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The Spinoff
16-05-2025
- Entertainment
- The Spinoff
The Phantom of The Opera, taonga pūoro and the NZ origins of a classic silent film
100 years ago, a New Zealander was the first person to bring The Phantom of The Opera to the screen. Lyric Waiwiri-Smith attends a centennial screening of the iconic silent film with a special musical accompaniment. On the roof of the Palais Garnier, in a film reel drenched in blue, Christine Daaé (Mary Philbin) and Raoul de Chagney (Norman Kerry) grasp each other without ever sharing a kiss (it was the 1920s, after all). They've just witnessed the Phantom (Lon Chaney) terrify the crowds of the Bal-de-Masque, fled through the labyrinthe opera house and are plotting their escape – until whistling of a taonga pūoro welcomes the image of the Phantom, clinging to a statue of Apollo, his head thrown back in agony and arms desperately reaching towards his object of obsession. The 1925 adaptation (happy centennial!) of Gaston Leroux's tragic-romance, The Phantom of The Opera is a classic of the silent film genre, campy in its theatrical excess and both hilarious and haunting in its subtle, archaic horror which leans on the simple thrills of a darkened dungeon and the deformed face of the Phantom. It's a story most well-known as an Andrew Lloyd-Webber musical, so if the 'silent' part freaks you out, rest assured that most reissues of this original film actually do include sound. But if you want a truly immersive experience, you should hope there's a good community of film buffs and some pretty talented musicians in your neighbourhood. On Monday and Tuesday night, the Wellington Film Society hosted a screening of the film alongside a live musical accompaniment composed by Pōneke's Ruby Solly (Kāi Tahu, Waitaha, Kāti Māmoe), Seth Boy and Hikurangi Schaverien-Kaa (Ngāti Porou) – a perfect blending of two artistic mediums which brought the magic and mayhem of the Phantom's opera house to The Embassy theatre. In the absence of sound, the appeal of The Phantom of The Opera leans heavily on beautiful wide shots of dancers floating through the Palais Garnier, title-cards with old-timey words like 'ere' (the best being: 'feast your eyes, glut your soul on my accursed ugliness!') and exaggerated physical performances, but namely Chaney, whose grotesque but most of all dramatic Phantom still endures. So, when you finally do bring sound into the equation, it's able to expand all of these aspects and more. Solly, Best and Schaverien-Kaa's composition flowed so well in tandem with the film that, if you closed your eyes, you'd think all of the pieces were built together from the beginning. The music moved with ease, underscoring the comedic moments with musical punchlines, to something operatic, then haunting. And at the end of the ballet scene which opens the film, as the actors sitting in the Palais Garnier applauded, so did we – it was nice to have a moment to appreciate the ability of three people to create really transcendental music. And because it's their composition, Solly, Best and Schaverien-Kaa were able to take some creative liberties with storytelling through their music. When Carlotta (Virginia Pearson) took the opera stage to perform as Marguerite, Solly missed her notes and skipped over beats, letting a terrible vibrato echo around the theatre (I must note that when she vocalised along with Christine, Solly sounded so beautiful alongside the cello she was playing that, for a few minutes, I couldn't believe she was doing both things at once). When Christine discovers the Phantom playing 'Don Juan Triumphant', he's not the skilled composer you see in Andre Lloyd Webber's production – it was a great insinuation that maybe the Phantom was just a fraud, a nobody trapped in the dungeons forever. But the best part of it all was the use of taonga pūoro. The whistles that drifted through the theatre spelled the entrance of the Phantom and his no-good hijinks, or set the scene for the cold, eerie dungeons. It felt really special to have this instrument embedded into the composition, and it was also a good reminder of Aotearoa's connection to the film. The whole thing is obviously all very French, but the film's director Rupert Julian is a New Zealander. He was born in Whangaroa as Percy Hayes (later changing his name when he became a touring actor), lived in Whangārei and Auckland, worked as a barber on Karangahape Road and fought in the Boer War before being convinced to join the stage, and eventually make the move to Hollywood. The Phantom of The Opera is undoubtedly Julian's most iconic contribution to film, but it's his leading man – Lon 'the man of a thousand faces' Chaney – who supposedly led the brunt of the film's creative work. Julian was famously pompous and difficult to work with, and often crew members sided with Chaney, whose director often refused to speak with him – instead, the film's cinematographer Charles Van Engler acted as the go-between messenger for the two divas. It was a strange outcome as Julian, after receiving the script, declared: 'Lon Chaney, or it can't be done!' Julian's magnum opus became Universal's longest project at the time – while many films were able to be shot in two weeks, Julian spent six months in pre-production, and eleven in production, working with a cast and crew of hundreds. Delays would be caused by Julian continuously reshooting Philbin's scenes, and the use of experimental Technicolour – you can see those beautiful splashes of colour seep through in the Bal-de-Masque scene. So, describing it as a New Zealand film would probably be a stretch of the imagination as long as the Seine. But it was nice to step into a version of the film that felt like it could only be enjoyed in Aotearoa.
