggests a high level of enthusiasm for the arts in this
country.
Maori and Pacific Island people have a slightly higher average attendance at arts events (88% and
86% respectively) than the national average (83%) and a much higher active participation in the arts
(Maori 68% and Pacific Island 54%) than the national average of 48%. With the high Maori
population in the Gisborne district this is a statistic worth noting.
6
Gisborne District Council Arts and Culture Strategy 2011‐2013
7
Creative New Zealand, New Zealanders and the Arts: Attitudes, attendance and participation in 2008,
www.creative.govt.nz
10GISBORNE DISTRICT COUNCIL
The Gisborne District Council (GDC) owns, maintains and administers the War Memorial Theatre.
Management and administration of the facility is overseen by the Community Planning and
Development section. Property maintenance of the facility is overseen by Property Services in the
Engineering and Works department.
The mission of the Gisborne District Council is to:
Lead and support the social, cultural, economic and environmental development of our
communities.
Mō te Tairāwhiti (meaning: for the Tairāwhiti)
GISBORNE DISTRICT COUNCIL LEGAL DESCRIPTION 8
The Gisborne District Council is one of five unitary authorities. Its status comes from the district's
relative isolation and the strong communities of interest within it. Unitary councils combine the
functions, duties and powers of a territorial authority (service delivery bodies) with those of a
regional council (regulatory authorities).
Gisborne District Council’s management and committee structures are designed to reflect the
separation of regulatory, from other functions. Council exercises powers and fulfils responsibilities
required under local and national legislation.
The purpose of the Council is to enable and ensure democratic local decision‐making to promote the
social, economic, environmental and cultural wellbeing of the Gisborne district and its residents in
the present and for the future. The council has overall responsibility and accountability for the
proper direction and control of the council’s activities on behalf of its communities.
The council uses the following key approved planning and policy documents:
Long Term Council Community Plan (LTCCP) and Annual Plan
Annual Report
GDC Combined Regional Land & District Plan
8
Gisborne District Council Local Governance Statement, April 2009
11Delegation
Council Policies
Policy Manual
Community Outcomes for the Gisborne District
Consultation with Maori
GISBORNE DISTRICT COUNCIL ORGANISATIONAL STRUCTURE
12The two group structures shown have responsibility for aspects of the War Memorial Theatre.
13GISBORNE DISTRICT COUNCIL FINANCIAL STATEMENTS
Gisborne District Council had rates revenue of $43.10 million for the 2009/2010 year. It has total
assets of $1,784,797,000.00. 9
Full financial statements can be seen in Council’s 2009/2010 Annual Report (Refer Appendix 1).
GISBORNE DISTRICT COUNCIL LONG TERM COMMUNITY PLAN (LTCCP)
The need to upgrade the War Memorial Theatre was first identified in the 2006‐2016 LTCCP. The
scope of that upgrade proposal has been increased and is now included as a major project in the
Council’s 2009‐2019 Ten Year Plan (Refer Appendix 2). The Ten Year Plan states the War Memorial
Theatre is in need of major upgrading and modernisation to bring it up to a standard that will suit
the needs of both theatre‐goers and organisations bringing shows and entertainment to Gisborne.
Since the War Memorial Hall was converted to a theatre in 1975 the significant improvements
undertaken have been the stage widening in 2003 and the installation of a heating and ventilation
upgrade in 2008. The full list of improvements is in Appendix 3.
The drivers for this proposal as outlined in the 2009‐ 2019 Ten Year Plan are:
To meet the needs and expectations of the community for ongoing theatre provision in the
region by undertaking adequate upgrading and modernisation of facilities.
To improve the comfort, safety and overall theatre experience for theatre‐goers.
To increase revenue potential by increasing both audience and performance/event capacity.
To increase the ability of the theatres to attract different events/performances.
Council consulted the community on plans to make improvements to the War Memorial Theatre in
Year 1 (2010) with a major upgrade in Year 4 (2013) to replace seating and improve the foyer, toilets
and backstage facilities. Following consultation, the Council resolved to bring forward the major
upgrade transferring all capital expenditure for the theatre to Year 2 (2011).
The upgrade was budgeted to be completed in the 2010/11 financial year subject to receiving grant
funding. The capital project has been deferred until 2011/12 or until grant funding has been
received. The scope of the upgrade has been reviewed.
9
Gisborne District Council Annual Report Summary 2009/10
14The initial proposal in Council’s Ten Year Plan (2009‐2019) stated:
The estimated capital cost for the upgrade in year 2(2011) is $3.5 million, based on
upgrade plans produced in 2006. This involved retaining the existing footprint,
upgrading the interior and exterior with a new entry foyer addition on the south side.
