The Biggest marks the third play Jamie McCaskill has written about the three years he spent in Thames between 2011 and 2014 (after Not In Our Neighbourhood and The Moa Show). Vastly different in subject matter, McCaskill states in his programme notes that here he aims to represent the male rural voice and the way they interact with each other. 

Set in a provincial New Zealand town, The Biggest follows four old mates who enter a fishing competition to try and win a boat after one of the men injures himself in a car accident. As we follow the quartet through their preparations for the contest they are constantly unnerved and agitated by Jan, a young upstart who has won the last three Hauraki fishing contests. A group of aging underdogs trying to upset the odds against an arrogant young fisherman is the basic premise, although really it is the personal lives and interactions between each of the four men which carry most of the dramatic weight.

The experience and skill of the acting ensemble allows the truths inherent in McCaskill’s writing to shine through. It would have been easy for many of the characters to fall into stereotypes and clichés but this never happens, as they each possess their own quirks and have different challenges to face. Many of the characters have relatable traits, not least the ability for the four old friends to give each other a hard time regardless of the situations they find themselves in. There’s an authenticity in the humour which reflects the time McCaskill spent with the people in his hometown. The conversations which flow are ones you would undoubtedly encounter in pubs all over New Zealand.

Jim Moriarty charms with his energy and cheerful humour as Poppa/Walter, something which masks the underlying truth he is trying to ignore. Peter Hambleton brings sincerity and honesty to the role of Pat, a character who has spent forty years in the same job and is now looking for change in his life.

As Mick, Apriana Taylor delivers an assured and understated aura as the most tech-savvy and successful member of the group. Tim Gordon expertly portrays the frustrations of Stu, who finds himself stuck in a wheelchair whilst dealing with some home truths.

Moana Ete takes on the only female role as Poppa/Walter’s daughter and Jan’s girlfriend Cassie, and her straight talking yet friendly demeanour is a welcome point of difference in every scene she appears in. Wesley Dowdell is wonderful in the role of Jan, teasing and pushing the four old mates into action at every turn.

While Dowdell provides a committed performance which draws plenty of humour, the character of Jan does feel over-exaggerated and difficult to believe. The motive behind his decision to act the way he does seems flawed and is something I find difficult to understand. This makes the subsequent arc his character goes through hard to relate to or empathise with. The relationship between Jan and Cassie also borders on the implausible. Whilst she claims his confidence is what initially attracted her to him, the constant idiotic behaviour and arrogance Jan displays makes it hard to wonder what she ever saw in him.

Tony De Goldi’s set design allows for quick and easy transitions between the pub and the water, with the levels and space of the Hannah Playhouse stage utilised in a smart and effective manner. Jennifer Lal’s lighting and Gil Eva Craig’s skilful sound design all contribute to the realism of the piece, with the sound of birds in the trees and background noise in the pub enhancing the overall feel of this rural New Zealand setting.

Tensions and prejudices between Pākehā and Māori are addressed in a gentle manner. McCaskill’s observations are evident with incisive lines which call to attention racist attitudes in rural New Zealand; lines which resonate after the final curtain call.

This is a contemporary New Zealand play with a big heart. As a depiction of rural life and the colourful, eccentric characters who inhabit it, The Biggest proves a richly entertaining piece of theatre.

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