Wayne Anderson is a man out of time. His three and a half octave voice and undying devotion to the “evergreens” of popular music (Elvis, Engelbert and Tom) should surely have seen him in Vegas by now. However, despite the best attempts of hapless manager Orlando, Wayne’s star has never ascended higher than the rather less lucrative Manurewa rest home circuit. The cameras follow him in his quest for a show business career – along with the perfect perm and hot pie – in a series where the boundary between fact and fiction is as elusive as that big break.
Inspired by the work of Spring Hill Prison music therapist Evan Rhys Davies, Julian Arahanga convinced the Department of Corrections to allow him to film inmates making songs at Rimutaka and Arohata prisons — with mentoring from musicians Anika Moa, Warren Maxwell, Maisey Rika, and Ruia Aperahama. In later seasons Moa was joined by Don McGlashan, Annie Crummer, Laughton Kora, Ladi6, Scribe and Troy Kingi at other prisons. The Māori TV show won Best Reality Series at the 2017 NZ Television Awards, and international interest. It also spawned two albums.
This Māori Television series aimed to celebrate Aotearoa’s "favourite party songs", through showband renditions led by the Modern Māori Quartet. Inspired by the great Kiwi garage party, each week the quartet (Francis Kora, Maaka Pohatu, Matariki Whatarau and James Tito) host special guests — some famous, some not — who are invited to perform their favourite track. They include Temuera Morrison, Tina Cross, Ria Hall, Jan Hellriegel and Troy Kingi. The members of the "Māori rat pack" met at drama school Toi Whakaari. They were the houseband on short-lived variety series Happy Hour.
Sing featured Kiwi entertainers performing popular songs and musical standards, accompanied by a bevy of dancers. The performers included Craig Scott, Ray Woolf, Angela Ayers, Chic Littlewood and musical comic relief Laurie Dee. The hair was big and the collars large, while songs tended towards the middle of the road — for example 'Love is All Around', Tom Jones and Glen Campbell.
This early 1980s all-singing, all-dancing, music theatre show ran for three series. It featured a 12-strong core cast — seven of whom had never previously danced, and five of whom weren't trained singers. Only one had acting experience. Members included Maggie Harper (later of Shortland Street), Richard Eriwata, Suzanne Lee, Vicky Haughton (Whale Rider) and actor Darien Takle. Regular features included stage show tributes, special guests, and a segment which created a new production out of apparently unrelated songs. A number of performers later won their own shows.
Play School was an iconic educational programme for pre-school children, which was first produced in Auckland from 1972, then Dunedin from 1975. The format included songs, a story, craft, a calendar, a clock and a look outside Play School via the shaped windows. But the toys, Big Ted, Little Ted, Jemima, Humpty and Manu, were the real stars of the show. The title sequence ("Here's a house ...") and music were a call to action recognised by generations of Kiwis. Presenters included actors Rawiri Paratene and Theresa Healey, Russell Smith and future MP Jacqui Hay.
The Grunt Machine began life in May 1975 as a pop culture show for 12-20 year olds playing four days a week at 5.30pm. Presented by Andy Anderson, it featured music and reporter based items. Pulled in August, it returned in September as a much hipper late Friday night rock show fronted by David Jones. The 1976 season started with Paul Holmes (in his first presenting role) and featured a Split Enz special for its first show. Fellow DJ John Hood took over later in the year (lying on cushions to do his links). The final Grunt Machine aired in December 1976.
Maria Dallas' performance of Jay Epae song ‘Tumblin’ Down’ helped make it a top 20 hit in 1966. Impressed with her versatility at the Loxene Golden Disc Award ceremony that year, TV producer Christopher Bourn invited her into a television studio five days before Christmas to perform songs for two 15 minute episodes of her own show, Golden Girl. Over the next year Dallas’ career continued to explode. In between trips to Australia, America and Asia, Bourn got her back to film further episodes, each one featuring four or five songs by Dallas, plus a guest spot by another performer.
Peppermint Twist’s pastel-tinted portrait of 60s puberty floated onto NZ screens in 1987 and despite winning a solid teen following, only screened for one series. Set amongst a group of teens in small town Roseville (in reality the outdoors set originally used for Country GP), the show’s stylised look and sound had few Kiwi precedents - though its links to US TV perennial Happy Days are clear. Peppermint made liberal, and increasingly confident use of period music, with each episode named after a pop song of the day.
This seven-part documentary series chronicled the history of modern Māori music, from the turn of the century and Rotorua tourist concert parties, through to the showband era (Howard Morrison Quartet, Māori Volcanics, Māori Hi-Five) and reggae and hip hop. The programme ranged from ‘Ten Guitars’ to Tui Teka, from Guide Rangi doing poi to The Patea Māori Club, from opera singer Kiri Te Kanawa to Upper Hutt Posse, Ardijah, Herbs and Moana and the Moa Hunters. The acclaimed 1990 series was directed by Tainui Stephens (My Party Song, The New Zealand Wars).