[Presented by Tawata Productions]
Ngā Rorirori is an brisk and expansive farce, which explores interpersonal relationships and particular person attitudes to therapy of whenua; by means of a powerful emulsion of dance, theatre, and tune.
The play follows Pillow and Manuela Rorirori, a brother and sister. Manuela is an activist and organisational wiz, whereas Pillow is a convicted fraudster and easy talker. They are awaiting a go to 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 properly, ‘the vast coastline in their rohe reverts to their ownership, garnering millions of dollars… in back rent alone’ – to cite the programme. Pillow needs the cash and Manuela needs the wrongs to be righted. United by a standard must impress the delegate, the farce ensues.
It wouldn’t be hyperbole to name this Aotearoa’s eminent farce of the twenty first Century.
Ngā rorirori, or the idiots, is an apt summation of the 2 foremost characters. It might additionally apply to the peripheral characters: Rere, electrician and pal of Manuela; Stacey Li Paul, filmmaker and broken-hearted polymath; and R.A. Goldsmithworthy, authorities high-up and tenacious etiquette-follower. The play is rife with characters participating in all of the hallmarks of farce: exaggerated misunderstanding, meticulous entrances and exits, mistaken identities, and mocking of social norms. There is usually a cartoonish high quality to the motion, with characters operating in circles, blinding one another, and leaping in fright. The play echoes a lot of Robert Lord’s Well Hung (1974), a small city scandal, incompetent authorities workers, the harebrained eventualities to get out of a bind, and the corruption. All the anger on the system and social relevance of Well Hung is current in Ngā Rorirori, and is current, in extra. Despite its silliness, in moments, the play sends a powerful message of unity and ethical fortitude. Writer and director, Hone Kouka, successfully coaxes these moments out, and ensures that every facet has room to sit down.
Ngā Rorirori really shines in its performativity. The multifaceted nature of the efficiency is audacious and complex, however meticulous in its execution. The dialogue is pre-recorded, and carried out by totally different actors to these onstage (bar Mycah Keall, who performs Manuela dwell, and ‘voices’ the disembodied voice), whereas the performers onstage mouth alongside to the recorded dialogue. This is a daring selection and, on stability, is successful. It can be nearly not possible for the onstage performers to at all times be synchronised with the audio, however the onstage performers do a powerful job of this, in the primary. This pre-recording, nonetheless, does imply that the dwell actors can transfer freely in regards to the stage with out loss in quantity, and face away from the viewers, with out lack of readability. Another added bonus is that the dialogue could be precisely subtitled.
The motion employed all through the piece is extremely stylised, and used generously. The dialogue is usually punctuated with spoken dance step directions, which the onstage performers then carry out. In such a fast-paced present, this serves to spotlight the dialogue, and let the viewers soak up its which means. The diegetic motion is exaggerated and evokes photographs of slapstick and commedia dell’arte. This works to emphasize the over-the-top plot and dialogue, and creates a cohesive, melodramatic spectacle. There are frequent breaks for chorus-based dance and motion work, which may be very harking back to the person, however unified, work of Greek choruses. There are some significantly evocative scenes which utilise a fan and a number of flags, set to a bespoke soundtrack.
Maarire Brunning-Kouka (additionally credited by stage title, MĀ), and long-time collaborator, Reon Bell (WYNONA), pen the lion’s share of the tracks used within the play. The music covers an enormous array – haunting lamentations, cheerful interludes, and defiant taunts – however at all times accentuates and provides to the motion going down. The lighting is stark and makes use of the breadth of the Te Pou house. The lighting of actors and set from indirect and low angles offers the premise for very compelling shadow work, and renders the actors alien within the motion breaks. The set is harking back to a city corridor, or marae, outfitted with fold-out chairs and tables, pews, and ‘kitchen’ space. The set is detailed, and offers an enormous space for the performers to maneuver. It additionally incorporates many screens and ranges, that are each attention-grabbing backdrops, and helpful hiding locations. The play is heavy on audio-visual facets, with many audio tracks, projected subtitles and fast lighting modifications. The designers and operators needs to be lauded for such a easy execution.
The play is daring in its scope, and daring in its messages. The performances are spectacular, the soundtrack expressive, and the writing resolute. The many, busy components are in concord, and work collectively to create a humorous, deeply shifting and energetic piece. Ngā Rorirori is a name to repeatedly consider and critique ourselves, {our relationships}, and the motivations of these round us. It holds a funhouse mirror as much as an more and more insane society.
Ngā Rorirori performs Te Pou Theatre nineteenth to the twenty second of September 2024
