Culture
Few things are better than going to a concert where the atmosphere is one of collective joy. That was my overwhelming impression of Noah Kahan’s Auckland show at Spark Arena. From the opening act to the final song, it was clear that the audience and the band were happy to be there.
Michael Marcagi opened the evening and was an absolute delight. Opening for an artist with such a devoted following can’t be easy, but Marcagi had the audience on his side almost immediately. It’s not often you see a crowd singing along so enthusiastically to a support act, and it was lovely to watch.
Kahan delivered an excellent setlist; Doors, Downfall and Dashboard were among my personal highlights. I also loved hearing Dial Drunk and Stick Season live, two songs that have become synonymous with his success.
What impressed me most was how much thought had gone into the production. The stage was constantly changing, with projected videos, shifting visuals and a house-like structure that became part of the performance. At one point, Kahan climbed onto its roof to perform two songs, in a moment that reminded me of Taylor Swift’s Eras Tour.
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He also made good use of the space beyond the main stage, moving into the crowd and performing Orbiter and Paul Revere (his surprise song for the night – another Eras Tour nugget) closer to the audience. These moments brought a welcome sense of intimacy to an otherwise enormous production.
And then there was the crowd. Plenty of young women, as you might expect, but also groups of men, dads and people of different ages. It was a wonderfully varied audience, united by their enthusiasm for Kahan’s music. Looking around the arena, it was difficult not to be swept up in the collective good mood.
I was impressed with the new food and beverage offering at the Arena. New outlets and technology have been introduced that are designed to make getting food and drinks on show nights quicker and easier (a welcome development for anyone who has spent a concert interval standing in a queue). According to the venue, it’s the first arena in New Zealand to introduce Mashgin’s AI-powered self-checkout technology.
Ultimately, what made the evening memorable wasn’t any single song or elaborate piece of staging. It was the feeling that everyone, from the musicians on stage to the thousands of people watching, was having a genuinely wonderful time. Kahan has built his career on music that explores some of life’s more difficult emotions, but his Auckland performance was, above all, a celebration of the joy that music can bring.
Preview: Jesus Christ Superstar
One of the world’s most recognisable rock musicals, Jesus Christ Superstar, is heading to Auckland this month.
Andrew Lloyd Webber and Tim Rice’s musical has been captivating audiences for more than five decades, telling the story of Jesus Christ’s final days through the eyes of Judas Iscariot. Its score includes some of musical theatre’s most recognisable songs, including I Don't Know How to Love Him, Gethsemane and Superstar.
This production originated at London’s Regent’s Park Open Air Theatre and won the Olivier Award for Best Musical Revival in 2017. Directed by Timothy Sheader, with choreography by Drew McOnie, it has since toured internationally.
I’m particularly interested in seeing how this production reimagines such a familiar musical for contemporary audiences. With its rock score, political tensions and complicated relationships, Jesus Christ Superstar has plenty to offer beyond its biblical subject matter.
Jesus Christ Superstar runs at The Civic from Oct 21 to Nov 15.
Preview: Songs for Nobodies
Five legendary singers, five ordinary women and one extraordinary performer. Songs for Nobodies stars Jackie Clarke in a production directed by Jennifer Ward-Lealand.
Written by Australian playwright Joanna Murray-Smith, the play explores imagined encounters between five musical icons – Judy Garland, Patsy Cline, Edith Piaf, Billie Holiday and Maria Callas – and the ordinary women whose lives they touch.
Clarke takes on all 10 characters, moving between the famous singers and the women who encounter them, accompanied by pianist Penny Dodd. It’s an ambitious undertaking, and I am excited to see Clarke take it on.
I’m particularly drawn to the premise of the production: the idea that a brief encounter, song or moment of connection can leave a lasting impression.
Songs for Nobodies runs at Q Theatre from Oct 28 to Nov 1.
What I’m Reading: People Watching and The Writing Desk
I've been exploring graphic storytelling by New Zealand authors lately, and two books have caught my attention.
I recently received an advance copy of People Watching by cartoonist Toby Morris, which is due for release in Nov. Over two years, Morris travelled around Aotearoa, speaking to strangers and capturing their stories through words and illustrations. From an All Blacks training field to a Southland milking shed and a cat show, the book offers a glimpse into the lives of ordinary New Zealanders. I love the premise, particularly at a time when we seem increasingly disconnected from one another.
I’m also interested in The Writing Desk by Di Morris, a graphic novel that draws on family history to explore identity, belonging and the complexities of New Zealand’s colonial past.
Both books are reminders of the possibilities of graphic storytelling, and how illustrations can bring a different dimension to the stories we tell.
What I’m Watching: Classics and comfort TV
My husband and I are still slowly working our way through our list of classic films, and our latest discovery was Witness for the Prosecution (1957). I thoroughly enjoyed it. Based on an Agatha Christie story, this courtroom drama is full of twists and turns, and it’s remarkable how well it holds up almost 70 years later. We’ve also started The Godfather, another essential film to tick off the list.
Of course, I’d be giving a rather misleading impression of my viewing habits if I pretended it was all cinematic masterpieces. In between the classics, I’ve been rewatching The Big Bang Theory and Bridgerton. Sometimes I want to be challenged by what I’m watching, and sometimes I just want something familiar playing in the background. I think there’s room for both.
And finally, a little personal update. This is my last The Life column for a while, as I’m heading off on maternity leave. My cultural calendar is about to look rather different, with fewer concerts and theatre openings and considerably more time spent at home with a newborn. It’s been a joy exploring Auckland’s arts scene and sharing it with you. I suspect my What I’m Watching section will soon consist almost entirely of comfort television, but I hope to return to the theatres, cinemas and concert halls before too long.