Council will contribute $927,000 or about 25% of the costs of the upgrade.
External funding of $2.6 million will be actively pursued from a variety of funding
sources including central Government and regional funders, corporate and
philanthropic investors, and donors.
The estimated cost of the current proposed upgrade based on plans presented in May 2011 is
currently estimated at $6.8 million. This is a total out turn cost incorporating all contingencies.
A project group has been established to oversee the redevelopment and has considered three
options:
A green fields approach;
A full upgrade which incorporates part of the neighbouring RSA building;
A full upgrade using the existing footprint and extending the stagehouse area to the
rear boundary and new foyer area on the south side.
It is likely that the full upgrade as above will be confirmed as the preferred option.
GISBORNE DISTRICT COUNCIL COMMUNITY OUTCOMES
The proposed upgrade of the War Memorial Theatre will enhance the theatre’s ability to contribute
to the following community outcomes 10 :
Vibrant Tairāwhiti:
We treasure the special values that make Tairāwhiti unique and shape our sense of identity
and pride.
Prosperous Tairāwhiti:
We support and develop our economy to grow and attract positive tourism and investment,
while maximising the benefits for our people and managing the impact on our environment.
Arts and Culture Strategy
10
Gisborne District Council Ten Year Plan 2009‐2019
15The Gisborne District Council has developed an Arts and Culture Strategy 2011‐2013 (Appendix 4).
The need for this was identified in Council’s Long Term Council Community Plan 2009‐2019. The
Strategy has been approved by the Community Development Committee and was adopted by
Council at the end of May. This Strategy aims to “capture Council’s work in this area in an effort to
coordinate and plan future work and to make best use of the resources for the greatest impact”.
Council has worked with the community and interested people to develop the Strategy. It includes a
vision, seven goals and an action plan.
COUNCIL’S ROLE IN THE PROJECT
Council has established a project group to oversee the proposed redevelopment. This includes a
project manager, the mayor, a councillor and the council group managers for Community Planning
and Development and Engineering and Works.
The Council is the owner of the War Memorial Theatre and is responsible for raising the required
capital funding for the redevelopment. It will manage the construction process. It is the primary
funder of the ongoing operation costs and is responsible for the monitoring and reporting of all
expenditure. The Community Planning and Development Group of the GDC is charged with the
ongoing responsibility for the management of the War Memorial Theatre.
Council staff have completed an initial funding and sponsorship strategy that considers packages for
both corporate and community fundraising. The final funding and sponsorship strategy will be
determined by the outcome of this feasibility study.
16GISBORNE WAR MEMORIAL THEATRE
The War Memorial Theatre is located in Bright Street close to the Central Business District. Gisborne
District Council owns, maintains and administers the theatre. Council also owns, maintains and
operates two other theatres; Lawson Field Theatre on Fitzherbert Street and the Outdoor Theatre on
Centennial Marine Drive.
Many consulted for this study speak with great affection for the theatre and feel it is a focal point for
the arts in Gisborne. It is regarded as unique and the district’s only true theatre. People were also
full of praise for the theatre manager and staff.
The theatre also has considerable symbolic significance in that it was gifted to the people of
Gisborne by the RSA as a War Memorial hall/theatre.
WAR MEMORIAL THEATRE FACILITY DESCRIPTION
The building is modernist and of simple and elegant design. It was designed by local architect Monty
Glengarry and built in the 1950s as a War Memorial Hall. It was built of concrete and masonry walls
with timber roof and floors and has a design life of 75 years.
Monty Glengarry, one of the founding members of Glengarry, Glengarry and Corson architectural
practice, is described as leaving a lasting impression on Gisborne. He also designed Edmund Campion
College and the Poverty Bay Electrical Power Board building in Peel Street. He also designed houses
including the Glengarry family home. 11
The War Memorial Hall was converted into a theatre in 1975 after its owners, the RSA, handed it
over to Council. The district had earlier lost its Opera House which was demolished in 1968 after
being declared structurally unsound because of the 1966 earthquake.
The War Memorial Theatre is considered a traditional theatre with a raised stage, raked auditorium
and seating upstairs. It seats 440 people with 260 seats in the auditorium and 180 seats upstairs.
Inside the theatre there is also a nibble nook – a shop area which groups are able to use to sell
refreshments for fundraising.
11
www.gdc.govt/gisborne‐link‐to‐wastewater‐building‐design
17There are five dressing rooms backstage (this includes two downstairs), three women’s toilets and
one men’s toilet, lift and pack‐in and pack‐out area. There is also a special temperature‐controlled
room that stores the Bosendorfer piano. In addition to the two dressing rooms downstairs, there is a
kitchen and storage area where the orchestra pit used to be.
