Throughout the world, from the Oceans to the continents of the Globe, it is consistently demonstrated that ‘story’ is a powerful transformative instrument.  Whether it is by way of Pōhiri, Fale Aitu, the Agora or village square, ‘story time’ conveys ideas, interprets histories and stimulates futures with deep-rooted and rigorous energy. The use of the theatre experience, as ‘community intervention’, is as old as time. 

Move, Kinetic Wayfinding’s most recent offering, asserts itself, unabashedly, as such an instrument; for communities to heal, for individuals to retreat and for fānau to endure. This is clearly where Move has its most essential dramaturgical power. 

The narrative of Move itself is a simple and fairly universal one. It revolves around the journey of brother and sister, Lupe (Jennifer Perez ) and Mark (Isaac Ah Kiong), as they struggle to deal with the death of their much loved Father. Both of them collapse into deep emotional turbulence as they grapple with who they must become. 

The simplicity of the story is a great hook, as it captures the attention and response from the diverse Mangere Arts centre audience. The efficient storyline has given Move room to flex its strong artistic capabilities, with dance, song, comical wit, light and technology.

The text itself presents some beautifully inventive form and characters. Archetypically and without the platitude, Music, Dance, Creativity and Word appear as deities that complement the emotional tumults of the main characters. Their somewhat mystical presence is subtle yet assured, which is certainly a notable accomplishment for the performers.

Maxine Kalolo as Dance is sublime; Shiva like, as she postulates the depths of anguish and hope clashing inside of one body. The choreography in general is eclectic, with a delightful mesh of traditional Pasifik’ism to Pop’n’lock innovation.

Valentino Maliko, who plays Creative, lives up to his name as the honeyed tones of his voice wash over the auditorium and bounce gracefully of the walls and hearts in the space. Accompanied by rangatahi performer and songstress Sisi Pātea the collective present music that is rich and soulful. 

Darren Taniue as Diamond, the star-crossed lover of Mark, is rambunctious and rhythmical. As a character and as a device, Diamond is the clandestine pillar of hope and unconditional support. He brings the light when the dark is almost impermeable. 

The Technical ‘DJ’z’ must be acknowledged. This tech wiz team are clearly busy throughout the play. Visual media and sound cues could not possibly be pre-recorded as the cues happen in parallel with the live performance. In order to execute this strong technical treatment, the Tech team has to be on their toes. Much respect for what is conceivably an emergence of a new wave of DJ; in the sound box, on the visuals, and as stage management. Of course this all speaks to the directorial nous, but all up, BIG shout out to the whole Technical team! 

At the risk of coming off unduly ambiguous one must speak to the more pronounced cultural triumphs of the piece. Dynamic Directing duo Iaheto Ah Hi and Leilani Clarke have been courageous in sharing their creative genius and personal vulnerabilities within their work. Ah Hi and Clarke have boldly struck chords in areas of our collective psychology that most do not wish to strike. They have shed light on places in our past and society that many want to remain obscured. This takes a massive commitment to transformation and accountability, essential in communities that need this leadership. 

Grief and death are at the forefront of the work, however Move doesn’t get lost in an inward-looking miasma. Move launches out as a significant cultural tāonga consistent with traditions of old, which offers much needed healing and change for our society. 

No reira e ai ki te korero nei: 

Ko te tama a te manu e fafaga i na ika, ka ko te tama a te tagata e fafaga i na kupu. 
Birds feed their young with fish, humans feed their young with their teachings.  

E te fānau, e i mua lava te fakanauga! 

Arohanui 

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Kinetic Wayfinding believe in telling stories that need to be heard.

Of course, that’s not an unfamiliar commitment but the company’s family-orientated kaupapa mean they create works in different ways and through different processes. Equally importantly, they do it in ways that directly respond to addressing the needs of Pasifika youth.

MOVE encapsulates this commitment perfectly. It’s a funky, upbeat, moving work of theatre that showcases the talents of young people between the ages of 14-24.

The central story revolves around two siblings Lupe (Jennifer Perez) and Mark (Isaac Ah Kiong). Caught up in a world of hashtags and selfies they capture their life through the number of likes and shares on social media, sadly unaware that while they’re absorbed in the latest ‘insta’ trend their beloved father is slipping from this world to the next.

They’re not alone, however, because there’s a groundswell of aunties, uncles and cousins to support them – not to mention their friend Diamond (Darren Taniue) who is the perfectly recognisable trope of ‘that friend’. He’s the one who loves-his-face-as-much-as-his-clothes-but-his-friends-of-course-come-first with a dozen exclamation marks and kisses in every message. Diamond isn’t shy of telling them how it is and often directly addresses his fans through his own TV show. He does so with sass and swag by the truckload and in doing so brings much humour and comic relief to the work.

These three are solid young actors with Perez bringing beautiful tenderness and strength to her role while Kiong shows a tremendous growth of character as the transition from child to man of the house. Taniue has the audience in stitches as he brilliantly satirises all that we know of today’s youth – in one deliciously recognisable character.

But there’s more. Undertones and subtext reverberate throughout the fluid dance-theatre narrative, reminding the audience there still are issues that need to be addressed. However the message is never didactic nor does it veer in that direction at all. Through the use of masks, dance, delicate but sharp lighting and a beautiful soundscape, there is a depth to this work that resonates with the energy that has been committed to shaping and sculpting these stories.

It’s not a simple three actor performance either. The main characters are supported by an ensemble including Moose A-Hi, Sisi Patea, Valentino Maliko and Maxine Etuati Kalolo who embody the creative muses: Word, Music, Creativity and the Dance. Collectively they create a dynamic, engaging and visually appealing movement piece that is brought to life through Maxine’s exceptional choreography, Pos Mavaega’s lighting and Tausani Ah Chong’s sound design.

The highlight of the work is allowing the mash-ups of contemporary pop songs (everybody was bobbing their heads and tapping toes) with beautiful original music.  Valentino Maliko is a music director to look out for and composer Sisi Patea has shown some beautiful arrangements.

The work uses multi-media to excellent effect and as a whole the story is integrated. It’s not perfect, but it holds together as a cohesive work that adheres to its core. On opening night there were a few clunky things that need ironing out. These included transitions which took longer than they should, a few scenes which had a little too much repetition and some technical hiccups.

However, those are easily fixed quibbles. Directors Heto Ah Hi and Leilani Clarke have achieved a hugely commendable production and should be rightfully proud.

More than just a work of theatre, MOVE is another step in the right direction to acknowledge and affirm Pasifika youth on a mainstage sharing their stories. When the final claps had subsided and the lights came up I hear a teenage daughter lean over to her father and say with a big smile: “That was so cool.”

Really, what more needs to be said?

Copyright © in the review belongs to the reviewer