This show is a beautiful experience!

A fictitious fantasy, it brings Mario Lanza (Siliga Sani Muliaumaseali’i – also writer/creator of the show) to Rotorua where he, his pilot and piano accompanist are grounded due to mechanical difficulties with their plane. They then meet the phenomenal legend, Ana Hato (Maisy Rika) with her rōpu, and magical musical cultural connections and exchanges are made.

The audience is transported back to the 1920s with the use of a projection on the upper back wall of the stage, in the style of silent movies, giving the feel of an old cinema. This device is cleverly used throughout the show, relaying historical imagery and information that might otherwise be dense and lecture-like if delivered as dialogue. It also provides humorous commentary that complements the action on stage.

Opening the show is a Charlie Chaplinesque performance by one of the young ensemble as the mechanic. His stillness and comfort on stage – the only accompaniment being by a radio news cast voiceover – is key as he sets up the show and endearingly wins over the audience.

Muliaumaseali’i enters the stage with such pizazz and charisma that one cannot help but swoon with delight as he charms and beguiles. He is the ultimate and absolute performer, and the ease, humour and love with which he commands the stage is spellbinding – all his years of experience, his craft and his talents are evident as he holds the space in some scenes and then generously gives to fellow performers in others.

His emotional rendition of ‘Vesti la Giubba’, a tenor aria from Ruggero Leoncavallo’s 1892 opera Pagliacci, is heart-rending. Swathed in passionate red light, Muliaumaseali’i takes the audience to the depths of pain, only to spring out of it once the song is over – testimony to his prowess and dexterity as a performer. One thing for sure, we need to see more of him on our stages!

Rika is exceptional. Her voice is as sweet and ethereal as the koauau that is mentioned in the dialogue, and her breath-taking rendition of all four verses of ‘Pokarekare Ana’ (no harmonies) is testament to her vocal expertise that is second to none. Rika comes to this stage with immense presence, and her interpretation of Ana Hato is brilliant – she is graceful and gracious, poised and precise. Her comic timing is superb, and understated sarcastic asides are received with appreciative chuckles from the audience. We have all known that Aunty/ Mother/ Mentor/ Teacher at some point in our lives!

The chemistry between Muliaumaseali’i and Rika is a tangible force, and rightly honoured in the show as (in character) she gifts him with a beautiful pounamu in friendship and aroha.

The ensemble are as outstanding as the two lead performers! They are a tour de force chorus of six, that bring the sound and mana of a forty-strong choir.

The harmonies and intricacies of the musical score are masterfully executed, and the credit is not only to them, but supremely to Musical Director Daniel Ieremia, whose musical genius generally precedes the shows in which he works, however his magic within this piece of theatre art is extraordinary. The singing and vocal work is exquisite and many a time during the show, there is absolute silence as the audience absorbs the beauty of the songs and voices.

Linda, the Pianist (Penny Dodd), utters not one word, but plays the most wonderful cameo as she accompanies all the singing with such subtle proficiency, and adds to the humour when she silently admonishes the famous Mario Lanza with a simple walk away. 

Evar Thomas, Kahu Piripi and Awatea Mahutonga are like songbirds – their harmonies going from intricate to hearty, each with such stage presence and style. They each play their characters with integrity and truth, humility and grace.

Rapata Biddle (the mechanic), Te Waru Mahutonga, and Manaia Mercep also command the stage with confidence, humour, a presence that comes with experience and the joy of performing.

These six invaluable performers play various roles, and although they absolutely hold their own individual characters, they are also able to merge with ease, cohesively into one, when playing chorus. When the song genres range from Kapahaka to opera – their rendition of the Leoncavallo Bell chorus from Pagliacci is brilliant! – one is floored and delighted.

Production-wise the show is superbly supported and complemented by the stunning vintage costumes, as well as the soundscape and voiceovers which lend authenticity and truth to the era and style of the show.

The lighting and set, very simple and understated, are cleverly representative of the different moments, themes and nuances of the story.

All in all The Mario Lanza Valentines Fantasy is a wonderful show which absolutely must be performed again and again. It is an homage to Ana Hato and our composers of that time; Rotorua and Te Ao Māori; and our ancestors who fought the wars for us all. It is an homage to those who were left behind, waiting for their loved ones to return. It is a musical celebration of cultures coming together and honouring each other as equals.

It is a must see.

Congratulations to all involved in this production and Godspeed with further performances and tours.

Copyright © in the review belongs to the reviewer