There is a small foyer area at the front of the theatre. There is also a small kitchen/mini bar and
ticket box. There are four toilets off the foyer; two women’s, one men’s and one for disabled people.
There is one women’s and one men’s toilet upstairs. There is also a projection box which is said to be
unused.
Since the hall was converted into a theatre in 1975 there has been some maintenance and
modifications, and records on hand show $343,000 has been spent since 2002 on various projects as
detailed in Appendix 3. In spite of this the theatre has become run down and deteriorated. Council
has received many complaints over the state of the building over the years. Archive files that date
back to 1982 contain submissions regarding the poor state of the theatre.
A commitment to upgrade the War Memorial Theatre was identified in the 2006‐2016 Ten Year Plan
(subject to grant funding). The scope of the upgrade proposal has been increased and is now
included as a major project in Council’s Long Term Plan 2009‐2019. The Plan states the theatre is in
need of major upgrading and modernisation to bring it up to a standard that will suit the needs of
both theatre‐goers and organisations bringing shows and entertainment to Gisborne.
WAR MEMORIAL THEATRE LEGAL AND GOVERNANCE DESCRIPTION
Gisborne District Council owns, maintains and administers the War Memorial Theatre.
WAR MEMORIAL THEATRE ORGANISATIONAL STRUCTURE
There is one theatre manager (full‐time) and two cleaners (both part‐time) who look after Council’s
three theatres; the War Memorial Theatre, Lawson Field Theatre and the Outdoor Theatre. There is
no formal arrangement for back up support for the theatre manager however various people do
help out as required.
Prior to the end of 2010 the theatres and halls (which is part of the Arts and Culture Activity) sat in
the Community Facilities section of Engineering and Works. With the retirement of the Corporate
18Affairs Manager at the end of 2010 Council decided that a reallocation of reporting lines and
functional alignment was required.
As at 1 December 2010 the day‐to‐day management and operation of Council’s community facilities
‐ the pool, library, theatres and halls ‐ were transferred to the Community Planning and
Development group. The rationale for the move was that the facilities would be better placed in this
group to deliver programmes with social and cultural outcomes.
Property maintenance of the War Memorial Theatre and the other community facilities remains with
the Community Facilities section which has been renamed Property Services.
WAR MEMORIAL THEATRE STRATEGIC/BUSINESS PLAN
Council does not have a business plan for the War Memorial Theatre. This type of planning is
scheduled to be done as part of Council’s activity review process in preparation for its 2012‐2022
Long Term Plan.
Council has developed an Arts and Culture Strategy 2011‐2013 (Appendix 4) as identified in Council’s
Ten Year Plan 2009‐2019. The Strategy was adopted by Council at the end of May.
The Strategy has a vision, seven goals and an action plan which includes objectives that pertain to
Council’s theatres. The Strategy’s vision and goals are:
Vision:
To engage in and celebrate the diverse arts and cultural traditions of the people of Tairāwhiti, to
enhance local identity, enrich the lives of people and grow regional prosperity.
Goals:
Goal 1: To contribute to a thriving arts and cultural scene in Tairāwhiti by working effectively with
and through, artists and art organisations.
Goal 2: To create opportunities for people and communities to participate in art and cultural
activities, events and experiences.
Goal 3: To work with Tangata Whenua and Māori to recognise, promote and celebrate the
indigenous arts and cultural traditions that provide a unique and valuable point of difference
to the district.
19Goal 4: To enhance sustainable and regional development through arts and culture.
Goal 5: To provide and maintain a quality art in public places programme.
Goal 6: To recognise and promote the importance and value of our local heritage to the district
through its work and relationships with other heritage agencies and advocates.
Goal 7: To have the tools and capability to effectively contribute to arts and culture.
The Action Plan states Council does not have an Arts and Culture manager so an organisation‐wide
approach is required to developing and delivering this area of work in a coordinated manner.
WAR MEMORIAL THEATRE KEY OBJECTIVES
Council’s Arts and Culture Draft Activity Management Plan (Appendix 5) reports its overarching goal
for the theatres and halls is:
To provide facilities and services that enable the public to experience and participate in the
performing and visual arts.
This goal is supported by the following activity goal and principal objective:
Activity goal:
Manage the theatres in a safe and financially sustainable manner.
Principal objective:
Provide facilities so as to encourage and enable the public to experience the performing arts
and visual arts, and to provide venues suitable for seminars, weddings and other community
activities.
WAR MEMORIAL THEATRE PERFORMANCE INFORMATION
A variety of performances, shows and competitions are held at the theatre. They include the New
Zealand Royal Ballet Tutus on Tour, the highly regarded Gisborne International Music Competition,
Operatunity performances, regular dance competitions, school competitions such as Shakespeare in
Schools and Rockquest, Capital E Children’s Theatre shows and charity concerts.
