In Transit by Wanjiku Kiarie Sanderson is a moving tribute to the late NZ actor, Martyn Sanderson. However, this powerful work of theatre is also much more.

The performance begins with seven dancers accompanied by the commanding vocals of Milly Grant-Koria. The movements are slow, deliberate and exquisite and blend Pasifika and African influences to tell of a young man in search of himself.

However, In Transit differs from traditional coming-of-age stories. [More]

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A good many New Zealanders pride ourselves on being a definitively multicultural nation – political point-scoring over the perceived impact of immigration notwithstanding.  Our towns and cities are today home to peoples from all across the Pacific, from the islands to the Asian continent, as well as Britain, Europe and America.

Our African population is comparatively fairly small.  It’s difficult to get an exact numbers from the internet; they tend to be included in ‘other’ census statistics, and where specific numbers are found they range from point two percent (between 9 and 10 thousand) to over 54 thousand from South Africa alone.  Possibly the difference is between those holding residency and fully-fledged citizens (?)

Playwright Wanjiku Kiarie Sanderson has spent seven years developing In Transit, culminating in this premiere production by Africa Pasifika Production and Tala Pasifika Productions.  Myriad performance, cultural and narrative strands are expertly interwoven under the directorship of Justine Simei-Barton, in what I understand to be the world’s first New Zealand African-Pasifika collaboration (correct me if I’m wrong). 

Designer Paul Simei-Barton’s simple set consists of three mobile sections of metal fencing, representing both incarceration and community division, with only a couple of items of furniture besides.  To our left sits the consummate band comprising guitar, bass, keys and three drummers, fronted by the commanding strength of outstanding vocalist Milly Grant-Koria whose opening solo a-capella song fills the sizeable space of the Mangere Arts Centre theatre with soulful emotion. 

The musical overlays and interludes performed throughout are frequently accompanied by a septet of accomplished young female dancers whose expressive movements, while perhaps not strictly traditional, seem entirely authentic as choreographed by Alfdaniels Mabingo and Charlene Tedrow.  Their ensemble recitals encompass both Pacific and African cultural forms including a powerful climactic representation of Maori who, as tangata whenua are essentially hosts to the first-and-second generation migrants portrayed, albeit superseded in official terms by colonial bureaucracy. 

Central to the narrative is NZ-born Ahmed (Fathe Tesfamarium), a young drama graduate and aspiring writer, looking to capture and share the stories of his parent’s generation. As the play begins Ahmed is somewhat estranged from his own father Kizito (Sam Iosefo), who is as concerned and disappointed with his son’s life choices as Ahmed is frustrated by what he perceives to be his father’s unenlightened attachment to the old ways.

Other people’s ordeals are revealed as the play ensues, such as Hawa (Sandra Szvenyika), who fled to NZ as a refugee after her children were abducted, presumably for slavery; Gillette (Mohammed Abdilahi), a long-term immigrant in the habit of turning any given conversation into a politically-charged debate decrying colonial oppression; and Nyote (Tom Tedrow-Natoelofa), who found political asylum in this country after being chased out of his own for dissident activities.

Playwright Kiarie Sanderson also plays Sababu, a Sudanese refugee who struggles forlornly to impress upon her typically rebellious 17 year-old daughter Maisha (Sonaalofa Eleisa) the critical importance of academic qualifications and the patience required to achieve them, if she is to have any chance at a better life.  Maisha has her own dubious ideas to fast-track herself to the material trappings of Western glamour, ultimately prompting Sababu to reveal one of the most emotionally impactful backstories in the production. 

In Transit was written in tribute to Kiarie Sanderson’s late husband and legendary Kiwi screen actor and writer Martyn Sanderson. Himself a champion for the peoples of Africa throughout his life, he is affectionately portrayed in the play by Stuart Devenie under the auspicious title of ‘Mzee Fikira’, meaning uncle and/or wise elder and mentor. Presumably his and the other characters’ stories are based on actual events. Indeed, a prevalent sense of truth helps its relatability to an unversed audience, as do a number of expositional dialogue exchanges. 

The overarching theme of the convoluted narrative is a universal one, exploring the minefield of communication difficulties between cultures and between generations.  Both the older migrants and their offspring feel the other has no idea, despite not actively seeking to understand where the other is coming from.  As they do start to listen to each other, they begin to understand and a more helpful and effective kind of communication begins to take place. 

Being the multi-layered and multi-stylistic concoction of viewpoints and concepts that it is, attempting to achieve as comprehensive an overview of arguments relating to the inherent issues as possible, it is a struggle to absorb every specific detail on a single watch.  However, having entered as a novice to the worries and concerns of our local African community, I leave thoroughly entertained and with a definite sense of greater understanding. 

Note: Due to the extraordinarily large-scale company I’ve not named every individual cast and crew member in the review text. 
Please refer to the production page [click the show title above]. 

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