I am reliably informed it was owning loop pedals that were not being used that provoked Jamie McCaskill to conspire with Craig Geenty to create Mata & the Mysterious Musical Maunga. We can only wonder whether this marvellous entertainment for the 7-plus age group would ever have existed if it hadn’t been for that. 

A small stage full of instruments – two electric guitars (one being bass), a ukulele, conga drum, kōauau (small flute), tambourine, egg shakers – suggests a whole band is about the step up. But Jamie is the only one hanging out with us as we settle into the intimate Capital E space.

As we wait for the last of the audience to arrive – braving yet another cold and wet day and presumably avoiding the punitive parking charges below Queen’s Wharf (which is probably full anyway) – Jamie chats amiably to the young ones and their older companions, about how far they have come, whether they play musical instruments, what his instruments are called … He doesn’t mention the loop pedals at the foot of the mic-stand but he does tell us ‘ukulele’ is the Hawaiian word for ‘jumping flea’.*

Greetings in an impressive range of languages kick off the play proper: the story of a 10 year-old boy called Mata who wants to be famous “like Lorde” so puts a home-made song up in his YouTube channel and becomes obsessed with how many ‘Likes’ and Fan comments he gets. But a troll called ‘Tek U Down’ heaps negativity on him – then his Dad takes his Tablet away.  

What follows are Mata’s nocturnal encounters with a range of exotic musicians, and one indigenous kaumātua, who reignite his interest in his musical instruments and extend his proficiency at playing them. Without fanfare the loop pedals are used to lay down music tracks then vocals, by the visitors then Mata, who steps up to significant challenges on the way.

These sequences vie with Mata’s ongoing fantasies of fame and fortune. We in the audience get to participate in simple but fun ways. The titular maunga (mountain) transforms from egotistical dream through impossible goal to be revealed as fundamental to his whakapapa and therefore his being.

This is not a play that plays down to its audience. It’s rich with unusual characters and hip language that kids will either know or learn. By touching on loneliness, bullying and self-doubt it acknowledges inner feelings they have no doubt experienced but may never have recognised let alone talked about.

Mata & the Mysterious Musical Maunga culminates in Mata finding a much more rewarding solution to feeling lonely and insignificant – and the loop pedals, along with audience volunteers, are of course instrumental in building the festive celebration that ends the show.  

My only question is whether the story Jamie narrates would be more dynamic and immediate if he told it in the present tense. Nevertheless it’s a richly rewarding 50 minutes of strong storytelling enriched with music that offers plenty to ponder privately or in conversation in its aftermath.
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*Wikipedia offers this alternative: “According to Queen Liliʻuokalani, the last Hawaiian monarch, the name means ‘the gift that came here’ [from Portugal], from the Hawaiian words uku (gift or reward) and lele (to come).” Take your pick.

Copyright © in the review belongs to the reviewer

Mata and the Mysterious Maunga is a testament to writer and performer Jamie McCaskill’s love of music. The 45 minute show premieres at Te Papa this week as part of the Capital E National Children’s Theatre Festival. To the back-drop of brightly coloured Atua in Te Marae, McCaskill invites the younger members of the audience to sit on the whāriki in front of the stage and turn their attention to the story of Mata.  

This show is old fashioned story-telling with a modern twist. Mata is a cool guy of 14 who is determined to become YouTube-famous for his music like Lady Gaga or Justin Bieber. His instrument of choice is his iPad and he is distraught when his Dad confiscates it one night, beginning a surprising journey of creativity, spirituality and whakapapa, all within his own bedroom.  

McCaskill energetically embodies all the distinctive characters that Mata encounters along the way, inviting the audience to imagine a world beyond the obvious (an underused skill in the age of the iPad). From a reggae legend with a love of the Conga drum to Mata’s ancestor who holds the secret of the ancient kōauau flute and his pepeha, everyone Mata meets has a lesson and an instrument to teach him. Through these ghosts of music past, Mata discovers a true love of song-writing. 

McCaskill is narrator, actor and musician and creates a solid, engaging narrative and an enjoyable listening experience for young and old alike. Although the show is aimed at 7-14 year olds, my companions (three adults, a seven year old and a three year old) and I are not alone in being outside the intended demographic. Despite not getting what a 14 year old might from the experience, we still take a lot from the show and are talking about it for the rest of the afternoon.

My seven year old companion’s best comment is, “That guy is crazy!” before slinking closer to the stage. He’s right, it is pretty crazy for a kid of any age to see an adult being silly and making mistakes onstage. Though Mata has a big story to tell which may be painfully relevant for a pre-teen audience, the show is funny, musical, speaks to the soul and is inspiring at any age.

I hope this show gets the chance to play to a whole bunch of different audiences and inspire some young music makers.

Mata and the Mysterious Maunga was a one off public performance for the Capital E National Arts Festival.

Copyright © in the review belongs to the reviewer