WAR MEMORIAL THEATRE USER PROFILE
The following information lists groups that currently use the theatre or have used it in recent years.
It should be noted these lists are not exhaustive.
20Local User Groups:
Gisborne Competition Society
The Gisborne Competition Society holds its competitions annually in September. The competitions
run for five days and comprise music, speech and drama, and dancing. The competition utilises four
venues; the War Memorial Theatre, the Lawson Field Theatre and adjoining Rose Room, and
Gisborne Intermediate School.
Gisborne Musical Theatre
This group normally puts on one production a year at the War Memorial Theatre.
Nadine Proctor School of Dance
This dance school participates in the dance competitions held at the War Memorial Theatre three
times a year. It also stages a show every two years.
Robyn Ellis School of Dance
This dance school participates in the three dance competitions held at the theatre.
Shona Martin School of Dance
This dance school participates in the three dance competitions held at the theatre.
Dance Fit
This dance group (hip hop) uses the theatre twice a year.
Gisborne Ballet School
This group uses the theatre once a year for a ballet weekend. This competition includes ballet, tap,
modern, contemporary and hip hop.
Braemar Dancing Club
This club hold a dancing competition over Queen’s Birthday weekend. The competition runs for four
days.
Diane Logan School of Dance
This dance school participates in the three dance competitions held at the theatre.
PAM
This local promoter uses the theatre for the Royal New Zealand Ballet every two years and about
one to two times a year for other shows.
Gisborne Choral Society
The Choral Society puts on concerts or opera perhaps once every three years.
Schools
Four main school events are held at the theatre each year:
Shakespeare in Schools
Smokefree Rockquest
21Schools Idol Competition
Smokefree Pacifica Beats High School Band Competition
Occasionally it is used for school productions or concerts. Gisborne Boys High School, Lytton High
School and Campion College are recent users.
Tolaga Bay School and Ngata College sometimes participate in the above events.
Past Local Users that have not used the Theatre for some time:
Gisborne Unity Theatre
Gisborne Centre Stage
Gisborne Civic Brass Band
Gisborne Concert Band
Gisborne Youth Orchestra
Regular Touring/Visiting Groups:
Gisborne International Music Competition
This is an annual competition for solo orchestral instruments. It is highly regarded and described as
having developed a world‐class competition, renowned for the calibre of competitors, jurors and
accompanists. Around half of the competitors are from overseas. The event also incorporates a
young musician’s competition for Gisborne‐based students. The competition runs for seven days and
the organisers’ book the theatre for two weeks.
Operatunity
Operatunity present eight shows a year in Gisborne. They serve lunches at the theatre after their
morning show.
Royal New Zealand Ballet – Tutus on Tour
The Royal New Zealand Ballet uses the theatre every two years for their Tutus on Tour season. They
put on one performance.
New Zealand Symphony Orchestra
The orchestra normally visit every two years. They last performed in Gisborne in 2008. They
cancelled their performance for 2010 and are booked in for December this year.
Charity Concerts
The company “International Entertainment” bring three concerts a year to Gisborne. Local
businesses buy tickets for underprivileged children to attend the shows.
The Rhythms of Ireland
This Irish dancing group first came to Gisborne last year and are booked in again for next year.
22Capital E Children’s Theatre
This theatre brings two shows a year to Gisborne. It is understood they sell tickets to schools and
kindergartens.
Showtime Australia
Bring two shows a year. Past shows include:
Michael Jackson HIStory Tour, Hotel California – The Eagles Experience, Hannah & Miley Show,
Beatlemania on Tour, Sinatra Lives, BeeGees Night Fever.
Touring shows that have also visited in the past three years include:
Liberace‐Live from Heaven, Busting Out, John Rowles, Crack me Off, Jimeoin – Something Smells
Funny, The Funkey Monkeys Camping Adventure Show, Grumpy Old Woman, Auntie and Me, SGCNZ
East Coast Regional UOSWSF, Busting Out, Carl Barron, The Funkey Monkeys, Kelvin Cruickshank
Soul Food Show, Isla Grant, Maori Volcanoes, The Platters, Rob Guest in Concert, The Royal Navy
Band.
WAR MEMORIAL THEATRE AUDIENCE PROFILE
The War Memorial Theatre does not have any specific data about visitor types, that is, if they are
local or from out‐of‐town. The theatre manager reports that the theatre audience is made up of city,
Poverty Bay, East Coast and Wairoa residents.
