What fourth wall?

No boundaries are crossed – tangata whenua (the cast) stayed on the floor level stage of the wonderful Mangere Arts Centre, and manuhiri (audience) stayed in their seats – but the impact of the performer’s impassioned mahi happened all around me, over the top of me, and deep inside of me.

I was transformed.

Let’s take a step back, though.

It’s been a transformative year for many of us.

I have spent 25 years with my wife and almost as much with our son both of whom whakapapa Māori – Ngāpuhi-nui-tonu. I don’t. I’m an unashamed – like I have a choice – pale-skinned, blue-eyed, elderly … OK, old … white honkey. I am also tangata tiriti. One thing I can’t do, and don’t pretend to do, is whakapapa Māori.

There, I said it.

So why am I reviewing this show which is by Māori for Māori and which opens with the late Kiingi Tūheitia’s closing speech from the Hui-ā-Motu in January 2024: “Be who we are, live our values, speak our reo, care for our mokopuna, our awa, our maunga, just be Māori. Māori all day, every day, we are here, we are strong.” He carried on saying, “”his is just day one. Our time is now, kotahitanga is the way. We should use this time to build kotahitanga, today is about kotahitanga. We need to be united first and then decide our future.”

I watched every second of the Hui-ā-Motu on the Kiingitanga Facebook page. Tens of thousands flocked to Turangawaewae to attend in person. Many more consuming it online as I did.

Kiingi Tūheitia pointed out that the next significant gatherings would be at Rātana the following week, then Waitangi in February, and he called on South Island-based iwi Ngāi Tahu and eastern iwi of the North Island to convene hui in their respective regions, saying that “the kōrero continues. Let the four winds speak as we find our kotahitanga, ngā hau e whā, kia kotahi rā. After we’ve heard from the four winds, I will call us together again. Jobs, housing, kai, education – these issues are bigger than politics. It won’t be easy, we haven’t fixed it yet, there’s more mahi to do.”

Neke is doing its share. The mention of ACT in the show was greeted with derisive applause, Seymour got the same treatment.

The year rolled on and Rātana followed, then Waitangi, then the Koroneihana, the annual celebration of the anniversary of the coronation of the current monarch of the Kiingitanga.

I watched every second of the Koroneihana – and two weeks later Tūheitia was gone. My whanau took a deep breath, and like tens of thousands of others prepared to travel to Turangawaewae to pay our respects. Instead, however, we watched it all on TV, the need to earn a living when self-employed eventually taking over.

I’m reviewing this production because the producer felt it was OK. A tangata tiriti perspective is hopefully of value. She’s a professional and would have accepted whoever I chose without complaint. That’s just how it’s always worked. Tradition is mostly a good thing.

I really enjoy going to shows at the Mangere Arts Centre and Neke was no exception. I took two companions so had to (willingly) pay for a third ticket. The young woman at the sales desk kindly sold me the ‘Kaumatua’ ticket because it was cheaper. We giggled about that. I like cheaper. Kapai, to that wāhine!

There’s nothing cheap about the show though. It’s glorious, power personified, magnificent. Fit, elegant bodies, powerhouse voices in great nick (I hear every word), expansive choreography, optics to die for, and such a performable script. Not that it feels like there is a script, the immediacy of the performances is so complete. It could be improvised it is that slick. One of my companions tells me it is was though every word was spoken direct to her, every physical image, every gesture, every posture, just for her. It is the same for me. My other companion, a young tāne, an athlete, said, “At least it kept me awake.” Then he added, “It’s the best show I’ve ever seen. I felt so proud.” High praise from one so often monosyllabic.

Which reminds me, it’s also seriously funny. Not just haha funny but cryptically funny, snortworthy, laugh-out-loud funny, ‘did they really say that?’ funny, and it’s political, angry, passionate, subtle, nuanced. It’s physically brilliant, the whakamanamana vocabulary drawn straight from kapa haka, from kāhia, from tā moko, from rock art, and from the ever-present taniwha, relentlessly provides a parallel narrative to Scotty Cotter’s vibrant direction and evocative text.

