Erin Harrington reviews Kiri and Lou in Concert, presented by the Christchurch Symphony Orchestra, conducted by Vincent Hardaker, at the James Hay Theatre at the Christchurch Town Hall, Thursday 9 July, 2026.
If you spend time around young children, chances are you already have stopmotion animated children’s show Kiri and Lou in your life. If not, meet your two new best friends. Extroverted firecracker Kiri (voiced by Liv Tennet) is a small yellow dinosaur – a tuatara to be exact – and slow, thoughtful Lou (Jemaine Clement) is a big purple elephant type critter. The prehistoric buddies hang out with their friends in a lovely forest made of colourful cut out paper.
In each 5-minute episode of this kind and clever Kiwi-Canadian show, created by Harry Sinclair and animated here in Ōtautahi, the pair explore the world, and their very big feelings (fear, excitement, irritation, joy), through play and song. And what songs they are. The bops, ballads, boogies are co-written by Don McGlashan, one of New Zealand’s greatest ever songwriters, who grownups will know performed with Sinclair as The Front Lawn. Each song explores an idea, discovery or feeling, and some numbers draw from Aotearoa’s deep bench of musical talent. (My favourite: Tami Neilson belting out a number about when you really gotta fart.)
The music’s the thing at the Christchurch Symphony Orchestra’s thoroughly delightful performance of Kiri and Lou in Concert, narrated with effervescent charm by Tennet (in purple and yellow of course), at the James Hay Theatre. The orchestra, in colourful civvies, accompany a 45-minute-long edit of the show’s best material that plays on a large screen. Individual songs and interludes lead up to a full-length, fully scored episode (“Shine Your Light”, featuring the voice of glow worm Julia Deans).
Tennet talks the packed audience of young people and their adults through the set list, teaching us about some of the orchestra’s instruments, and leading everyone through dynamic choreography. It’s all well-structured and varied, offsetting quieter thoughtful sections (“Turn Planet Turn”) and moments of curiosity (“Sweetest Sounds”) against rambunctious periods of jumping and wiggling (“Womp Womp Womp” and “The Hoobie Hoobie Hoobie”). Some have the audience singing along, including “Yum Yum Baronies”, an obvious favourite (where’s the Silver Scroll for that? Robbed!). The James Hay is a great venue for this, given its easy sightlines, comfortable rows, and ready pram parking, plus a big space up the front for kids who want to have a dance.
Alex van den Broek’s orchestration responds sympathetically to the needs of each moment. Some sections, including an extended version of the show’s theme, are rich and spacious, marrying the swinging oompa of the tail-swinging brass section with lush strings to paint a picture of the show’s extended physical and emotional world. Others tease out the idiosyncrasies of McGlashan’s style of composition, pitting syncopated pots-and-pans percussion against playful brass and reeds. The orchestra, led cheerfully by conductor Vincent Hardaker, are clearly having a great time.
As a series, Kiri and Lou champions kindness and cuddles. This performance bottles that joy. Kiri and Lou in Concert is inspired programming that’s coming to other main centres later this year. It’s highly recommended for audiences young, old, human, and dinosaur alike.
You can learn more about Kiri and Lou, including the upcoming feature film Kiri and Lou Go Raaa! here.
Flat City Field Notes 