HUI
Q Theatre, 305 Queen St, Auckland
16/03/2013 - 23/03/2013
Production Details
WORLD PREMIERE
Fresh from one of New Zealand’s hottest playwrights, Mitch Tawhi Thomas, comes Hui, a story about whānau, secrets, lies and the challenge of resisting Māori tradition. Under the direction of 2012 Arts Foundation Laureate Award Winner, Rachel House, Hui is a powerful and poignant new New Zealand work premiering as part of Auckland Arts Festival 2013’s diverse theatre programme.
After 20 years, four estranged brothers reunite following the death of their father. One stormy night, as the tangi and onslaught of the whānau loom, insults, invective and sparks fly as the bros grapple with their loss and love and how, for their family, the two have come to define each other. Written with devastating clarity and courage, Hui is urban Māori storytelling at its most visceral.
Hui brings to the table some of New Zealand’s very best talent. The formidable cast includes Stephen Butterworth (Nothing Trivial, The Italian Girl in Algiers, The Boys in the Band), Xavier Horan (The Māori Troilus and Cressida, No. 2, Shortland St), Tola Newbery (Tū, Awhi Tapu, Ngā Reo Hau), Maaka Pepene (Te Houhi, Ngai Tahu 32, Maui – One Man Against the Gods) and one of the country’s emerging theatre stars, Vinnie Bennett.
Writer, Mitch Tawhi Thomas, said, “A small, disparate whanau reunite and clash. Love defined by loss, they realize there is only one place left to go… home. I have had this play cooking on my stove for years, after being inspired by a huge family reunion at the turn of the millennium. What it has boiled down to is now ready to be seen. It’s time to grow up, like it or not.”
Before it has even hit the stage, Hui took out this year’s Adam NZ Play Award. Mitch Tawhi Thomas also received the Bruce Mason Playwrighting Award in 2002. His play Have Car Will Travel won Outstanding New Zealand Play and Best Director in the 2001 Chapman Tripp Theatre Awards.
Have Car Will Travel also won Best Director in the New Zealand Listener Awards for highly accomplished performer and director, Rachel House. House also took out the Chapman Tripp Most Promising Female Newcomer of the Year Award (Ngā Pou Wāhine, 1995), Most Outstanding Performance (Woman Far Walking, 2002) and Best Supporting Actress (Enemy of the People, 2003). She performed in award winning films Whale Rider, Eagle versus Shark and Boy, in which she also trained all the young actors. In 2012 Rachel directed the highly successful Te Reo Māori version of Shakespeare’s historical masterpiece, Troilus and Cressida at London’s Globe Theatre as part of this year’s Cultural Olympiad.
Rachel House not only succeeds in illuminating the themes of the play but offers a startling new perspective on Māori culture. – NZ Herald (The Māori Troilus and Cressida)
A potent, swaggering production that looks entirely at home on this stage. The Globe has always been a space that rewards large performances, and few have been as outsize as this, which begins with a bulging-eyed, tongue-waggling, foot-stamping haka-style war dance and rarely loses its energy thereafter. – The Guardian (The Māori Troilus and Cressida)
Writer/director Mitch Tawhi Thomas has an almost holistic grasp of just how to poke and prod and provoke an audience. – Salient
Hui
Rangatira, Q Theatre, Auckland
Saturday 16 March – Tuesday 19 March, 6.30pm
Thursday 21 March – Saturday 23 March, 7.30pm
Duration 1hr 30 min no interval
Price A Res $55 / Friend/Conc/Group $49
B Res $45 / Friend/Conc/Group $39
Bookings Book at THE EDGE: www.buytickets.co.nz / 09 357 3355 / 0800 289 842
Group bookings: groups@the-edge.co.nz / 09 357 3354
Book at Q Theatre: www.qtheatre.co.nz / 09 309 9771
Open rehearsal At the Mangere Arts Centre – Ngā Tohu o Uenuku on Friday 8 March, 6.30pm
1hr 30min no interval
Koha at the door
Post-show talk Thursday 21 March
Information www.aaf.co.nz
1hr 30min, no interval
A deluge of contemptuous and often fierce melees
Review by Tamati Patuwai 20th Mar 2013
HUI debuted at the Q Theatre on Tuesday 19 of March as a highly profiled component to the Auckland Arts Festival program. The latest theatrical endeavour for Ngati Maniapoto playwright Mitch Tawhi Thomas HUI concludes its Festival run on Saturday the 23rd of March.
Set in a family home, the opening few moments of HUI give a magical entry as we learn that Bob Wahie, an elderly Maori man, has passed away. His autistic son George waits for the return of his siblings to their whanau home, to carry out his beloved father’s wishes for cremation.
One by one the sons and a recently converted transgender daughter come home. What ensues is a deluge of contemptuous and often fierce melees fuelled by abandonment, escapism and violence.
