Tag: Miria George

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Home Alone

Wellington by night.

I suppose it’s an annual pilgrimage: as Matariki descends upon this lush nation, I take myself to my hometoon of Wellington for a bit of colour and culture. The Lovely Wife didn’t accompany me this year as our schedules didn’t work out (and we’d been down this way only a few weeks earlier).

This time around I:

  • saw Kia Mau Festival highlights Taki Rua’s He Kura e Huna Ana and the premiere season of Deer Woman;
  • attended a Playwrights Hui where I —
    • had the pleasure of meeting Tara Beagan (Canada), Jorjia Gillis (Australia), Lily Shearer (Australia), Mitch Tawhi Thomas (Wellington), and Jason Te Mete (Auckland);
    • and caught up with Ali Foa’i, Mīria George, Natano Keni, Hone Kouka, Jamie McCaskill, and Ilbijerri’s Rachel Maza;
  • and, outside Kia Mau events, met with various Wellington residents about one thing or another.

Unlike last year there was no dining at the usual, nor a Mamea family catch-up, but it was a productive trip, and my hometown is always always fun to visit.

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KINGSWOOD: Prelude

Last weekend, I nipped down to my oul’ hometoon and ran into this:

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Cuba Street closed to traffic, its footpaths and road filthy with pedestrians, all of it sprinkled with light rain showers and a very family-friendly vibe: a street festival called Cuba Dupa. Nice. I walked past the crowded foodstalls with their mouthwatering aromas and found sanctuary in the cool and quiet Clark’s Cafe (where they still have cheesecake cup cakes, very nice indeedy).

Once fed, watered and rested,  I hop-skip-and-jumped over the unimaginatively named City to Sea Bridge to Circa Theatre where Kingswood won the 2015 Adam Award for Best Play by a Pasifika Playwright. I guess I’ll be revisiting that script sooner than planned.

While at the Adam Awards, I rubbed shoulders with:

  • Hone Kouka, co-winner of the 2015 Adam Award for Best New Zealand Play for Bless the Child, as well as winner of Best Play by a Maori Playwright;
  • runner-up Dean Parker with Polo (though I do prefer his initial title, Fear and Misery in the Third Term);
  • Michelanne Forster, winner of Best Play by a Woman Playwright for The Gift of Tongues;
  • author of the highly commended, Significance, Tom McCrory;
  • the always luminous Miria George;
  • the boundlessly talented Moana Ete;
  • Wellington man-about-town Jonathon Hendry;
  • the irrepressible KC Kelly;
  • David O’Donnell, fresh from directing Victor Rodger’s incendiary My Name is Gary Cooper in Hawaii;
  • and the Playmarket gang of Murray Lynch, Stuart Hoar, Salesi Leota, and Claire O’Loughlin.

That’s me: an utterly shameless name-dropper.

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Blatant Name Dropping

Earlier in the week I attended Playmarket‘s 2008 Pasifika Playwrights Development Forum. Fellow BREAK survivor and newly appointed Playmarket development coordinator, Jenni Heka, was responsible for my attendance: she’s scary.

In my experience, Pasifika* gatherings have been the last place to have a good time. I’ve felt out of place at them, like I’ve gatecrashed someone’s birthday party. Most have been a combination of boring gabfest, bitch sessions, and/or a mob hysteria where one had to choose sides or get the hell out.

Not so this week. It wasn’t once boring. Instead of “woe is me” rants, we had fire and passion – where outsiders might’ve seen some rabble-rousing radicalism, I saw empowerment by example and vision. And everyone – everyone – was so freaking nice. There was an atmosphere of collegiality, of a common goal of telling Pasifika stories. A feeling of community.

I hadn’t expected to be so inspired: seeing my competition fellow Pasifika creatives making things happen; swapping numbers and email addresses; making contact. Future posts will explore the culture scene thingie (obviously, I’m still sorting it out in my head) but for now I’ll just name drop:

  • Insiders Guide to Happiness lead, Fasitua Amosa (Samoan);
  • Royal Court Theatre head, Ola Animashawun, who provided his dramaturgy services to the forum;
  • Love Handles and Miss South Pacific writer Arnette Arapai (Niue);
  • Actors Equity representative, Teresa Brown;
  • director, screenwriter, fellow guild member, and all-round gentleman, Tony Forster;
  • award-winning playwright and actor Dianna Fuemana (Niue/Samoan);
  • And What Remains writer, Miria George (Rarotongan/Cook Islands);
  • writer, director, producer, comedian and Killa Kokonut, Vela Manusaute (Samoan), who is many things because he simply gets it on;
  • established playwright and currently New Zealand Film Commission development executive, Hone Kouka (Maori);
  • New Zealand acting icon Nathaniel Lees (Samoan);
  • Fulbright scholar and playwright, Victor Rodger (Samoan/Scottish);
  • Phoenix Seve, whose work-in-development In the Name of the Father was given a public reading by professional actors and I was simultaneously electrified and brought to tears – and it’s still in development;
  • BREAK survivor and actor, the irrepressible Bronwyn Turei (Maori);
  • and writer and filmmaker, Louise Tu’u (Samoan), who also showcased some scenes from her work-in development, Providence, which is my must-see for 2008.

So many names that I recognised, whose work I’d seen and adored. And I got to meet them! For real! It was so cool!

I must get out more.

* Note for international readers: in New Zealand, Pasifika means of Pacific Island origin, ie., not Maori. Here in New Zild, the Maori and Pacific Island population are already such a part of the Kiwi culture that to call them ethnic minorities, though statistically correct, would be like describing African Americans as an ethnic minority. We all be Kiwis here.

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