The Manager    -  JOHN RICHARDSON  

When John Richardson (b. 1.9.1954) began work at the Opera House he had to learn the business from the bottom up, never mind that he had already trod the boards there and at school. He had some idea even then, that his hours could be long and late, as late as 4am if he was involved in packing out after a show.

Born and educated in Wanganui, at Christ Church Preparatory School, St George’s and Wanganui Collegiate, John enjoyed school drama productions, first working back stage in “The Davidson Affair”, written by one of the teachers, David Carr. On leaving school his first job was with the National Bank in Wanganui. He later transferred to Masterton, then returned to Wanganui in 1975 to a post in treasury with the Wanganui City Council. In 1976 he transferred to the newly created city halls department under the eye of George Hoskin, newly appointed as city halls manager.

John’s work involved doing what many before him had done, sweeping floors, cleaning toilets, making tea, sending out invoices, dealing directly with promoters, helping set up and pack up for shows, and doing the stage lighting. 

When George Hoskin retired Don Moreland won the post and John worked with him until opting for a short period of self-employment. After the council made him “an offer I couldn’t refuse”, John returned to work with Don, until Don’s death in 1988. John was appointed acting manager, and with the establishment of the Friends his appointment was confirmed. He has built on Don’s electronic legacy, bringing the Opera House into the computer age with the introduction of electronic ticketing and up-to-date electronic switch board.

John cites the Guy Fawkes Day, 1995 arson as the worst disaster that has hit the Opera House during his management, although he also experienced the repercussions of the Peter Pan fire as he was then working with Amdram.

Highlights have included the reopening of the sweet stall, the opening of the bar, and the upstairs lounge because they have “added a whole new aspect” to his position. It means dealing with liquor licensing laws, bar management, and regulations involved with the dispensing of food. Additional challenges have arisen with the tightening of health and safety and fire regulations and the hours, if anything, feel longer.

But working with stars like Windsor Davies and Sue Pollard, or being associated with shows like Amdram’s Joseph and His Amazing Technicoloured Dreamcoat (Andrew Lloyd Webber), the Tasmanian Ballet Company and “Steaming” softens the job. Even when, as was the case with Barnum, when Opera House staff exceeded computer input capacity to record overtime. Staff wages for the fortnight had to processed as if for two separate people in each case because the computer could not cope otherwise.

After working backstage for Barnum, Pam took over voluntary front of house management, the job the manager’s wife traditionally was given. It involves developing staff rosters, (with about 60 people including ushers, doormen, bar staff, sweet sellers, follow spot operator and safety officers), working in the box office, and doing some ushering. That wasn’t all. At times there would be a plea from a travelling wardrobe mistress and Pam and her mother would run up or mend a costume, while managing a young family. When the Friends became involved life became busier, and included baking literally “hundreds of  scones for morning teas” during working bees, “carting the kids down” to join in, even “leaving a portacot set up” in the Opera House so the youngest could nap as needed.

“You do it because you either sit at home and wait, or get involved. People don’t realise the hours involved because they turn up for a show at quarter to eight, and leave at a quarter to eleven. They don’t see that the manager has been working all day, dashes home for a quick tea, rushes back and often isn’t out of the place until midnight, or later. But we do enjoy it,” she added.

  Exerpt taken from "A Grand Victorian Lady" by Penny Robinson