Daniel Clarke, Director of Performing Arts at Tātaki Auckland Unlimited, sits down with YOUR EX Magazine for a candid Q&A about his inspiring journey and ambitious vision for Auckland’s performing arts scene.
From his early days navigating the challenges of 90s Adelaide to his transformative experiences abroad and his groundbreaking work as a creative leader, Clarke opens up about the milestones that have shaped his career and personal life.
In this exclusive interview, Clarke shares how Mary Poppins inspired his love for theatre, reflects on his coming-out journey, and recounts his whirlwind love story with husband Nick. He also teases exciting upcoming highlights for Auckland Live in 2025, talks about his achievements as Co-Festival Creative Director of Sydney WorldPride 2023, and outlines his vision for a thriving, inclusive cultural scene in Auckland by 2030.
With his commitment to making the arts accessible, empowering local talent, and attracting global productions, Clarke is at the forefront of shaping Tāmaki Makaurau into a world-class cultural hub.
What was it like growing up in 90s Adelaide?
“A decade is a long time, so over the course of ten years, I experienced many different ups and downs. My teenage years were the most challenging, where I experienced a lot of homophobia, as I didn’t fit into a hyper-masculine Aussie culture.
School was tough; there is no denying that. But by the end of the 90s, I had found a strong community of artists, both in Australia and overseas. I was making queer theatre, studying at drama school, finding myself at parties with Kylie and Blur (subtle/not-so-subtle name drops!) and having a ball. As an emerging artist, Adelaide was a good city to develop in, there was a very supportive industry and I had great mentors and some wonderful opportunities.”
I hear Mary Poppins had a big impact on you. What was it about the film that inspired you?
“Yes, I clearly remember when I was seven, sitting in our lounge room, on our red carpet, watching Mary Poppins, and when it finished, turning to my parents and saying: ‘I want to be an actor.’ I’m not sure what it was about that film … maybe all the imaginative possibilities it presented … maybe it was Julie Andrews … maybe the colour and joy she brought into those children’s lives … I’m not sure. But my parents were completely supportive of my dream and not so soon after that would drive me on a two-hour round trip every Saturday morning to attend drama classes.”
You spent a year in Costa Rica as part of a school exchange. What was that experience like?
“This had probably the most profound impact on my life. I lived for 12 months in Costa Rica, with a family who spoke no English, and I spoke no Spanish (at least to begin with). It was 1994, well before Google translate, so I used a dictionary to learn Spanish and to be able to communicate with my host family.
It was the reprise I needed following a gruelling few years at high school and this adventure turned out to really shape who I have become. It made me live out of my comfort zone, gave me the desire to travel from a young age and learn to be within different cultures. I met life-long friends during this year, both from Costa Rica and from the cohort of other exchange students from all around the world.”
What was your coming-out experience like?
“Despite being bullied at high school, it wasn’t until my early 20s that I really understood my sexuality. I spent a year on another exchange, this time at drama school in Manchester and this was a wonderful time of discovery in the queerest city I had ever been in.
There are so many different stages of coming out; to yourself, to friends, to family. I think most people assumed my sexuality before I understood what it was, so it wasn’t surprising for many. For me telling my parents was the most nerve-wracking. I was rehearsing a theatre show in Adelaide, and I played a character called ‘gayboy’, based on some of my experiences. It was the night before the play was going to open and I realised I had to tell my parents before the wider public, so I called Dad up and told him to come over to my share house. Fortunately, both my parents were supportive and not really surprised.”
You met your husband Nick almost two decades ago. How did your whirlwind love story unfold?
“Yes, I met my husband Nick almost 19 years ago, in the line-up to a show at the Adelaide Fringe. I was living in the UK at the time and had brought the show, The Bogus Woman, starring Sarah Niles (from Ted Lasso) to Adelaide. It was a matinee performance and a friend was in the queue with Nick. We were introduced and although we had only spoken to each other for less than five minutes following this introduction, we both went our separate ways to find out more about each other. Within two days we were on our first date and ten days later, before I left to go back to the UK, I proposed.”