Tola Newbery is a real delight as George, the autistic homeboy. It is a joy to observe an actor create the subtle physical nuances and verbosities.
Tina Wahie is the tuakana of the whanau. He split to London to escape the torments of her home life and found solace in sobriety and womanhood. Stephen Butterworth presents the complexity of this beautifully constructed character with majestic flair; we can only be compelled to sympathise for her grief of loss and guilt.
Cassie Baker in her role as the hapu girlfriend, Nazreen Tengku is the unequivocal quintessence of a modern-day Woman. She controls her fiancé with threats of violence and with invisible psychological reins tied around her lover’s weak heart she manages to run the play to the end. Notably the character and the actor are so persuasive that the theatrical ‘forth wall’ disappears for a moment as Baker conjures playful congratulatory comments from the audience.
On another note, Baker’s almost comical role jars a little within the final stages of the piece. However with strong focus from the ensemble the play settles to completion with surprising and even satisfying results.
Maaka Pepene carries the role of deceased father Bob with fine physical precision and gentility. The casting here can only be applauded as absolutely sublime.
Set Designer Sean Coyle has always in my opinion presented strong design aesthetics that not only complement a piece but paint an exquisite landscape for the imagination.
Coyle and Lighting Designer Jennifer Lal almost dance at one stage, when in the story the whanau take time to reminisce on their family and home history. The light washes over the set creating a reflective tribute to the past, through the children’s toys, photos, treasures and resolve back as sunbeams rising from a new dawn. Very rarely have I experienced such a beautiful interplay of light, script and set in NZ theatre. What a dynamic design duo.
The play is set in a slightly ambiguous time, which I in fact appreciate; maybe sometime in the most recent decade. It is also based in an almost archetypical place; kind of urban but with undercurrents of possibly rural inklings? Which again I don’t mind.
I say this for the reason that, as opposed to many Maori plays whose premise almost entirely revolves around a time period, my general impression is that for Thomas, time and place is possibly unnecessary, even irrelevant.
Given my last experience of Thomas’ play Have Car Will Travel, which frankly blew me out of seat, I was expecting, rightly or wrongly, to be shifted in a similar way. This surprisingly didn’t happen. However, I was illuminated to another more matured phase of Thomas’ piercing observations and expressions around whanau.
Generally there are strands of the play’s themes that need to be honed. Additionally at times the performances lack a sureness that this kind of playwright calls for; being an abandonment of conventional approaches and fears.
This aside I know that Mitch Tawhi Thomas is, more so today than he ever was, an important Maori playwright. In time I have no doubt that with his creative team securely around him HUI will settle in to place and will do what I expect it is supposed to, which is to give voice to an underrepresented aspect of who we are.
Kia kaha ra
Naku iti noa
Tamati Patuwai
Copyright © in the review belongs to the reviewer
Hui another breakthrough for our times
Review by Jack Gray 20th Mar 2013
When dancers watch a play we often see around the periphery of what’s visually being presented. We note the space and how it is filled. How, like the arrangement of feng shui – that energy flows, becomes cramped, leaks and stagnates. It’s the invisible threads and lines that our receptors trace and record like the rubbing of prayer beads or the like.
Copyright © in the review belongs to the reviewer
Comments
Emma Ransley March 22nd, 2013
Kia ora Jack,
Thanks for your time to review HUI. I am writing to both you and Tamati for the review of HUI.
I just wanted to bring up as a discussion why the costume design was not mentioned? I have read 7 reviews on HUI now and only 2 have mentioned the Costume Design.
I must say as the Costume Designer of HUI, I welcome any comments to further the discussion of the Costume Design in general. So to point out, I am not looking for praise, just acknowlegdement. Also, in no way is this in reference to your review only.
As a Costume Designer, one of my main priorties is to challenge the idea of costume being a "surface" or a "superficial layer". In HUI, the costumes were based around a strong concept of three worlds meeting and dislocating. Below are the notes for the Costume Design, I would like to share this with you.
I am trying to make the point here that costume should be, and can be, discussed with as much rigour as Set and Lighting.
I am also wondering as a relative new comer to Costume Design, does this contributes to the lack of acknowledgement?
However, saying "new comer" is like nails down a black board for me, as I am no spring chicken in this game, having won a international award for Costume Design. REF www.emmaransley.com
I would be greatful for any discussion in relation Costume Design or in particular HUI's design, I think it is time that we look at costume in an analytical way as we do with Set and Lighting. And thanks again for the review
Wavering between the profit and the loss
In this brief transit where the dreams cross
Editor March 22nd, 2013
'Niu Skool' is the nom-de-web here. Let's not annoint him/her as the voice of the whole country!
BRIDGE PA POST OFFICE March 22nd, 2013
Thanks for that editor! Lol
Niu Skool
If possible:
- Please rephrase your question/s?
