[Presented by Tawata Productions]
Ngā Rorirori is an energetic and expansive farce, which explores interpersonal relationships and individual attitudes to treatment of whenua; through an impressive emulsion of dance, theatre, and song.
The play follows Pillow and Manuela Rorirori, a brother and sister. Manuela is an activist and organisational wiz, while Pillow is a convicted fraudster and smooth talker. They are awaiting a visit from a member of the Department of ‘Whenua, Whakapapa and Whatever’, who will assess the validity of their ancestral claims to the rohe. If all goes well, ‘the vast coastline in their rohe reverts to their ownership, garnering millions of dollars… in back rent alone’ – to quote the programme. Pillow wants the money and Manuela wants the wrongs to be righted. United by a common need to impress the delegate, the farce ensues.
It would not be hyperbole to call this Aotearoa’s eminent farce of the 21st Century.
Ngā rorirori, or the idiots, is an apt summation of the two main characters. It could also apply to the peripheral characters: Rere, electrician and friend of Manuela; Stacey Li Paul, filmmaker and broken-hearted polymath; and R.A. Goldsmithworthy, government high-up and tenacious etiquette-follower. The play is rife with characters engaging in all the hallmarks of farce: exaggerated misunderstanding, meticulous entrances and exits, mistaken identities, and mocking of social norms. There is often a cartoonish quality to the movement, with characters running in circles, blinding each other, and jumping in fright. The play echoes much of Robert Lord’s Well Hung (1974), a small town scandal, incompetent government employees, the harebrained scenarios to get out of a bind, and the corruption. All the anger at the system and social relevance of Well Hung is present in Ngā Rorirori, and is present, in excess. Despite its silliness, in moments, the play sends a strong message of unity and moral fortitude. Writer and director, Hone Kouka, effectively coaxes these moments out, and ensures that each aspect has room to sit.
Ngā Rorirori truly shines in its performativity. The multifaceted nature of the performance is audacious and intricate, but meticulous in its execution. The dialogue is pre-recorded, and performed by different actors to those onstage (bar Mycah Keall, who plays Manuela live, and ‘voices’ the disembodied voice), while the performers onstage mouth along to the recorded dialogue. This is a bold choice and, on balance, is a success. It would be almost impossible for the onstage performers to always be synchronised with the audio, but the onstage performers do an impressive job of this, in the main. This pre-recording, however, does mean that the live actors can move freely about the stage without loss in volume, and face away from the audience, without loss of clarity. Another added bonus is that the dialogue can be accurately subtitled.
The movement employed throughout the piece is highly stylised, and used generously. The dialogue is often punctuated with spoken dance step instructions, which the onstage performers then perform. In such a fast-paced show, this serves to highlight the dialogue, and let the audience absorb its meaning. The diegetic movement is exaggerated and evokes images of slapstick and commedia dell’arte. This works to emphasise the over-the-top plot and dialogue, and creates a cohesive, melodramatic spectacle. There are frequent breaks for chorus-based dance and movement work, which is very reminiscent of the individual, but unified, work of Greek choruses. There are some particularly evocative scenes which utilise a fan and multiple flags, set to a bespoke soundtrack.
Maarire Brunning-Kouka (also credited by stage name, MĀ), and long-time collaborator, Reon Bell (WYNONA), pen the lion’s share of the tracks used in the play. The music covers a vast array – haunting lamentations, cheerful interludes, and defiant taunts – but always accentuates and adds to the action taking place. The lighting is stark and uses the breadth of the Te Pou space. The lighting of actors and set from oblique and low angles provides the basis for very compelling shadow work, and renders the actors alien in the movement breaks. The set is reminiscent of a town hall, or marae, equipped with fold-out chairs and tables, pews, and ‘kitchen’ area. The set is detailed, and provides a vast area for the performers to move. It also contains many screens and levels, which are both interesting backdrops, and useful hiding places. The play is heavy on audio-visual aspects, with many audio tracks, projected subtitles and quick lighting changes. The designers and operators should be lauded for such a smooth execution.
The play is daring in its scope, and bold in its messages. The performances are spectacular, the soundtrack expressive, and the writing resolute. The many, busy elements are in harmony, and work together to create a funny, deeply moving and energetic piece. Ngā Rorirori is a call to continually evaluate and critique ourselves, our relationships, and the motivations of those around us. It holds a funhouse mirror up to an increasingly insane society.
Ngā Rorirori plays Te Pou Theatre 19th to the 22nd of September 2024
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