How did you know after just 10 days that Nick was “the one”?
“I just knew. We had fallen in love over those ten days in Adelaide and I knew that I wanted to be with him. I think both of us were ready for love when we met each other. I had to go back to the UK to live. It was 2006 and civil partnerships were made legal in the UK. Nick entered a competition in Gaytimes Magazine to win a wedding, and we won. He came over to the UK a few months later and we were married at the Swissotel on the Thames. It was an incredible day, and here we are 19 years later.”
What was your vision when you became Director of Performing Arts at Tātaki Auckland Unlimited (TAU)? Has it evolved since you started?
“My aspirations remain the same—I want our stages and spaces to reflect the diversity of Tāmaki Makaurau Auckland, that we work collaboratively to imagine and deliver a compelling vision for the performing arts in Auckland.
I want to develop a programme of performing arts that can be presented beyond the walls of the theatres, so that our city is seen as a stage—for the performing arts, activations and installations. I want us to present impactful creative experiences that people want to engage with and participate in, experiences that are accessible to all Aucklanders and visitors. One thing that has evolved since I have been here is my passion for performances made in Aotearoa. I’ve seen some incredible productions since I have been here and I’m passionate about New Zealand performances being seen on the global stage.”
What exciting plans does Auckland Live have for 2025?
“Auckland Live will continue to present an amazing line-up of performances across our venues and in Aotea Square; we have a jam-packed Auckland Live Summer in the Square: from Latin Fest to Afro Fest. For Auckland Pride we are presenting the Aotearoa debut from Irish drag queen, Panti Bliss in the Wintergarden, then SIX The Musical is coming to The Civic as part of the Te Ahurei Toi o Tāmaki | Auckland Arts Festival, in partnership with Auckland Live, which is a highlight on the cultural calendar. Then in our venues we have Graham Norton and Alison Moyet to name a few, which I am sure your readers will be excited by (I definitely am!).”
How can New Zealand attract more international tours, especially when so many skip Auckland?
“The good news is that I have recently met with a number of international producers who are factoring in tours to Auckland over the coming years. I’m excited by the pipeline of product that we are going to be able to share with Tāmaki Makaurau Auckland over the next few years.
I think that rising costs are a key factor in whether shows can tour here. Costs, alongside the value of the New Zealand dollar, can make it challenging, but we can see from attendances that audiences are back out and seeing things and this builds confidence in the market. Attendance at Auckland Live events last year was higher than 2019.”
As Co-Festival Creative Director for Sydney WorldPride 2023, what was your biggest achievement?
“That was an incredible experience, particularly working alongside Ben Graetz, a visionary First Nations leader, as Co-Festival Creative Director. It was an intense two years bringing the programme together, but to see the transformation of Sydney during those two and half weeks, was incredibly rewarding.
I think my greatest achievement was having a vision for a rich arts and cultural programme that spread across Sydney and collaborating with so many artists, companies, galleries, producers and other organisations, to make that happen. And across the entire festival seeing the stories and experiences of First Nations artists, POC, Transgender and Gender Diverse artists, Artists with Disability, Women, Elders and Young People being celebrated.”
What advice do you have for Washington DC, the next host of WorldPride?
“Don’t leave anyone behind. Create accessible, safe and welcoming spaces and events.”
What’s your vision for Auckland’s performing arts scene by 2030?
“I imagine a performing arts scene where artists and companies have the resources they need to thrive. A scene that is built on a deep collaborative spirit, where big, bold and adventurous artworks are being made through new partnerships and collaborations. That the very best of these will tour the globe. That stages across Tāmaki Makaurau truly reflect the cultural diversity of the city, that there are more multi-lingual works and cross-cultural collaborations produced.
I hope that the barriers that can prohibit participation in the arts are removed and that all people can access live performance as participants or audience members. I hope that by 2030, The Aotea Arts Quarter has reached its potential and is a globally recognised cultural district and visitors flock to the area to experience the extraordinary festivals and live performance events that are unique to Aotearoa New Zealand.”
