The Auckland Theatre Company’s Here and Now Festival is described as “a long weekend of provocative, courageous, funny and downright entertaining theatre by and for young people.” Mouth: Tongue: Teeth proves this description is apt, since it is funny, courageous, provocative and definitely entertaining.  

Director Grace Taylor has worked with the cast over an extended period of time as they have developed as poets, and they are all embracing the move into a theatre space. Taylor tells us in the programme that she sees the new wave of poetic theatre “as a revival of oral storytelling traditions” and this element of storytelling is clear in this show.

Guest artist Vanessa Crofsky opens the proceedings at this performance, with a well-crafted poem on the topic of being authentic. The audience shows much appreciation as she contemplates the places and spaces where she is able to be authentic, and what she does that enables her to lay claim to this authenticity. Despite one or two stumbles, this is a passionate piece, delivered from the stage in a style that is recognisably ‘spoken word’.

But then things change and we are introduced to the rest of the cast who are interspersed among the audience. They are all briefly and charmingly introduced by Saracen Aiono, before Liam Jacobsen launches into the first piece. This sets the thematic tone for the rest of the show, as Liam describes his first tooth, and the significant events that have shaped it into what it, and he, now is. This is an engaging first piece, moving deftly between amusing moments and more deeply emotional material, delivered powerfully from the balcony in the auditorium.

From here, it becomes apparent that this performance is as much about theatre as it is about poetry. Both elements are handled with care, each informing the other, and the whole is theatrical in a good way. The cast supports each piece in different ways – with soundscapes, movement and sometimes simply with listening. Some moments are acted out and some moments are simply allowed to be heard. There are many moments of recognition and empathy from the audience, and we feel for and with these performers as they share with us and challenge us.

The range of poetry and experiences is wide, with some pieces short and funny, some dark and painful and some confronting us by making us consider actions that have far-reaching consequences. Themes are developed and experiences are shared alongside a common thread of colonialization and the force with which language and custom can be inflicted on people.

Each performer brings a different quality to the whole: Zechariah Soakai is energetic and funny and refuses to be stereotyped; Kait Weir is forthright and open, sharing a story about her brother effectively and with joy; Manu Vaeatangitau is beautifully self-contained yet invites empathy simply with a movement or facial expression; Kyla Dela Cruz is ferocious and vulnerable at the same time, compelling us to engage with the stories she shares; Liam Jacobsen is powerful, sympathetic and generous towards the other performers: there is something about the way he connects with the audience that makes him the performer that stands out for me.

At the root of this show is the importance of language – the absolute necessity of being able to speak and use our mouths, teeth and tongues to share, to persuade, to inform and to incite. This show is also a call to action and a statement of intention. In the last section, these passionate young people ask us to listen and tell us that they intend to be heard. I believe it is important that we all listen with the same commitment and passion that this group brings to their performance.  

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