Neke is the complete performance experience. Much more than the sum of its parts, it seems to have benefited from its well-received debut at the Kia Mau Festival in 2021, not that I saw it then, it just feels that way, feels evolved from something else, something earlier, more primal, it feels ‘mature’. I say it’s complete because of the essential contribution to the whole of the entire team, working together, unity in action.

Kotahitanga.

The publicity for Neke tells us to expect ‘a powerful mix of movement, theatre, song, and Māori humour that will captivate and uplift. Get ready for this talented cast to enchant you, bringing laughter, tears, and reminding you about what truly matters.’

They certainly do all that!

Scotty Cotter’s vision is all over the production, from the lyrical and poetic text to the impressionistic optics, to the esoteric storytelling, and the faultless performances. Choreographer Braedyn Togi connects the dots flawlessly utilizing the prodigious talents of his cast and his fellow creatives to achieve the absolute best effect. It’s simply outstanding work.

Cotter himself is an award-winning actor with over two decades in the entertainment business, showcasing his versatility in long-standing roles on shows like Shortland Street, Brown Brothaz, Whanau, and The Sounds. His recent work includes performances in Kura, My Life Is Murder, Brokenwood, and Not Even, along with a feature film appearance in The Rehearsal. Beyond screen success, Cotter is a seasoned stage actor and director, with notable credits such as He Kura E Huna Ana, Bless the Child, The Wholehearted, and the co-directed Mauri Tau to his impressive portfolio. Most recently he won the NZTV award in 2022 for Best Supporting Actor.

It shows.

Tracey Tawhiao is responsible for the visual brilliance of Neke and it is simply outstanding. From the out-of-sync triangular flags that serve both as themselves and as screens for the profound and ever-changing moving images, I am reminded of the extraordinary importance of flags and banners in the 80 years of Māori political protest – we’ll need them again soon – and the delicate colours and textures that find their way from her palette to her flags speaks volumes. Tawhiao is a visual artist poet, painter, and filmmaker of note and it’s great to see her work embedded in such an outstanding performance piece. With no-one separately listed as a wardrobe human I will assume Tawhiao is also responsible for the extraordinary clothes . Visually perfect and thoroughly functional, my companion is very keen to know where she can purchase splendid items such as these.

Now we get to really celebrate the amalgamation of all of the elements of the work via Jane Hakaraia’s incredible lighting design. It’s as though she, Cotter, and Tawhiao have lived in each other’s heads throughout the creative process. Anyone who goes to the theatre a lot will be familiar with Hakaraia’s work. At worst, it’s magical, and it seems to just gets better and better every time. In the case of Neke, I’ve never seen her light a show better.

Maybe I should stop trying to be smart talking about artists living in each other’s heads because it gets crowded in there when you add set and a/v consultant Rowan Pierce and sound designer Jules Edwin, both of whose work is as critical to the whole as any other element. I’ve never seen technology used to better effect to enrich, illuminate, and enhance a performance work.

Neke feels special in that ‘sit up and take notice’ way. Thirty minutes in I have tears running down my face and I give up trying to dry them away. Yes, it’s that good, and yes, there are comparisons, a privilege of the elderly, coming up.

In 1976 I went to a Theatre Corporate production of A Midsummer Night’s Dream and it changed the way I looked at performance forever. It was so good it literally took my breath away. Actors physically and vocally capable, through refined training, of fulfilling the creative concepts of a genius director.

In 1977 I was a member of the Theatre Corporate company when a dance group called Limbs was formed and they rehearsed in our studio. They were beyond special, and since then the ‘specials’ have advanced to include the late Stephen Bradshaw’s Te Kanikani o Te Rangatahi and its offshoot Taiao Dance Theatre, Douglas Wright Dance Company, Michael Parmenter at his best with A Long Undressing, and Taiaroa Royal’s Õkāreka. Each of these collaborations has been capable of creating life-changing experiences for both audiences and performers alike. I’m going to add Scotty Cotter’s Neke to this list because this work is so good, so ‘of its time’, and in so many ways linked by whakapapa back to those great companies it cannot be ignored. Taiaroa Royal sums up collaboration and distils my clumsy understanding of the Neke experience when he writes, ‘whether people are brought together by blood, or a similar intention, excellence is reached through group effort and energy, through collaboration and the sharing of dreams. The individual can only reach greatness through the efforts of the many.’

Tautoko that!

Neke is the result of that collaborative excellence.

So, who are these performers who are so capable of absorbing this extraordinary creative vision?

Dominic Ona-Ariki has been around the block in a good way for one so young. He has an extensive background in television – you might remember him as the detective haunted by visions of dead people in three series of One Lane Bridge. In Neke he has a powerful physical presence and great comedy chops. He has the ability to do what my old Dad would have described as “spinning his emotions on a thruppence”, changing course in an instant to move an audience. He also provides a solid anchor in Neke and his aurally disabled taniwha is absolute magic.

Moana Ete is ‘Aunty’ in Neke but she’s so much more than that. Talent dripping from every pore, she has a performance history that includes Titania in Shakespeare’s A Midsummer Night’s Dream, Aroha Mataira in Rachel House’s acclaimed The Pohutukawa Tree, and (like most of us) a toad in Hansel and Gretel. Moana has chosen an arc through the show that is markedly difference from the rest of the cast but, when ensemble is required, she’s right up for that too.

Akinehi Munroe has been acting since she was a kid and has built up heaps of experience. She has incredible dance skills, astonishing speed and energy, and is a powerful backbone for the ensemble. Her television credits include Shortland Street and Brokenwood.

Shania Bailey-Edmonds has worked constantly since graduating from Te Kura Toi Whaakari o Aotearoa and built up an extensive CV in television, film, and live theatre. Bailey-Edmonds is fluent in te reo Māori and was a member of the 2021 cast of Neke.

Reuben Butler also has an extensive portfolio of roles built since graduating from Te Kura Toi Whaakari o Aotearoa. He’s played Puck in A Midsummer Night’s Dream twice at the Pop-Up Globe in separate productions directed by David Lawrence and Dr Miles Gregory. His hard case character in Neke identifies him as an actor with great timing, imagination, and his character has evolved a wonderfully exact physicality.

Neke’s producer is Nancy Wijohn. Nancy brings an extraordinary depth of experience and knowledge to Neke on many fronts. With a bachelor’s degree in Screen and Performing Arts majoring in Contemporary Dance from Unitec and as co-Director and producer at Body Island, a leading creator of live and digital dance experiences, Nancy’s career covers directing, choreography, teaching, and performance, both nationally and internationally and includes roles as Associate Producer at Te Pou Theatre where Neke begins a new season next week. Check out the Kōanga Festival Website.

Nancy’s dance credentials are also exceptional having worked with Douglas Wright Dance Company, Õkāreka (fangirl moment: I adore her work), and other important New Zealand dance companies. She’s tenacious and as hard-working as anyone I’ve ever met.

Neke is a ‘must see’ in my books, and you have the opportunity to catch it in a different venue next week. I’ll be going again (I love Te Pou). So will my companions – and remember, if in doubt, it kept my son awake (and it’s also the best production he’s ever seen, and he’s seen plenty!).

As the publicity says ‘Kia tū tahi tātou’ — we are all in this together.

Copyright © in the review belongs to the reviewer

Neke, meaning to move or shift, uses contemporary methods of theatre and traditional concepts of Māori performing arts to move or shift audience perceptions of kaupapa Māori or Māori issues.  

Whether you are Māori or not, Neke uses a dynamic cast, fluid movements, and a simple and creative set to challenge the audience’s understanding of kaupapa Māori. Neke provides a patch work quilt kind of experience by successfully weaving together different aspects of theatre to bring various Māori stories and characters to life. Neke is bold, diverse, varied and unapologetically Māori – and for that, I am thankful.  

