I have to admit that I’ve not been privileged enough to have seen the previous two incarnations of Samoan playwright Leilani Unasa’s critically acclaimed play His Mother’s Son. Originally from Mangere, Unasa bringing His Mother’s Son to the Mangere Arts Centre could not have been more appropriate. 

The story is a tale of the toils, trials and tribulations of a Samoan way of life coming to Niu Sila, and the resulting effect of a displaced culture. This is a familiar theme. But considering that the play was written eight years ago, the writing not only excels but it appears really fresh and relevant. The humorous political references have obviously been updated while the play has morphed from a four to two actors, with both actors playing multiple characters. [More]  

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His Mother’s Son, a powerful and intelligent play written by Leilani Unasa, is a story made up of mysterious parts and focuses on a fractured Samoan / Palagi family, spanning three generations. The narrative is refreshingly non-linear and takes the audience to some unlikely places and scenarios, all with a healthy dose of comedy, drama and poignancy.

Unasa should be applauded for her astute facilitation and avoidance of cliché and stereotype. Her characters in their portrayed world are very believable and consistent. Written eight years ago and originally with a cast of four, she has “played” with the script and reduced it to a two hander, which is delivered superbly by actors Jenni Heka and Michael Koloi.

Heka’s characters are Sita and Rachael and without giving anything away (as I hate that descriptive trend in reviews and movie trailers) they represent the strength and resilience of a woman under pressure: the pressure of getting through to her son, of a family broken, of a husband not coping with his family history and an addictive personality.

Heka’s performance is both dynamic and quietly assured. She manages to find some very real moments when, as Rachael, she articulates the problems she has connecting with her troubled son.

Michael Koloi does a wonderful job in portraying the dysfunctional father, Tasi, and his son Stephen. The transitions are especially good in conversation between the two. The generation gap is wide but the inherent tendencies and similarities between father and son are enhanced by the dialogue and Koloi’s expert delivery.

This production, produced on a shoestring, is of a high quality. It is a play that has probably increased in relevance since its original seasons, given the current economic and political climate, and it is possibly made more succinct with the reduction of four actors to two. Competently directed by Chris Molloy, it has a functional and effective set designed by Peter King that lets the story breathe and pulse without distraction.

His Mother’s Son deserves full patronage. It is, in its unique way, a quietly beautiful play that explores the increasing prevalent condition of a family broken and struggling under new circumstances. Go experience it, you will certainly laugh in parts and maybe even cry, at the very least you will be moved and surprised.

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