Submission
9 year plan feedback
Should we remove 231 Stuart Street (formerly the Fortune Theatre) from the list of strategic assets in the DCC Significance and Engagement policy?
No, keep 231 Stuart Street as a strategic asset
Do you have any comments about 231 Stuart Street?
Should we charge an entry fee of $20 (incl. GST) for international visitors aged 16 and over, at Toitū and Dunedin Public Art Gallery?
No, do not introduce an entry fee of $20 (incl. GST)
Do you have any comments about the entry fee for international visitors?
$20 is a bit steep. I think $10 would soften the blow somewhat.
Is there anything else you would like to tell us?
RE: The Case for a Purpose-Built 21st Century Theatre – An Educational, Cultural, and Inclusive Community Imperative
Tēna koutou e te Kaunihera Ōtepoti,
I write to you on behalf of Whakaari Aotearoa: Drama New Zealand as its Vice President and its Otago Southland Branch, representing drama kaiako across the region who are committed to the transformative power of the performing arts in education and community life.
We wholeheartedly advocate for the re-establishment of a dedicated, purpose-built theatre in Ōtepoti—one that reflects our city’s cultural richness and educational excellence. This is not simply about constructing a bricks and mortar building; it is about investing in a vital, living space that nurtures creativity, connection, and growth across all generations and walks of life. It’s about future proofing performing arts for our future.
Theatre is not a luxury—it is a living classroom. The creative process inherent in theatre-making—developing ideas, interpreting and communicating meaning, understanding context, and applying practical knowledge—is not incidental. These are intentional, learnable skills that cultivate collaboration, critical thinking, empathy, and confidence. Such competencies are foundational across disciplines: from doctors connecting with patients, to lawyers arguing with clarity and compassion, to citizens engaging with a diverse world.
In Aotearoa, platforms such as Stars on Stage (Stage Rage), ShowQuest, SGCNZ (Shakespeare Globe Centre NZ), and ŌSIC (Otago Secondary Improvisation Club) reveal the depth of impact theatre has on our rangatahi. These are more than performance opportunities—they are vehicles of storytelling, an integral expression of Māori culture, and a space for exploring identity, whakapapa, and social belonging. We have witnessed first-hand how theatre enables young people to find their voice, confidence, and community.
A dedicated theatre space fosters manaakitanga. It must be accessible and welcoming—a place where neurodiversity, physical and learning differences, cultural and gender diversity are not only included but celebrated. Such a space encourages genuine engagement from grassroots creatives to international artists, from school groups to seasoned performers.
Importantly, a civic theatre serves the broader community. It becomes a hub of intergenerational learning, wellbeing, spiritual expression, and social dialogue. In an increasingly digitised and polarised world, theatre invites us into shared experiences that build empathy, promote understanding, and offer both mirrors—to reflect our own lives—and windows—to understand others.
The urgency of this need is underscored by the lengths our kaiako and ākonga are currently going to access professional theatre experiences. In the absence of a suitable local venue and programme, some senior drama teachers are undertaking full-day bus trips from Ōtepoti to Ōtautahi—over ten hours of travel in one day—just to ensure their students can attend live professional productions required for NCEA external assessments. These trips, which involve watching a show and staying only for the post-performance Q&A before heading straight back home, are exhausting, costly, and unsustainable. It is a testament to the dedication of our educators and the value we place on these experiences, but it also highlights a significant gap in our local infrastructure. Our rangatahi deserve better access to high-quality theatre in their own city.
The arts are often viewed as a ‘nice to have’, but we ask you to consider this: when crises arise and when communities need healing, it is cultural spaces that help hold us together. The arts build resilience, foster community, and cultivate the kind of creative, thoughtful, and compassionate citizens that enrich our region.
Supporting the development of a purpose-built theatre is not just a building project—it is a legacy. A bold, future-focused investment in the people of Ōtepoti and the wider Otago-Southland region. It honours our identity as a centre of education and creativity and offers an enduring taonga for generations to come.
Ngā mihi nui ki a koutou,
Kimberley Fridd (on behalf of drama kaiako and Whakaari Aotearoa Drama NZ)
Vice President - Whakaari Aotearoa Drama NZ
Whakaari Aotearoa Drama NZ Otago Southland Branch - Dunedin POD Leader
HOD Drama & Film, John McGlashan College
WOW! Productions, Board Member
Health & Wellbeing for Arts Education Co-Founder
Local Water Done Well feedback
Which water services delivery model do you support?
The Council’s preferred option: an in-house delivery model
Why did you choose this option?
Do you have any other feedback related to the proposed water services delivery models?
Supporting information
No associated documents with this submission.
Submitter
Submission id number: 1130889
Submitter name:
Kimberley Fridd
Organisation
John McGlashan College Drama Department