Ian Brackenbury Channell, known widely as the “Wizard of Christchurch” stands as a prominent figure in New Zealand’s cultural landscape. The Wizard, who was born in England, began performing acts of wizardry and entertainment in public spaces shortly after arriving in New Zealand in 1976. When the council originally tried to stop him, the public protested.

Channell quickly distinguished himself with his distinctive attire—flowing robes and a pointed hat—alongside his engaging and mystical performances. His role transcended mere entertainment, as he provided whimsical advice and delivered public speeches infused with humor and pseudo-spirituality. Channell’s interactions with locals and tourists alike contributed to his enchanting presence, making him a cherished symbol of Christchurch’s quirky charm. 

In recognition of his significant contribution to the city’s cultural life, the Christchurch City Council officially acknowledged Channell’s role. This formal recognition added a touch of institutional respect to his otherwise informal and unconventional position. Beyond the realm of entertainment, Channell became a beloved local character, emblematic of the distinctive and endearing eccentricities that characterize Christchurch.

In the realm of film, Sofia Johns, a burgeoning young director and writer, has embarked on a project that aims to capture the essence of this unique local figure. Her short film, centered around the enigmatic Wizard of Christchurch, represents a pivotal moment in her career. As she prepares to commence filming, Johns expresses a mix of excitement and apprehension. This project marks her first direct engagement with the world of filmmaking, and she is keenly aware of both the opportunities and challenges it presents.

Johns, a newcomer to Wellington, describes the city as a place brimming with fascinating and unconventional characters. Her fascination with these unique individuals has driven her to share their stories with a broader audience. She is eager to highlight the charm and eccentricity of Wellington, believing that the Wizard’s story perfectly embodies these qualities.

However, the financial demands of producing this short film have placed a significant strain on Johns. She candidly describes the project as “expensive,” underscoring the financial challenges she faces. In light of these difficulties, she is seeking monetary support to help bring her vision to fruition. Donations are crucial to the project’s success, and Johns invites contributions from those who wish to support the endeavor.

This project represents not only a significant step in Johns’ career but also a valuable opportunity to showcase Wellington’s unique characters to an international audience. By highlighting the city’s eccentricities through her film, Johns aims to celebrate and promote the whimsical charm that makes Wellington a distinctive and engaging destination.

The Wizard was originally based in Christchurch, where he served as the official city wizard for over two decades. However, Christchurch parted ways with him a few years back due to his offensive remarks about women and the local government’s new tourism strategy, which reportedly led to his dismissal.

Thus, the legacy of the Wizard of Christchurch ends and the Wizard of Wellington begins. Perhaps with this new film, we might gain our very own wizard—albeit a bit more politically correct this time.