WAR MEMORIAL THEATRE BOOKINGS INFORMATION/PERFORMANCE TARGETS
For the eight month period ending 28 February 2011 there were 25 bookings (64 booking days) for
the War Memorial Theatre. This is an increase compared to the same period last year of 17 bookings
(36 booking days). Of interest is the increase of external shows, from 7 to 14. 12 A list of all the
bookings for the theatre over the last 12 months is attached as Appendix 6.
12
Gisborne District Council Report Theatres and Halls financial results for the eight month period ended 28
February, 2011
23Performance Targets
2010/2011 2009/2010
War Memorial Actual YTD Full Year Last Year YTD
Theatre Target
Bookings Booking Days Bookings Bookings Booking Days
Local Performances 5 26 110 6 12
Competitions 4 22 3 16
Shows (external) 14 15 7 8
Other 1 1 0 0
Cancellations 1 0 1 0
TOTAL 25 64 110 17 36
WAR MEMORIAL THEATRE TICKET SALES INFORMATION
The number of ticket sales for the War Memorial Theatre per annum for the 2009/10 year was
4,006. This was above the target of 3,662, which were the total ticket sales in 2008/9. 13
(A foot note to this Council level of service information says that in 2009/10 the theatre had more
national touring shows that were of sufficient quality to encourage more residents to attend the
theatre.)
Important to note:
It is important to note that the above information relating to ticket sales only includes Ticket Direct
sales. This means it does not give a true and accurate figure of ticket sales as many shows do not use
Ticket Direct. The theatre manager says these include the three charity shows that are put on each
year, professional shows, the three annual dance competitions, the Gisborne International Music
Competition (which attracts over 2,000 people during the competition week) and school events, such
as Shakespeare in Schools, Rockquest and Idol.
13
Gisborne District Council Annual Report 2009/10
24WAR MEMORIAL THEATRE BOOKINGS AND PERFORMANCES
The number of annual bookings and performances for the War Memorial Theatre for 2009/10 was
68. This failed to reach the target set of 110. It was also below the 69 annual bookings and
14
performances achieved in 2008/09. (A footnote to this Council level of service says the economic
downturn is likely to have had an impact on potential booking numbers.)
WAR MEMORIAL THEATRE FINANCIAL INFORMATION
The Theatres and Halls financial results for the eight month period ending 28 February 2011 show
income, both user fees and commission revenue, were ahead of this year to date’s budget and this
full year budget. Of significance is the commission revenue. The year to date figure had nearly
already doubled the 2011 full year budget. The overall increase in revenue was attributed to the
theatre doubling the number of external shows and performances (from 7 to 14). 15
The theatre’s operating costs were higher than the year to date budget and last year’s total. They
were still within the full year budget. The financial report for the theatre to 28 February 2011 is
attached as Appendix 7.
14
Gisborne District Council Annual Report 2009/10
15
Gisborne District Council Report ‐ Theatres and Halls financial results for the eight month period ending 28
February 2011
25ISSUES AND NEEDS
EXISTING FACILITIES
Groups have made the best of the War Memorial Theatre in its current state. The building is very run
down and needs urgent attention. There are also serious health and safety concerns. It is very
outdated and presents some performing arts groups with significant challenges.
The following issues regarding the building were raised by local users in meetings with the authors of
this report and email surveys in early May 2011. The consultation also included some out‐of‐town
groups that use the theatre on a regular basis. Where promoters of touring shows have complained
about theatre facilities, these are noted as well.
The Roof
The roof leaks. The roof and internal gutters have rusted out and rain is leaking into the plaster and
wooden linings on the walls making them swell and crumble. When the authors of this study visited
there were 10 leaks, including one on the stage and one in the wings. Buckets are left out to catch
the rain.
Other issues raised in regard to the roof are that it creaks in the heat and that rain noise can be
heard above the stage area. Another concern is that the ceiling rattles and makes a noisy ticking
sound. This is a problem for recording as it gets picked up by the microphones. Radio New Zealand
records and broadcasts performances from the Gisborne International Music Competition and has
found the roof noise a challenge.
Fallen Beam
There was one accident about fifteen years ago when a rope broke and a beam came down onto the
stage during an opera performance. Fortunately the beam did not hit or injure anyone.
Stage House
Many issues were raised in regard to the stage house. They include:
Many feel the size of the stage is too small. This compromises some shows in their full size.
For example, the Royal New Zealand Ballet cannot bring their full show to Gisborne because
it will not all fit on the stage. Several also feel the stage size is a deterrent to touring groups
and shows. One group commented the stage is long and narrow and a wide horseshoe stage
26is needed. Another felt the stage level could be lowered. Comments about the stage also
included it was “not bad” and it was “great”. Another user would like to see the proscenium
widened (possibly by up to two metres). Also raised was the need for the piano and
musician to fit comfortably in front of the proscenium arch. (Promoters have complained
that the width and depth of the stage is inadequate.)