- What type of feedforward you are looking for?
- What do you want to achieve from the discussion?
- Perhaps frame a mini essay around your argument, referencing at least three (3) of Gray’s reflections so that we can understand the core of your concerns.
and or get along to Atamira Dance Collective Performance at Q Theatre, or Hui, or Babel this weekend, and offer an exemplar review to Theatreview for us to see your style in action!
Kia kaha!
Terri Ripeka Crawford
Hoping to see Hui on tour soon!
nik smythe March 22nd, 2013
I feel compelled to comment that it's rather unclear what is the actual issue here? Niu Skool seems offended about something to do with Jack's remarks re. being a dancer, but reading this review I can't see anything that warrants this mecurial stand-over style of challenge? He may need the specific grievance to be spelt out in clear terms in order to be able to respond appropriately.
Niu Skool March 22nd, 2013
"Stating their position?" Careful Post Office...you might fall over your own point of view.
stil hasnt answered the question. What position? How is that position different to the other disciplines.
i know so many actors who do their thing in "a spatial way"
Jack Grays views are either divisive or not quite developed. Or just old skool.
sorry to be the one that pulls the proverbial chain on things but uh...
Wassup?
Editor March 21st, 2013
Just to clarify, Jack was not the designated theatreview reviewer (i.e. he paid for his own ticket) and he felt so strongly about HUI that he submitted an unsoolicited review. And given he is a respected member of our dance reviewing team, it was accepted with alacrity. Stating his position as he does is a mark of integrity. (So, by the way, is posting comments under one's real name.)
BRIDGE PA POST OFFICE March 21st, 2013
Kia ora tatou,
I'm very sad to have missed the premiere of Hui. I have been waiting a very long time to see this work. Unfortunately I need to wait until it tours and hope that synergies align in order for me to share in discussion related to Hui.
Terri Ripeka Crawford
Tamati Patuwai March 21st, 2013
Kia ora Jack.
While I am signed in for this short time I want to comment here too. Great to see people are wanting to respond and stand for something.
I had a good slap from a "Mary Dixon" which was a good straightening up for me. However there are different tones coming here with Niu. Maybe if you explain your view Niu something interesting will come of this.
I just want to say that it is great to get such a wide range of views on the table. Beautiful! I can only commend Theatreview for the opportunitiy to mix it up a bit. Orsum!
Kia kaha & Arohanui
Tamati
Niu Skool March 21st, 2013
Easy and shallow response.
Why do you set "a dancer" aside from the rest of us?
I am actually wanting to debate with you. Not play tiddly winks. So answer the question.
Things are changing Gray. x
Jack Gray March 21st, 2013
At least what I do say - I own 100% and put my real name behinf it. Masked attacks have little integrity.
Niu Skool March 20th, 2013
I find your views on what "a dancer" is as pretentious and smacking of elitism.
Weird because I don't usually get that with Polynesians.
Why do you do that? and I have read all of your reviews in Theatreview now. I'm over it and want to get some debate going.
Make a comment
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See it while you can
Review by Simon Wilson 19th Mar 2013
At last, a festival play that’s not a musical! Not to take away from the splendid musical theatre we have seen, of course, but the festival has been crying out for a good old-fashioned piece of searing, cathartic, turn-you-inside-out-and-place-you-back-in-the-world play, and now it has one. And it’s a New Zealand play to boot.
In Mitch Tawhi Thomas’ play Hui, the old man Bob Wahie has died, and his sons return home – to face their demons, who turn out to be each other. There’s Pita, ex-Mongrel Mob and now an elder in the Destiny Church; Tina, who used to be Tane, back for the first time in 20 years from London; Tamati, the baby of the family and now a league star in Australia; and George, who never left home because he’s intellectually disabled.
Yes, they are all types, and their stories and interaction are played out in intensely naturalistic style. This is not a play that pushes into new territory in either characterisation or staging. But that doesn’t matter much. What it does do is burrow into the anguished depths of family life. None of the characters is half as functional as they like to think, and though they all cling in different ways to an idea of the value of “family”, the reality is that they have all been damaged, mostly profoundly, by their experience of it. [More]
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Whānau ties
Review by Matt Baker 19th Mar 2013
Family is an intrinsically universal concept, one to which all – regardless of (and sometimes in spite of) one’s upbringing – can relate. Instigated by the ultimate qualifier of death, Mitch Tawhi Thomas explores this concept, and the dynamics surrounding it, in the world premiere of the appropriately titled Hui. Said dynamics are illustrated through easily identifiable Kiwi characters, who, both in writing and performance, successfully avoid any sense of stereotypical portrayal. Yet, while the dialogue purged by these characters builds incrementally throughout the play to reach boiling point, it never quite reaches a coup de grâce.
