As we enter the BATS main stage theatre, we are greeted by a korowai adorned carving of Hine Te Rēhia sculpted by Hāhona Ormsby. Our Māori deity is situated upstage centre, her eyes watching over the performance.

As this is my first ever written review and becuase Hine Te Rēhia is devised, created and performed by an all female BIPOC cast, it makes me think hard. Through which lens do I review this whakaari? My 44 year old Māori male eyes? The lens of a Māori theatre maker with 20 plus years experience within te ao whakaari? A common critic?  

I’ve landed on writing as a tane Māori who loves his industry and has an obligation to whakamana platforms that give emerging artists the opportunity to dig deep within themselves and bring to the table their authentic selves. The gratitude for tonight’s serving is reflected by a warm, enthusiastic and diverse opening night audience who, like me, appreciate the courage on display.

After a mihimihi, we are told that if the content sits with us in a different way, that we can, if needed, kōrero to one of the Tuatara Collective counselling team post-show.

Feeling relaxed and ready, the creatives and performers – Eve Naicker, Katie-Rose Pemberton, Rawinia Kanuta-Walker, Teresa Lee, Tia Ormsby and Waikamania Seve – take the stage and begin by using their breath in such a way that the musicality, effort and sounds make me travel from a place of ease, to discomfort, to anxiousness to witnessing flashes of grotesque, to being able to breathe freely again. A potent piece of theatre straight from the get go.

Throughout the 70min show, non-spoken moments are supported beautifully through the musical direction of Jason Te Mete, accompaning soundscapes and iconic New Zealand waiata that make me feel the warmth and safety of nostalgia.

Nostalgia however can only go so far and my wistful yearning for times past is replaced with education and introductions to Ngā Atua Wāhine (many of whom I’m learning of for the first time). They are honoured through movement, dance, poem and song. The choreography is slick and meaningful – Denyse Rewi, Katireena Naicker, Manuel Solomon, Mela Taavao and Waikamania Seve are the credited choreographers in the program. No wonder there’s so many, as we are treated to contemporary dance fused with hip hop, poi, haka and traditional Pasifika siva and ura.

Costuming by Donna Pemberton and Katireena Naicker successfully highlight cultural significance and the more abstract moments are further punctuated through costume design.

After meeting each atua wahine, a threadline is drawn back to each of the young performers as they share their personal stories, ideas and issues that are affecting themselves and the environment around them. It’s in these direct address moments that I can feel the guiding hand of Director Bronwyn Turei. The performers are crisp, clear and carry mana effortlessly. They exude presence and are unapologetically themselves.

I believe that this can only be possible if a safe creative and cultural space is created within the group dynamic. Aku whakamiha to all involved from the producers Tuatara Collective Trust to the collective whanau support and everyone in between.

I learn later in the evening that the cast had a three day physical rehearsal all together before this season with many of the rehearsals leading up to taking place via Zoom. It’s forgivable that some of the transitions between scenes need finesse; it’s more commendable that this collection of talented people came together to present this work.

If I go back and remember that I’m attempting to write this review as a tane Māori who loves his industry and has an obligation to whakamana emerging artists and the platforms from which they can soar, then I am behind this kaupapa and show all the way. To quote the program “Ignite. Activate. Illuminate. Resonate.”

Tīhei Mauri Ora!

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