Scoop
14-05-2025
- Entertainment
- Scoop
AMA 2025 Breakthrough Artist Finalists Announced
Fazerdaze, Aaradhna and Ladi6 to perform Recorded Music NZ, producer of the Aotearoa Music Awards, has announced the finalists for Te Iti Rearea o te Tau | Breakthrough Artist of the Year. The 2025 contenders are Pōneke R&B act A.R.T; the chart-topping lads from the same town – DARTZ; and Ōpōtiki artist and 2024 Tā Te Iwi | People's Choice Tūī winner Hori Shaw. The Tūī is determined based on data illustrating audience growth and commercial performance of recordings in terms of radio airplay and streaming/sales in Aotearoa during the AMA 2025 eligibility period (1 January–31 December 2024). Anastasia, Rosetta and Tiresa a.k.a A.R.T are a powerhouse trio on the climb, with roots in R&B and gospel. They have gone from singing in their bedrooms to releasing a series of singles and touring with Hawaiian star Josh Tatofi. The act's 2024 breakout single 'When He Was Mine (Pele Fo'i Mai)' hit A-rotate on urban radio in Aotearoa and together with a remix by DJ Noize has clocked up big numbers across streaming platforms. Hori Shaw 's introduction to AMA in 2024 was a beautiful thing – the artist walked away with the Tā Te Iwi | People's Choice Tūī. Proving this was no fluke, Hori's audience grew even further throughout the year. His single 'Back in My Arms' featured in the Official Top 40 Singles Chart and he dominated the local Aotearoa Top 20 Charts in 2024 with his hits 'Back In My Arms' and 'One Day'. 'Back In My Arms' held at #1 for 9 weeks and spent a total of 33 weeks on the Aotearoa Singles Chart in 2024. A full year on from its release, the track is still in the Aotearoa Singles Chart, at #3. The now Melbourne-based Pōneke band DARTZ made their mark on the Official Charts in 2024, joining L.A.B as the only NZ acts to reach #1 on the Top 40 Albums Chart, with their album Dangerous Day To Be A Cold One. The album also sees Crispy (guitar), Clark (bass), Rollyz (drums) and Danz (vox) up for for Te Tino Kāhui Manu Taki o te Tau | Best Group and Te Manu Taki Rakapioi o te Tau | Best Rock Artist at AMA 2025. In addition to announcing the contenders for Breakthrough Artist 2025, Recorded Music is also proud to reveal Fazerdaze and Aaradhna as the next finalists to perform at AMA 2025, joining CHAII and Anna Coddington. Fittingly, both have previously been nominated for Breakthrough Artist. Fazerdaze was a finalist in 2017 for the critically acclaimed Morningside, and Aaradhna in 2006 for her classic record I Love You. Run it back, and both artists made impressive returns in 2024 with highly anticipated new albums. A finalist in 2025 for NZ On Air Te Tino Pukaemi o te Tau | Album of the Year, Spotify Te Tino Waiata o te Tau | Single of the Year, and Spotify Te Tino Reo o te Tau | Best Solo Artist, Fazerdaze will perform her nominated single 'Cherry Pie' with her full band. Aaradhna will be joined by the inimitable Ladi6 to perform 'Love 2 Love' – the pair's collaboration that features on Aaradhna's AMA-nominated album Sweet Surrender. The 2024 Te Manu Taki Manako o te Tau | Best Soul/RnB Artist winner is a finalist in the same category this year as well as Album of the Year and Best Solo Artist. Viewing information AMA 2025 will take place on Thursday 29 May at the Viaduct Events Centre in Tāmaki Makaurau. The event will be livestreamed via AMA Official Media Partner RNZ via and across its social media channels. Viewers who don't catch the live broadcast will be able to stream the Awards on TVNZ+ from the evening of Friday 30 May. The live broadcast and on-demand stream are funded by Irirangi Te Motu | NZ On Air and Te Māngai Pāho. Notes: About Aotearoa Music Awards The Aotearoa Music Awards is the annual showcase event for the music industry, celebrating artists and music from Aotearoa. The event recognises the biggest musical successes of the year while also providing a platform to promote emerging artists. Grounded in 60 years of history, the Aotearoa Music Awards has evolved to reflect our unique cultural identity. It has launched music careers, told artists' stories and created memorable moments. Recorded Music NZ produces the Aotearoa Music Awards and acts as its kaitiaki – preserving our musical heritage, celebrating the hits of today and paving the way for the artists of tomorrow. For more, please visit
Scoop
06-05-2025
- Entertainment
- Scoop
Forecast Shows 100% Chance Of Campy, Comedy, Cabaret!
