The New Zealand Improvisation Festival (NZIF) brings a range of improvised theatre from all over the world. This year’s NZIF has already delivered many standout moments, and one gem of the festival is undoubtedly Kōrero Paki – born from an improvisation program led by Wiremu Tuhiwai (Te Āitanga a Hauiti) and supported by Locomotive.

The programme was advertised to local Māori and Pacific individuals who were keen on increasing their improvisation skills. A group came together for a total of five workshops; three of the workshops focused on developing core skills and two workshops helped prepare the new improvisors for the culminating performance of Kōrero Paki.

Despite many workshop participants not being able to attend, Viki Moananu, a remarkable new improviser, joins seasoned improvisers Wiremu Tuhiwai and Rebecca Mary Gwendolon (Te Rarawa, Ngāi Takoto, Ngāti Awa) to perform a series of scenes based off audience suggestions. Supporting these stage improvisers are also the very talented improvising musician, Matt Hutton, and incredible lighting from Lila Black.  

The decision to format the show is an Armando* is a good one, as it will allow all new improvisers to showcase their strengths and have multiple chances to develop stories in front of an audience. The show format with three people, is no small feat. Prior to the show beginning, I am concerned about how such a new improviser will feel, constantly generating new material. This fear is completely misplaced, as Moananu is immediately captivating and able to showcase a variety of improvisation skills.  

As with any improvised show, we traverse a lot of ground – the monologues to inspire the scene feel genuine and provide some great material to spark ideas. We hear about lemon trees, flannelettes (or maybe towelettes, but as Gwendolon points out: what is the difference really?), camping and fishing, with offers from lights and mood-setting musical offers.

During his introduction, Tuhiwai mentions that he has participated in every single NZIF since its creation in 2008. And frankly, it shows. His physical comedy is excellent, and he is a player who is always willing to walk towards the proverbial danger. Furthermore, as the MC, he seamlessly navigates between ask-fors to ensure each topic is fresh and inspiring for his newer player on stage.

Gwendolon’s energy is a beautiful addition to the show; she and Tuhiwai always bring a level of joy and generosity to their play. I especially note in this show, his ability to imbue the scenes with realistic and interesting emotional reactions. From the audience response, everyone is delighted when she quits her job and leaves her husband in one swoop.  Both seasoned improvisers showcase their keenly developed skillset while also supporting Moananu.  

And speaking of this new improviser – wow. Even from their first opportunity to introduce themselves it is clear they have the confidence for this craft. This confidence is matched with a willingness to try new things, including improvised song, physical performance, and a range of emotional scenes. I am looking forward to seeing Moananu keep developing their range of play and have no doubt we will be seeing more of them at NZIF.

Another brand-new player to the scene is Lila Black: an engaged and on-point lighting operator who helps to generate to mood of the show

Tuhiwai tells us this is not the show he had initially imagined. I am sure he would have liked all workshop attendees to get a chance to strut their stuff on stage. I will say, however, it is very clear the impact that Tuhiwai’s teaching had on Moananu and the power of one new player on stage is palpable. I very much look forward to seeing the next iteration of this programme and hearing more stories from this group.
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*This is an improv format named after its creator, Chicago Improv teacher and player Armando Diaz. It starts with a storytelling-style monologue, based on an audience suggestion. Players improvise scenes inspired by the monologue, and the monologue may even continue, later on in the performance.

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