Ovation to a legacy of evolution and song
Locals know it by many names: Act Three Productions, Abbey Musical Theatre, Palmerston North Operatic Society. But this much-loved local society began life in 1900 under the moniker The Palmerston North Amateur Operatic and Dramatic Society.
Nearly 125 years since its inception, the society continues to move from strength to strength, with a rich and dramatic history and a thriving community of more than 200 dedicated members.
Its maiden production of The Pirates of Penzance at the Lyceum Theatre (now Kelly’s Supermall) was described in the newspaper as an “unqualified success in every way”, and its reputation for high-quality entertainment was further enhanced by the completion of the Palmerston North Municipal Opera House in 1905.
Staging more than 40 shows in the grand Edwardian-style theatre, the society built a solid membership and dedicated following of theatre-goers who valued the culture boost, the theatrical offerings and grand setting it brought to the fledgling rural city.
During World War I the society put its talents to good use, donating the proceeds of its performances of Les Cloches de Corneville to the Patriotic Fund in 1914.
Incorporating as Palmerston North Operatic Society in 1931, a successful run of shows was staged until a recess was observed during the World War II, with no productions held between 1938’s The Belle of New York and The Vagabond King in 1947 due, in part, to the lack of men to take on roles and stage-hand duties.
Postwar, the society resumed its activities until another recess was forced from 1952-54 while the Opera House, deemed unsafe by the city council, was extensively strengthened and remodelled with a sleek, contemporary look.
A family-friendly production of Peter Pan was staged in 1955 to celebrate the reopening of the refreshed theatre, and the society continued to produce up to two shows a year for the next two decades.
It averaged between four and seven productions yearly from 1976-1990 with a mix of musicals, revue-style showcases and plays.
In 1996 the Opera House was demolished, but the society had already moved more than a decade earlier to the distinctive red-brick Baptist Church across the road. It rebranded as Abbey Musical Theatre in 1982.
Taking advantage of the non-traditional layout, the society offered a ‘‘dinner and show’’ option where patrons could enjoy a meal as they watched. The Abbey also housed the society’s iconic costume hire, a local institution itself which lives on today as Groovy-licious Costumes.
The society celebrated its centenary in 2000 with a three-day convention. More than 300 people marked the occasion, with Sir Brian Elwood giving the opening address.
After 110 productions the Abbey building was sold, and the society was again in search of a new home. The auditorium at the former Massey Teachers’ College fitted the bill, kicking off the next era at the renamed Wallace Development Company Theatre.
The society staged modern classics such as Blood Brothers, The Full Monty and Mamma Mia! while earning additional income by hiring the venue to travelling gigs.
Leaving the “Abbey” building led to a rethinking of the society’s name, as many associated the society itself with its old premises. In 2019 the troupe became Act Three Productions, reflecting not just the onstage aspects of a production, but the work that goes on behind the scenes by the extensive community of dedicated members.
This community has always been the beating heart of the society. Former president and life member Merryn Osborne has been involved in countless productions since her first appearance in 1974’s Dick Whittington at age 8.
With her parents Audrey and Ron active members since 1959, Osborne was a genuine ‘‘theatre kid’’ who spent her childhood in the Opera House while her parents were in rehearsals.
“They say it takes a village to raise a child, and I had the best village; all the theatre mums and dads around to look out for all the kids. You’d yell ‘Mum!’ and all the mums would turn around!
“We started calling our parents by their first names, it made life much easier.”
Long-time member Michelle Luke began backstage in the Children’s Theatre in 1994, encouraged by her dance teacher Val Bolter.
Since her onstage debut in 1996’s Platinum Vinyl, Michelle has appeared in dozens of shows, and is still regularly found manning the props table or taking on production management.
ECE teacher Hannah McDowall was 17 when she debuted as Victoria in 2016’s Cats, and has been involved both onstage and off in numerous shows since, notably winning best choreographer at the Regional Theatre Awards for 2020’s Sister Act.
McDowall’s fiancé Connor Watson proposed to her in the wings of the Wallace Theatre, where they met during 2018’s Mary Poppins. Watson’s parents, themselves active society members, had encouraged him to join the crew, little dreaming that the experience would lead him to his future wife.
For Osborne, a lifetime with the society has transitioned her from theatre kid to theatre mum to dozens, and now a theatre grandmum to the next generations coming through.
This sense of family has carried the society through tough times. After reaching new heights with large-scale productions of Rock of Ages, Wicked and Les Misérables, the Covid era nearly sank them. Disruptions and cancellations of Sister Act and We Will Rock You caused major financial losses.
The society returned to staging smallerscale shows with DIY sets, costumes and props, including Joseph and the Amazing Technicolor Dreamcoat (2020), Chicago (2020) and Godspell (2022).
Choosing perennially popular musicals and seeking business sponsorship have ensured the society has remained solvent and able to surprise audiences with worldclass productions showcasing local talent.
Next year, the society celebrates 125 years of delighting Palmerston North audiences. With new premises on The Square, a smash-hit season of Matilda under its belt and a new generation of members coming through, the future of the Palmerston North Operatic Society looks set to shine as brightly as its history.