In this respect, Stephen Butterworth as Tina comes closest to a full understanding of – and ability to express – the kernel of the idea within the writing. Butterworth chews up and spits out Thomas’ dialogue with rancour, but avoids dividing himself from the audience in the process. [More]
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Taut study of dysfunction
Review by Paul Simei-Barton 19th Mar 2013
The festival offering from playwright Mitch Tawhi Thomas is a taut study of family dysfunction that finds plenty of life and laughter in the explosive quarrelling of estranged brothers thrown together by the death of their father.
The play presents an unflinching vision of a world where the ties that bind whanau together have unravelled leaving a collection of isolated individuals fumbling towards a sense of connection.
The nastiness of a vindictive family row will be familiar to all cultures and the script confounds expectations by suggesting that Maori experience is not always determined by the demands of tikanga. [More]
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Comments
Emma Ransley March 23rd, 2013
Kia ora Tamati,
Thanks for the response, I appreciate your mahi.
I guess what I am trying to get out there is a bigger question for everyone as well!
Hoping this can be an ongoing discussion anyway.
Thanks again
Tamati Patuwai March 22nd, 2013
I get what you are saying.
Thanx for the feedback. I have no prescribed style or template that I use when I review a piece. Most of my own experience has been with performance, so I would tend to have my radar most acutely focused here. I do appreciate narrative and story approaches so I suppose the writing and direction is another tier of my general scope. However I do appreciate all aspects of the artform and I apologise that this is not reflected in my reviews.
Though I will never cover everything I will do my best.
I appreciate your korero to Emma. Awesome!
Tamati
Emma Ransley March 22nd, 2013
Kia ora Tamati,
Thanks for your time to review HUI.
I just wanted to bring up as a discussion why the costume design was not mentioned? I have read 7 reviews on HUI now and only 2 have mentioned the Costume Design.
I must say as the Costume Designer of HUI, I welcome any comments to further the discussion of the Costume Design in general. So to point out, I am not looking for praise, just acknowlegdement. Also, in no way is this in reference to your review only.
As a Costume Designer, one of my main priorties is to challenge the idea of costume being a "surface" or a "superficial layer". In HUI, the costumes were based around a strong concept of three worlds meeting and dislocating. Below are the notes for the Costume Design, I would like to share this with you.
I am trying to make the point here that costume should be, and can be, discussed with as much rigour as Set and Lighting.
I am also wondering as a relative new comer to Costume Design, does this contributes to the lack of acknowledgement?
However, saying "new comer" is like nails down a black board for me, as I am no spring chicken in this game, having won a international award for Costume Design. REF www.emmaransley.com
I would be greatful for any discussion in relation Costume Design or in particular HUI's design, I think it is time that we look at costume in an analytical way as we do with Set and Lighting. And thanks again for the review
Wavering between the profit and the loss
In this brief transit where the dreams cross
Tamati Patuwai March 21st, 2013
Point taken Mary. Thank you.
Unfortunately I am presently in a tangi myself, hence the lateness of the review. Regrettably I rushed the review and only commented very quickly on what rose to the surface for me. You have put it better than I could've Mary and I appreciate your staunch response.
Of course the Director has tied all of that Magic together so I absolutely apologise to Rachel House for my neglect. Amazing task to bring all of those threads into being. I do still think there is a way to go for the piece as a whole but hey I always love me some House!
I started to review (clumsily as I have been) because I saw a need for Maori voices in the field. I note that in the last few years Theatreview has welcomed in new perspectives. Thanx to John and the team. So Mary I would encourage you, if you see a lack somewhere, haere mai.
Thanx again Mary & keep it up, your view is appreciated and I hope to meet you in the stands some day.
Arohanui
Tamati
Mary Dixon March 21st, 2013
I saw Hui tonight. I have never seen anything like it. I would like to thank the writer for 'waking me up' to another world. I am embarrassed to say that I haven't been to the theatre in at least 3 or 4 years after a run of dissappointments and of course the changing economic climate (let's not talk about intercity parking- I'll be here for hours).
i raced home to read all the reviews hoping they would concede with my bedazzlement and I was somewhat gobsmacked by this one. No mention of the director? I read an interesting article not so long ago about the rarity of female directors. I did ponder this. Could it be the lack of support by an industry (critics included) run by men? Am I wrong? I wonder if this reviewer is an example of why women stay away. It seems to me to be such a deliberate snubb to one of our so called 'rare' attributes to the theatre. It's a real shame. I can only assume that all of the aforementioned striking qualities of this production may have had something to do with this particular female director.
And so I would like to thank Rachel House for this wonderful work. It really has put my faith back in theatre. And I hope Rachel- that you don't let this review or reviewer put you off doing more. Thank you to the spectacular cast and design team. And thank you again Mitch Tawhi Thomas- I feel firmly grounded in this country and insprired to pick up the phone more often.
Best wishes,
Mary D