There is no ability to fly scenic elements. Several groups would like a fly floor/tower.
Another says a fly tower should not be included if it came down to priorities with where the
money should be spent (this was someone who is not in drama and would not use a fly
tower).
The curtains get jammed and sometimes come off the track.
Many say the wing space is not big enough. (Promoters have also complained about this.)
A corridor is needed behind the stage to access both wings. A curtain is not sufficient for
performers to move behind.
There is no covered walkway to backstage. Children have to run around the outside of the
building. This is considered unsafe.
Better access for less able‐bodied people is needed to the stage and dressing rooms.
Packing‐in access is very steep.
The lift for packing‐in/packing‐out only works sometimes.
Many have concerns about the dressing rooms. These concerns range from the general state
of the dressing rooms, to more dressing rooms are needed, to lighting is not good and a
heating system is required.
One competition organiser has concerns regarding sound pollution. They would like a
minimum of one sound‐proofed dressing room retained for contestants to warm up in. More
sound‐proofed dressing rooms would give contestants a longer warm up period. With one
sound‐proofed room, as there is now, they get 30 minutes which is considered short for a
music competition.
Backstage is cramped.
Two groups commented on the lack of an orchestra pit.
There is little storage for equipment.
There is no laundry or place where people can set up a washing machine. (A comment from
the Royal NZ Ballet which takes a washing machine with them when they travel.)
The back stairs are steep and considered dangerous.
Better access is needed from the stage doors and back doors.
The backstage kitchen needs attention and it possibly could be made smaller.
27 Downstairs is described by one group as a “death trap”.
Improve the piano room.
Toilets
There is a lot of concern regarding the toilets, both the condition and the actual number of
toilets. Descriptions include “revolting” and “disgusting and smelly”. It was commented that
toilets often struggled to cope with the numbers and became “unhealthy”.
In the foyer there are three toilets providing for 260 seats. They include two women’s
toilets, one toilet for disabled people and one men’s toilet.
Upstairs there is seating for 180 people with one men’s and one women’s toilet.
Backstage there are three women’s toilets and one men’s toilet. There are leaks in the roof
above one of the women’s toilets and plaster is crumbling away from the wall.
A couple of people commented that a toilet downstairs was needed, and one of those also
felt a shower was needed downstairs
The current toilet configuration does not comply with the building code.
Lighting and Sound Recording
There are serious health and safety concerns regarding installation of lighting and sound
recording equipment. (Promoters have expressed concerns about this and that the
sound/lighting box is too far back.)
Rigging for lighting in the front of house is described as very difficult and unsafe. Changing
the light bulbs in the front of house is also considered unsafe and requires the use of a tall
ladder. Changing the light bulbs upstairs is also difficult.
Concern is also raised that to even switch the stage lights on you have to climb on a chair.
Further to that the fire extinguisher is located right next to the switch board, which has been
described as antiquated.
It was also commented that the power is not really adequate for today’s lighting
requirements.
Seating
The seating is of major concern to many users. People say they are very uncomfortable.
Descriptions include “diabolical” and “appalling”.
28 The internal wooden seat framing on the upstairs seats has split and will no longer hold
screws. The downstairs seats are office‐type chairs. They do not flip up for people to pass
and there is very little room for people to pass.
Many also feel more seating is needed.
There are also safety concerns with people leaning over the stalls upstairs.
One commented that the auditorium needs to be wider and better raking is needed.
Communication
It was raised that a communication system is needed for crews so front of house could
communicate with backstage crew.
Heating/Cooling System
Several people feel the heating and air‐conditioning needs improving. The air‐conditioning is
described by one as “intrusively” noisy.
Foyer/Kitchen/Bar Area
Many people feel the foyer needs to be larger. One competition organiser says it is too small
to comfortably host guests to their competition final night. They host various dignitaries and
significant benefactors.
It was felt better kitchen facilities are needed and the foyer and front entrance area in
general needs to have a better flow and be more “workable”.
It was also commented that the toilets needed to be away from the service area.
Comments indicated that the ticket sales area needs improving.
One user commented that better access to the theatre was needed and that the ticket box
needs to be close to the door. Getting people to pay was an issue and they always needed
someone on the door.
Several commented the foyer could become a good social gathering place, where people can
go to before an event. “Invest in making it a comfortable place to be like the Hastings
theatre. It’s not just about the actual event, but all the social things around it.” That was
important for community groups – ownership, enjoying the space and pride. If it was the
right size, it could be multi‐purpose, and also be used for other groups running exhibitions. It
could bring people to the theatre and make it a “living” thing, not a locked up facility.
