Public entertainment
Since the construction of Aotearoa’s first purpose-built theatre in 1843, Wellington has always been home to trailblazing entertainment.
By the 1870s theatres were among the most popular places of family entertainment. Most professional productions of the time were of production seen overseas such as Shakespeare and variety shows, but practitioners in New Zealand also wanted to carve out a unique identity for itself. Nineteenth-century colonial theatre in New Zealand often staged depictions of settler life set against a backdrop of native flora and fauna contrasted with a “romanticized and backward version” of te ao Māori. Many stage dramas exploited Māori forms of performance such as haka and poi. Despite many of these productions being billed as “Pakeha-Maori”, Māori only occasionally took minor parts and were rarely consulted over the scripts or staging.
Although theatres reinforced social class hierarchies, often featuring separate entrances and proscenium boxes for wealthy patrons, they were also more egalitarian than other parts of colonial society. Theatrical touring companies offered jobs to middle-class women, many of whom saw the arts as a “viable escape-route from domestic dependency” gender was often not a hinderance to acceptance.
Throughout the 1800s, community halls had been popular sites for entertainment and social gatherings. During the early 20th century, the demand for more performance venues ballooned.
The influence of municipal socialism in the early 20th century led to the construction of council-owned venues (such as the Wellington Town Hall) which could serve both administrative and entertainment-oriented functions. Larger productions were hosted in grand venues like the St James Theatre (1912) and the Grand Opera House (1914).
This period also ushered purpose-built cinemas and film to our shores which, prior to 1910, were only occasionally shown as a small part of theatre shows or in community and council halls. Although the first World War saw cinema construction halted, and many New Zealanders returning to community entertainment as a result, Wellingtonians were able to attend movie screenings at the King’s Theatre (1910) Paramount (1917).
In the period following the war, movie-going became associated with glamour and escapism, and the time has been described as the “Golden Age” of cinemas: the De Luxe (later renamed The Embassy) opened in 1924, and many large and boutique theatres followed. 11 cinemas once in existence in the Wellington CBD have been sold or demolished: the Majestic Theatre, Lido Cinema, Tudor, Mid-City, Manners Street Roxy, The Princess, The Regent, Plaza, Rialto, Cinerama, Paramount and The King’s Theatre. The seating plans for many of Wellington’s early cinemas can be viewed in our collection of WCC Building Branch's Seating plans for theatres, public halls and picture theatres.
Cinema remained popular throughout the 1920s and 30s despite the tightening of household budgets during the Great Depression. The rise of cinemas, especially following the advent of “sound pictures” in 1929, caused a sharp decline in the popularity of touring theatre groups; conversely, amateur theatre companies flourished during this time, and community venues such as Cuba Street’s Thistle Hall (1907) remained popular sites for dances, jazz bands, and cabaret.
Arthur Singleton opened one of Wellington’s first cafés in 1940 at 356 Lambton Quay, the French Maid Coffee Bar, which exhibited modernist artworks and was a central meeting spot for the city’s intelligentsia. After the Second World War, wireless radio and the gramophone had become commonplace in New Zealand and were soon embraced by cafés offering customers a place to drink and listen to the popular jazz music of the day. The 1960s saw coffee shops such as Wellington’s Monde Marie providing a venue for acoustic folk. You can view photos of these shows in our collection of Monde Marie coffee bar photographs and ephemera.
Cinema attendance continued to rise through the 1950s but hit a sharp decline in the 60s due to the popularity of television. However, this period also saw a renewed interest in live theatre, helped in part by funding from the Queen Elizabeth II Arts Council. Groups like Downstage Theatre steadily grew an audience and opened the Hannah Playhouse in 1973. The 1970s also saw a new wave of Māori theatre and groups like the Te Ika a Maui Players and Maranga Mai, who staged events from the Māori protest movements of the era.
Venues have come and gone over the decades, battling against noise complaints and licensing laws. Live music was very popular throughout the 1960s and early 70s, and venues were far from scarce. Wellington had at least 19 active venues during its heyday. This changed in the latter half of the 70s, and Wellington was thought of as a “dull, grey town” by some music fans (a sentiment not shared by an active club and disco scene). Despite the lack of accommodating venues, Wellington was home to a great number of alternative bands and Chris Knox’s Toy Love would often visit the capital and set their own PA system up on Cuba Mall. Thistle Hall at 293 Cuba Street also became a haven for the city’s noisier sect.
Entertainment in Wellington ebbs and flows, but despite the challenges and changing tastes of the city, our artists, actors, and musicians always find ways to reach the eyes and ears of new audiences.