Aloalii Tapu’s dance theatre work Goodbye Naughton closed out week one of Pacific Dance Festival 2018 with a cheering audience. The performance paid tribute to the friends and family who have helped him to reach this point in his life, and his old friends Chris Taito and Uati Tui enriched a number of scenes.

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Goodbye Naughton is the story of Aloalii Tapu as told through song, dance, film and theatre. Joining him in performance are Chris Taito and Uati Tui who both also sing, dance, and arrange the space. Naughton, Aloalii tells us, is his white name (in contrast to his real name, and any name the teacher called him). It’s also the name of the street he grew up on. By the end of the show, I feel as though Goodbye Naughton is a farewell of living to an expected identity- a white name, a toxic manhood- but not a harsh farewell, an acknowledgement of the people, places and situations that brought Aloalii to his current worldview and the freedom to make his own choices, even to let these go.

Throughout the work we are taken through several scenes and stories, each with its question or message about identity, faith, and manhood. The show opens with projected video, Aloalii’s mum with broken english telling us hilariously in a way only mums can, how he chose to be a “dancing boy.” Aloalii goes on to share through story and movement, significant moments in his life as a dancer, but also as a man.

Aloalii’s questioning of manhood is a constant theme. Is it toughness, endurance, power? Or is it tenderness, service and support, modelled by his own father and by Jesus. His conclusion is clear when he in silence washes the feet of his friends.

The work draws heavily on physical theatre techniques- Aloalii is an endearing storyteller and performer. Myself and the rest of the audience are laughing throughout the evening. His humour enables him to talk about heavier topics (mental health, identity) without losing the heart-warming core of his message. He artfully keeps the tone light without cheapening the conversation. There is a sincerity and earnestness to his performance that keeps me, and the audience, drawn in. His honest if tangential comments about life in South Auckland, Samoan family life, and teenage years clearly resonate with the audience.

There are some clear dance highlights in the work: a heartfelt and committed performance of Sunday school kids classic Father Abraham in Samoan, a confronting and vulnerable haka, and a dance section titled “dancing like a white guy” featuring every variation of the dramatically timed Cunningham leg raise possible, and plenty of running.

In a powerful moment, he pulls Taito and Tui aside to interview them about how they helped him through his mental health struggles. The moment is a tribute to the power of relationships in dark times, and the importance of speaking out to care for one another, even in small ways. They go on to gift the audience flower stems to acknowledge the battles faced by all and the hope we have together.

Both Taito and Tui bring an unassuming, authentic, and often comical flavour to the work performing as themselves, Aloalii’s childhood friends.

Throughout the work, I find myself waiting for the next moment Aloalii will open his mouth. Some sections of choreography feel like a break between stories, a palate cleanser, rather than contributing to intention of the of the work. Though an incredibly talented dancer, these sections left me a little confused.

Overall, I don’t mind too much. Though there was perhaps room for more development of the work, Aloalii’s genuine and endearing nature was enough. Goodbye Naughton is an entertaining, feel-

Copyright © in the review belongs to the reviewer