One also commented a reception area with a bar could be used for functions.
29 One group raised the issue of power, saying that if there were too many kettles on, the
switchboard blows.
There was mixed opinion regarding the nibble nook. One thought it was not needed and that
the storage cupboards could be put out the back. Another said it needed bigger storage
space. Several groups use the nibble nook and sell refreshments for fundraising.
Disability Access
Several feel disability access to both front of house and back stage is unsatisfactory.
One group suggests installing an elevator to get elderly and disabled people upstairs.
Mobility Scooters 16
Access and egress of wheelchairs and mobility scooters are a concern. Mobility scooters are
brought into the theatre. It was reported that at one show there had been eight mobility
scooters.
The theatre loses three seats for each scooter and they also sit higher impacting on the
vision of those sitting behind them.
Carpet
Parts of the carpet are mouldy. It is also very worn and torn in places.
Duct tape has been used to fix one part of the carpet.
Smell
The theatre smells damp and musty.
Other General Comments Include:
Two touring groups said an upgrade would make their life so much easier.
Everything is outdated.
General state of the facility is incredibly run down.
Everything needs replacing.
It is all a bit small and dark and needs to be better configured.
16
Discussions with the architect indicate that mobility scooters should not be taken into the theatre and are
deemed a hazard. Mobility scooter users should be transferred to a wheelchair if unable to walk to their seat.
Theatres generally have a wheelchair on hand for this movement within the auditorium. Disabled access by
wheelchair is a building code requirement.
30 Issue with office space. (Some groups would like an office area available to them when using
the theatre.)
Specific Requirements of the Consulted Groups:
Ensure acoustics are not compromised. A minimum of four dressing rooms with a minimum
of one that is sound proofed.
Stage floor suitable for ballet.
Office space and shop area needed during the time facility is used.
Tiered risers.
Good stage size and comfortable dressing rooms.
Lighting and sound.
Ability to do own tickets and use of kitchen/lounge facilities.
Expectations of an Upgrade Include:
Generally expectations of an upgrade are not too fanciful. Those consulted essentially want a
theatre that caters for the needs of today’s performing arts and provides patrons with a comfortable
experience. One commented their expectations included “basic things like the ability not to have
buckets about to catch drips and no tears in the carpet”.
Other comments include:
Aesthetic enhancing, especially the exterior and signage.
New facilities including toilets, carpet, increased stage size and comfortable seating. A new
kitchen would be helpful.
Needs to happen as quickly as possible.
A bigger stage, wings, etc suitable for national and international competitions. Backstage
upgrade is also necessary. Need an overall upgrade of backstage, dressing rooms, orchestra
pit, front of house, foyer, box office, stage, storage, toilets, and equipment movement.
A big stage and the capacity to seat more people.
Make it bigger and possibly a more flexible design that allows for both large and small
audiences (by being able to partly close off for smaller functions or shows).
Expand the foyer (no heat wasting glass) to match the auditorium capacity, restore the
orchestra pit, more backstage toilets, backstage upgrade, additional wing space, fly space
and a lighting grid.
31 Kitchen facilities front of house and back stage, modern toilets and more of them, catwalk
with good lighting facilities, cyclorama 17 , projector, up to date sound system and
comfortable seating.
Repair the leaks, better stage and seating. There is not enough space between seats. Need a
drop down screen in bar servery. Improve condition of downstairs kitchen.
Most Important Things to take into Account with a Redevelopment Include:
Relocating performing arts events to an appropriate venue during the redevelopment –
offering an alternative.
That all the users have a say about the redevelopment and that those in power actually
listen to what the users have to say and they take this into account when the changes are
made.
Aesthetics, comfort, front of house space, and orchestra pit.
Creating stage space and improving the dressing rooms.
Accessibility is key. Have an easy pack‐in and pack‐out.
The size of the stage, size of the wings and access from both sides via the back corridor, and
increased seating.
The size and flexibility of all the spaces.
Ability to cater to larger groups.
Pretty much everything. “If we are going to redevelop it, let’s do it properly instead of
readdressing it again in 10 years”.
Positive Aspects of the Theatre that User Groups would like to see carried through to a
Redevelopment:
Location.
Car parking.
Stage.
Ability to do own ticketing and serve lunch.
Piano, acoustics, light and sound equipment.
17
A cyclorama is a large curtain or wall, often concave, positioned at the back of the stage area
32OTHER ISSUES
Theatre Charges and Fees Following the Proposed Redevelopment
There is mixed opinion about theatre charges following the redevelopment. Several groups are very
concerned about any increases. One group is against the redevelopment because they feel an
increase would price them and other groups out. The group was also concerned prices would
increase at the Lawson Field Theatre.
