“An eclectic group of misfits including a barman, a cashier, two ghosts, and a God, recall stories of their past.” It’s an intriguing premise and this new play (in a development season) uses it to explore new stories from Fiji.

Playwright and Director Anjula Prakash has produced a cleverly-written work that gives those stories time and space to develop, and then weaves them together to create some real ‘lightbulb’ moments of revelation. There is still some work that could be done with the script – some characters are more fully developed than others and the ending seems a little rushed – but the stories that are told are unusual and engaging.

It helps that the cast does a great job in bringing the characters to life. We see Va (Rhema Sutherland) sitting motionless in the middle of the set as we enter the theatre, and the play begins with a strongly performed movement piece, accompanied by narration.

The atmosphere in this section is sombre and somewhat mystical, and the live music (composed and performed by Kent Mori) complements the movement and words beautifully. In fact,all of the music throughout the show supports and enhances each story, and it is a joy to have live music so artfully integrated into the performance. a’s story are repeated and developed throughout the rest of the play, giving us a rich linguistic experience that sets the other stories in a mythical framework.

Next, we are greeted by Shaan (Ravikanth Gurunathan), who welcomes us to ‘The Village’, a resort that was abandoned during its development thanks to the coup in 1987. Gurunathan is all easy-going charm and energy here, interacting directly with the audience as Shaan gives us the low-down on the facilities and other people working there, making us ‘visitors’ feel welcome.

He introduces us to Esther (Lynne Vatau) who runs a souvenir stall, and who likes to share stories with the visitors. She tells us that The Village is haunted, and we see the truth of this when Jaanki (Schweta Tomar) and later Otis (Tom Sutherland) appear. They are spirits of the deceased, seemingly stuck in this place, unable to be seen or heard by the living.

Each of these characters is now able to share their stories with us, taking it in turns to develop and expand their narratives through a series of monologues. This means that everyone on the stage has long periods where they are not directly involved in the story-telling, and Director Prakash has done well in keeping each character ‘busy’ during these times.

Tomar and Tom Sutherland in particular (as the only characters aware of all of the others) do a great job of really listening to everything they hear, which is a generous skill for an actor to offer. The energy created by characters (and actors) that truly listen is extremely important in helping the audience to do the same and stay fully engaged, in a show that is often quite static. 

However, it is easy to listen when the monologues are as powerful and convincingly performed as Shaan’s monologue telling us of his confusion over his sexuality growing up. Gurunathan shows great skill here as he displays the ability to move from comedy (his imagined conversation with his Grandmother is a particular comic delight) to pathos and not miss a beat. He is utterly convincing and moving, leaving a number of the audience in tears. This is a standout performance, which, for me, forms the human heart of the story.

Although much of the play requires us to engage with one character at a time, interaction does take place between Shaan and Esther independently of the interactions between Jaanki and Otis. This has the potential to be confusing for the audience, but it is actually made very clear by the actors. Sometimes I find the lighting states (designed by Ariana Shipman) that differentiate the stories are not quite as clear, but the atmosphere created is effective. Both sets of characters have their irritations with their ‘partners’ and this gives additional energy and impetus to the stories.

Esther’s stories also tell us about her childhood, as well as giving us some insight into the spiritual life of the area. Vatau is engaging and feisty, giving Esther a very modern sensibility, informed and shaped by the stories of the past.

As each character shares their story with us, it becomes clear that they are all linked thematically through elements of alienation from parents or relatives and attempts to live up to someone else’s ideal of what life should be like. This gives a satisfying depth to the play that keeps us involved throughout.

Jaanki’s story is more opaque to begin with, and this keeps us engaged in trying to figure out how (or if) it is connected with the others. At first she is prickly and exasperated with Otis’ attempts to make sense of their situation, but over time her confusion lifts and we are able to see (through one of those lightbulb moments) exactly where her story fits. Tomar plays all of Jaanki’s moods with energy and commitment, and her supportive presence is important throughout the play.

As Otis, an American tourist now stranded in this resort for (we presume) eternity, Tom Sutherland faces the challenge that this character seems to be the least developed. His story is important in developing and supporting the thematic unity of the play, but we don’t really know enough about Otis (other than that Jaanki finds him irritating) to truly connect to him. This is one aspect of the play that I think would benefit from further development, however, Sutherland’s most important contribution is in the energy he brings to really listening and responding to the other stories.

That there is no real resolution to these stories perhaps suggests that all relationships are a work in progress, where a neat conclusion is a rarity. Perhaps the fact that I am left wanting to see more is a testament to the stories that are told. I would certainly like to see this work continue to develop, and be seen by a wider audience. It is a well-crafted story, with some excellent performances and I am keen to see what happens next.

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