Designs on incubating more theatre talent 

_{Mark McEntyre on the set of The End of the Golden Weather}

Mark McEntyre’s had a hand in three Court Theatres through his creative career. 

Learning set design under director Elric Hooper and set designer Tony Geddes in the Court’s original Arts Centre home, he also contributed to the post-quake ‘Shed era’ and his renowned skills are now in play for the new Court’s opening act.

“I felt it was a real privilege being asked to be senior designer on “The End of the Golden Weather’,” he said. “It was both special and challenging because everything about the stage is new, there’s no institutional memory and no bible of the dos and don’ts.”

“I was terrified that what I designed wouldn't fit. We’ve learned a lot about the backstage, the technical challenges and how we’ll design shows going forward.”

He said establishing the central city Court Theatre was an enormous achievement and, while acknowledging the support received for the project at a national level, he believes it reflects a true local commitment to theatre.

On the daily, McEntyre is Ara Institute of Canterbury’s Academic Manager of Performing Arts which includes National Academy of Singing and Dramatic Arts (NASDA) and Ara Music Arts. He is also a supervisor in the institute’s post graduate Masters of Creative Practice programme and is part of the team overseeing the transition of the MAINZ programme to Ara.

He sees real synergy between education and the theatre - especially with The Court Theatre being the only company in New Zealand with its own in-house workshop, costume and props departments, and lighting and technical teams.

"This incredible environment just doesn't exist elsewhere anymore. It hasn't since the 2000s,” he said. "Not only was it a huge advantage when tweaking the first show in production week, – it also means The Court has even greater potential as an incubator for talent across the board.”

_{Narrator played by Sir Ian Mune (right) and Boy, played by James Kupa on set} 

With a real shortage of tech expertise in the industry, McEntyre believes the theatre, coupled with Ara, could play an innovative role in developing the next generation of creatives.

"We have been talking about the possibilities of training for lighting, sound, stage management - even potentially set, costumes and props - because the industry needs more of those backstage, technical people,” he said.

“I’d describe Ara and The Court as two kahikateas in the Canterbury landscape. We are big players who already work to nurture artistic talent in the region, and it would be exciting to do more.”

McEntyre said Ara and The Court Theatre already enjoy a strong relationship with NASDA internship opportunities and staff actively involved in professional practice and research outputs.

“It's a gateway for emerging artists, but it also provides opportunities for our staff to keep current. When you’re on stage, you’re back in the learner role and you can take that reflection back into your teaching.”

“Education doesn’t happen in isolation,” he said, highlighting how the theatre’s commitment to supporting and partnering with Māori and Pasifika theatre has the potential to feed into the student experience.

“With Victor Roger’s Black Faggot opening this month and the Ara-sponsored Kōpū coming up in July, we’re seeing quality productions our students can absorb, be inspired by and learn from right here.”

While he speaks enthusiastically and in detail about the dimensions, features, scope and acoustics of the new performance spaces, the opportunities ahead in education remain front of mind.

“I’m pleased to be involved here as a designer and to further my own academic research, but as an Ara manager I’m keen to help make connections and see how we can grow talent on and off stage too.”

You can read more about The End of the Golden Weather and find Mark McEntyre’s bio here: The End of the Golden Weather » The Court Theatre