Press Release – NZ International Comedy Festival Two Billy T nominated genderfluid powerhouses come together in holy(ish) matrimony to showcase their talents in their award winning cabaret. The show is a raucous hour of music, clown, magic, stand-up, poetry, dance, theatre, mime, and… emus? Our duo flip gender norms through marital satire, imitating a campy heteronormative couple with reversed gender roles; they skillfully weave this dynamic through the show creating an outlandishly silly and lovable couple. Unapologetically queer, and unabashedly themselves, Delightfool is a joyous and heartwarming celebration of friendship and self-acceptance. Our stars gravitated towards each other while performing in the Pōneke comedy circuit. They came together like a supernova with their debut season of Delightfool in the Wellington Fringe Festival 2024 winning the Auckland tour ready award. After their Auckland Fringe 2024 season they frolicked away with the Outstanding theatre, Outstanding Performance (Collective), and Dunedin Fringe tour ready awards. The duo are now performing in the NZICF as 2025 Billy T Nominees. With many aforementioned skills under their belts they showcase them in a cabaret styled comedy show, giving both moments to shine on their own but ultimately come together to create a chemistry unlike any other. 'An hour of wit, sparkle, and innuendo that would be hard to beat anywhere' Margaret Austin, Theatreview, NZ 'It's queer joy that asks us to be shameless – It's laughter as rebellion. It's joy as an act of resistance.' Sazzok (Sarah) Kreig, Bad Apple Reviews, NZ Booth the Clown and Jak Darling – Delightfool Wellington Dates: Tues 13th – Sat 17th of May, 7:00pm – 8:00pm Venue: The Fringe Bar, 26 Allen St Tickets: $22 – $28 Bookings: Auckland Dates: Tues 20th – Sat 24th of May, 7:00pm – 8:00pm Venue: Basement Theatre The Studio, Lower Greys Avenue Tickets: $22 – $28 Bookings:
Scoop
06-05-2025
- Entertainment
- Scoop
Forecast Shows 100% Chance Of Campy, Comedy, Cabaret!
Two Billy T nominated genderfluid powerhouses come together in holy(ish) matrimony to showcase their talents in their award winning cabaret. The show is a raucous hour of music, clown, magic, stand-up, poetry, dance, theatre, mime, and… emus? Our duo flip gender norms through marital satire, imitating a campy heteronormative couple with reversed gender roles; they skillfully weave this dynamic through the show creating an outlandishly silly and lovable couple. Unapologetically queer, and unabashedly themselves, Delightfool is a joyous and heartwarming celebration of friendship and self-acceptance. Our stars gravitated towards each other while performing in the Pōneke comedy circuit. They came together like a supernova with their debut season of Delightfool in the Wellington Fringe Festival 2024 winning the Auckland tour ready award. After their Auckland Fringe 2024 season they frolicked away with the Outstanding theatre, Outstanding Performance (Collective), and Dunedin Fringe tour ready awards. The duo are now performing in the NZICF as 2025 Billy T Nominees. With many aforementioned skills under their belts they showcase them in a cabaret styled comedy show, giving both moments to shine on their own but ultimately come together to create a chemistry unlike any other. 'An hour of wit, sparkle, and innuendo that would be hard to beat anywhere' Margaret Austin, Theatreview, NZ 'It's queer joy that asks us to be shameless - It's laughter as rebellion. It's joy as an act of resistance.' Sazzok (Sarah) Kreig, Bad Apple Reviews, NZ Booth the Clown and Jak Darling - Delightfool Wellington Dates: Tues 13th - Sat 17th of May, 7:00pm - 8:00pm Venue: The Fringe Bar, 26 Allen St Tickets: $22 - $28 Bookings: Auckland Dates: Tues 20th - Sat 24th of May, 7:00pm - 8:00pm Venue: Basement Theatre The Studio, Lower Greys Avenue Tickets: $22 - $28 Bookings:
