Watching a theatrical production such as Te Awarua, that utilises three languages and cultures as a storytelling device, is indeed a treat. And knowing that the story was being told by the talented Albert Belz certainly made me have high expectations. But unlike many experiences where high expectations are followed by major disappointment, Te Awarua delivered above and beyond my wildest dreams. Everything from the story itself to the skilful direction of Tainui Tukiwaho was a sight to behold. 

Set in the rear trenches of France in the dying days of World War I, a frustrated Maori pioneer Battalion soldier (Regan Taylor) encounters a young French woman Celandine (Louisa Hutchinson) in search of her French lover Jean (Matu Ngaropo), and a Pakeha soldier William (Gerald Urquhart) hell bent of “killing some Germans”. The fable follows The Butcher, Baker and Candlestickmaker story where three disparate souls co-exist, but barely interact with each other and the world around them. [More]  

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Albert Belz’s powerful one-act drama was first performed two years ago by Smackbang Theatre Company for the Tuakana/Teina Project.  This month it’s been touring the North with newly formed Te Rehia Theatre Company, culminating with three nights in the Pumphouse. 

The Pumphouse space is stripped right back to its impressively large brick walls.  Considering it’s a touring production, the set is quite substantial, consisting primarily of large stacks of sandbags and small heaps of dirt. Once again the excellent set, also the effective period costumes, go unaccredited; my guess is they were collaboratively curated and designed.  

In any event, cloaked by Calvin Hudson’s dynamically austere lighting and a pervading mist it’s a fitting evocation for the location: a trench just outside war-torn Le Quesnoy in Northern France in the last days of The Great War. 

The cast, directed by Tainui Tukiwaho, are vibrant, strong and generous in their performances.  Regan Taylor is Tawera, a Maori trench digger who resents being given a spade instead of a gun, converses with dead relatives and dreams of killing him some Germans. 

Louisa Hutchinson is French peasant-girl-in-love Celandine in search of her noble lover, Jean: a soldier she dreamed was wounded in the field.  Gerald Urquhart is William, a Kiwi soldier taking shelter from the firestorm. 

Initially reactions are volatile between these three desperate specimens of humanity as they assert their respective positions and assess each other’s trustworthiness.  As quickly as needs must, in a could-die-any-moment scenario, they manage to remember they’re on the same side and work together to achieve their common goal of defeating their common enemy. 

Of course, then there’s what’s actually going on…

In a dream-like depiction of the Rotorua legend of old, as narrated by Tawera ostensibly to distract them from the horrific carnage that surrounds them, Gian Adams personifies Hinemoa with graceful movement and gently powerful, resonant singing voice.  Matu Ngaporo’s two distinct, superbly performed roles parallel one another, Tutanekai to Hinemoa as Jean is to Celandine: the forbidden lovers.  

Rory Drew’s soundtrack, mostly a frequent cavalcade of explosions, gunfire and other incendiary noises, contrasts with the soft, soulful waiata and the melancholic strains of the koauau to compliment the strongly ethereal overtones of the play. 

Belz’s script is humorous, tight and compelling.  Comprising three languages – Maori, English and French, any person fluent in all three tongues will obviously have the advantage in terms of verbal comprehension, but it’s probable that most will not. 

While feeling a little sad that I’m not more fluent in Maori, or French, I enjoy the opportunity to observe more closely other elements of the drama – emotional and spiritual – that perhaps we might take for granted when words guide our perception. 

Indeed, offered as it is with remarkably warm-hearted romantic conviction within the tragic setting, spirituality is both the crux and the ultimate gift of Te Awarua.

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