“E koekoe te tūī, e ketekete te kākā, e kūkū te kereru”

The 5-person cast gives life to a myriad of characters who represent various faces of Māori society. From taniwha guardians to the famous marae aunty, to the policy analyst, to the cuzzy from the back of the marae, to the te reo Māori student – they were all there. The cast gives each character a unique persona that resonates with the audience who chuckle, empathise and connect with them all.

The singing, the acting, the dancing all come to life with the cast. Each character is crafted to be a storyteller by reflecting Māori society, by engaging with the audience and by conveying the various messages of each scene. As individuals and as a collective, the performers successfully tell their stories and add to the patchwork quilt that is Neke.

“Kua tū te haka a Tānerore”

The show is a marriage of contemporary dance and different haka-related movements that are bold, sharp and fluid.

The production uses kapa haka movements throughout that included toroparawai (foot movements), pūkana and whākana (facial expressions), and taparahi (ceremonial haka movements). Of particular note is the use of haka taparahi to physically demonstrate a piece of spoken word. Generally, haka combines te reo Māori poetry with physical movements. One particular scene within the production replaces te reo Māori in the haka with English. The character perform a haka in English to demonstrate the meaning of haka and to ensure the message is heard and understood – te reo Māori is nearly lost.

The expressions of the deaf taniwha are also noteworthy. The characterisation of the taniwha through the use of fluid actions helps to understand the body of the taniwha. The animated face of the taniwha helps the audience understand the sign language that is also integrated into these scenes. The taniwha engages with the audience in a way that is reliant on the understanding of movement. The compelling presentation through face and gestures is mesmerising and created a connection with the audience.

“Me he whare pūngāwerewere”

The simplistic set provides a blank canvas to illustrate Māori concepts, ideas, and movement. The set is basic with triangular flag shaped panels with black and white kōwhaiwhai designs hung to create stage legs. The set also integrates projections of still and moving images in conjunction with simple but effective lighting.

The lighting during some of the dance scenes is notable because of the projected shadows who join the dance. One dancer turns into many. The strong choreography is transformed onto the back of the stage giving more life to the movement.

“Ko te reo te mauri o te mana Māori”

The performers, the movement and the set help to shine light onto some Māori issues like the history of te reo Māori, the concept of kaitiaki, and the role of storytelling and performance to highlight and address Māori issues. Although it is difficult for me to tie one theme and story throughout the show, the numerous themes that are woven throughout are sufficient to stir emotion, thought, and interest.

“Kōrero Māori – kaua e whakamā” is a line that continues to resonate with me since the show. As a fluent speaker of te reo Māori myself, who intentionally chooses to communicate with fluent speakers in English, these words make me reflect on my role in the revitalisation of te reo Māori. Neke reminds me of the hardship my grandparents’ generation endured because they spoke te reo Māori. The continuous strikes on the characters in the production remind everyone of the pain inflicted for speaking te reo Māori. These strikes provide context to the young girl announcing that she is “here to pick up [her] language” and to those internalising their insecurities during karakia (prayers) whilst visiting the marae. The production is bold enough to address the historic challenges of te reo Māori and celebrate the wins by making the messages easy to engage so people can relate.

Kaitiaki or guardian characters and symbols are thoughtfully woven throughout the show. The taniwha and forest characters, the written names of Atua on the triangular flags, the images of tiki and the sewn protection all speak to different aspects of kaitiaki. This is another example where the show has provided layers to understand a Māori concept. The layers demonstrate the intricacies within the concepts but present them in digestible forms for the audience to take and consider.

The piecemeal style of the show has provided a taste of Māori issues that have been presented in a Māori way – by Māori for everyone. The key for me is the power of storytelling and its many facets. Indigenous stories are not just written, they are sung, they are performed, they are recited, they are etched in art and they provide sufficient sustenance to those who are privileged to enjoy them. Neke has used all forms of storytelling to introduce audiences to Māori concepts, issues and characters. Neke brings the many faces and issues of Māori society to life through interpretive movement, through acting, through song, through poetry and through haka. Neke weaves together different stories with different storytelling methods to generate some level of move or shift in the audience’s perception of Māori issues – and for that, I am thankful.

Copyright © in the review belongs to the reviewer