An out‐of‐town group says they would not be happy if the cost increased significantly as they believe
they are already on the high end compared with other venues they visit around the country. Other
comments ranged from it should be kept low for amateur groups, should stay the same, to it is
reasonable now and a small increase could be expected, to it needs to take “cognisance of the local
economy”.
Suggestions were also made such as making it percentage based rather than a fixed amount.
Another suggested basing charges on marginal costs with a premium added if there is sufficient
audience. A bond was also suggested to cover any damage or extra cleaning required over and
above the usual following use by a group.
Theatre Unavailability during Redevelopment
One out‐of‐town group has serious concerns about the duration the theatre will be closed for
renovations. They bring eight shows a year to Gisborne and say not having the theatre available for
several months would be a major problem. They believe all theatre users need to be provided with
an alternative venue.
The general feeling amongst others however, is that groups could work around the theatre being
temporarily closed for renovations and that it would be “worth it”. However it was commented that
the renovations should be timed for the least inconvenience. The period from end of December to
May was suggested by one user.
Theatre User Involvement in Redevelopment Project
Several users commented on the importance that user groups, both local and out‐of‐town, have a
say in the redevelopment. One user believed there are several supporters who may like to be
involved technically in the redevelopment.
33Technical Support
Several commented that the theatre was technically challenging. One visiting group commented it
would be good to have a theatre staff member on hand to answer any questions regarding technical
matters. It also commented that if more infrastructure/technical equipment was installed as part of
the redevelopment, consideration would need to be given to what level of technical support is
provided. Consideration would also need to be given to how busy the theatre was going to become.
Operation of Theatre
People were full of praise for the theatre manager and staff. Comments included they are
“fantastic”, “very obliging and willing to help our group” and “If there is a problem it will get fixed”.
Several users believe better co‐ordination of user groups is needed in terms of timetabling shows.
One commented that touring groups did not consider local productions in their planning. One user
group suggested there be Council input into the leading/organising/coordination group if one was
established.
Promotion of the Theatre
Several commented that more promotion of the theatre is needed. The Arts and Culture Strategy
2011‐2013 (Appendix 4) states further options need to be explored to get more use from the War
Memorial and Lawson Field Theatres between shows and functions. This will enable Council to
generate revenue and draw people to the venues during “downtime”.
The Strategy states however that a more proactive role in programme and marketing is beyond the
current capacity of Council at present. It suggests that perhaps this is a role that could be considered
for Creative Tairāwhiti and other arts organisations that have the skills to build audiences. For
example, theatre programming could be aligned with common themes in the Council and Museum
Arts and Culture activity. 18
Lighting/Signage
A Heart of Gisborne representative highlighted concerns about safety at night around the building
and considered better lighting is required. If the lighting was to be upgraded, Heart of Gisborne
would install a CCTV camera in the area which would further improve safety for theatre patrons.
Vandalism has been an issue at this theatre with broken windows and graffiti painted on the
building. The opportunity to undertake such activities is assisted by the dark, shady environment in
18
Gisborne District Council Arts and Culture Strategy 2011 ‐ 2013
34which the theatre is located. Car parking was also a concern to Heart of Gisborne from a safety
perspective and they encouraged Council to take CPTED (Crime Prevention through Environmental
Design) principles into account when enhancing the external environment around the building.
This organisation also raised the issue of linking the theatre to the CBD as this is not done well at
present, and yet the theatre’s central location is noted as one of its positive features, especially for
visitors to the city. Improved directional and building signage and promotional banners on new
street light fixtures (when installed) would make a significant difference to the “visibility” of this
community asset.
Staffing/Resourcing
The theatre manager has a very high work load and there is no formal arrangement for back up. He
runs Council’s three theatres and is responsible for all aspects of their operation and maintenance.
This includes liaising with promoters to get shows to Gisborne, taking bookings, managing the
booking system, looking after the finances, setting up for shows, cleaning up after shows, training
casual staff and organising catering. The theatre manager has the assistance of two part‐time
cleaners.
It was raised during community consultation that there is difficulty in using the theatre when the
theatre manager is away or running another theatre. The ticketing agent, who has technical
experience, often helps out.
The theatre manager is essentially a one‐man‐band and there appears to be no plan going forward
on the part of the Council for when/if he is not available to undertake the role, whether it is
temporarily or permanently. The Group Manager Community Planning and Development is looking
to address this issue in anticipation that the upgrade will take place and that the new theatre will
attract more shows and users.
Data Gathering/Record Keeping
Records of audience numbers have not been readily available. This is in part due to the various
ticketing options available to user groups. Council has records of Ticket Direct sales but there is no
overall co‐ordination of ticket sales information of groups that do not use Ticket Direct.
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