Hīkoi: driving change and challenging perceptions

Audience response to Hīkoi shows the power of theatre to drive change and challenge perceptions.

With themes of growing up Maori in NZ, family and sibling relationships, and the feeling of separation from culture, Hīkoi has resonated strongly with Maori and Pakeha audiences alike.

"... it made me laugh, cry and remember" L.A. of Wellington

"Very thought-provoking show about so much. ...I will be thinking about this play for a while." M.E.

Hāpai Productions Tapui Limited, a Wellington based theatre company founded by Nancy Brunning and Tanea Heke, is creating theatre works with Te Ao Māori (Māori world view) themes for audiences in Wellington, throughout Aotearoa and around the world (eventually)!

Nancy's debut play is based on her own experiences growing up Maori in NZ in the 70s and 80s and gives insight into not just her own generation, but also her parents'.

It is this personal connection and understanding in Nancy's writing that has audiences most intrigued as they follow two generations through the 70s and 80s and remember their own childhood – the good, the bad and the hilarious.

"I know your characters like my life." L.S. of Auckland

"... a delicious reflection of our youth" P.M. of Rotorua

"You made me laugh (a lot)
You made me cray (a little)
... you got so much right that I was there again." N.P.

Hikoi only has five performances left so book today to ensure you don't miss out. Book online at www.circa.co.nz or call the box office on 04 801 7992

Hīkoi: Then and Now

The 70s and 80 was a formative time for Aotearoa with much going on politically and socially. In Hīkoi, and set against this backdrop, we meet two ordinary, extraordinary characters Charlie and Nellie who fall in love, have kids and endeavour to live happily ever after. And, as often happens, it is left to the children to make sense of decisions made on their behalf by the people who love them.

Hīkoi boasts an impressive cast and crew and we asked them what they were like and what was important to them as teenagers.

Nancy Brunning (1989) – Writer and Director (Ngāti Raukawa; Ngāi Tūhoe)
When I was a teenager I was busy, nerdy, stroppy. John Lennon Glasses were awesome, and so were whales and tasseled edged scarves...and wrist watches. Finishing 7th form was important, my friends and not getting pregnant before I left home...

Jarod Rawiri (1996) – Actor (Ngāti Whanaunga; Ngāti Tūwharetoa; Ngāti Hine)
When I was a teenager I was lanky, sporty and thoughtful. My mate Geoff and I outside his family’s restaurant “Hurricanes Grill' in Bondi, Sydney. We were 16 and spent the summer working here and checking out the sites of Sydney.

Kali Kopae (2001) – Actor (Te Arawa; Ngāti Whakaue; Ngāti Pūkeko; Ngāti Awa)
When I was a teenager I was vain, rough and ambitious. Important to me when I was 16 was hang time with my friends and school holidays on my Grandparents farm with my brother.

Mara TK (2002) - Sound Design (Kai Tahu; Ngāti Kahungunu; Maniapoto)
When I was a teenager I was bashful, optimistic and a virgin. This photo is from my first trip to Wellington, I'd just been published by Huia for a story in Te Reo Māori...when I left kura kaupapa I lost the language - now, through my own daughter being enrolled in kohanga reo, I'm finally getting it back.

Gavin Rutherford (1987) - Actor
When I was a teenager I was sunburnt, awkward and pink. I grew up on the beach. Scottish skin. Scabs and cracked lips.

Miria George (1998) – Actor (Te Arawa; Ngāti Awa; Arorangi; Rarotonga & Areora, Atiu, Kuki Arani)
At 18 years old, I just wanted to be a citizen of world, in Puntarenas, Costa Rica, hitchhiking with Hanne.

Amy Macaskill (1998) - Costume Design (Kai Tahu)
When I was a teenager I was busy, ambitious, searching. The same basic things were Important to me then as they are now, Fashion and Friends. This photo is from a 'fashion shoot' way before selfies were a thing.

Aroha White (2002) – Actor (Ngā Puhi)
When I was a teenager I was bubbly, sneaky and creative.

When I was a teenager the most important thing in my life were my friends and family, I don't think that part of me has changed at all.

Wai Mihinui (2003) – Set and Publicity Design (Ngāti Raukawa)
When I was a teenager I was loud, vibrant, immature. Friends and goofing around was important to me during my high school time. I have fond memories of running around and being silly a lot of the time.

Hine Parata-Walker (2007) – Actor (Ngāti Porou; Kai Tahu)
Important was not embarrassing myself. Trying to get out of swimming training. Getting in the front row of the kapa haka group.

Ngakopa Volkerling (2001) – Actor (Ngāti Wai; Ngāti Hine; Taranaki)
When I was a teenager I was cheeky, loyal and outspoken As a teenager what was most important to me was finishing high school, being able to tell my Nan I went to university, not being pregnant before my time and the well being of my siblings and niece. As well as getting drunk, hanging out with friends and ... boys.

The Te Kākano Season of Hīkoi opens at Circa Theatre in Wellington on Saturday 28 June and runs for two weeks. Bookings can be made at Circa 04 801 7992 or www.circa.co.nz

MDF 2014, Aroha White and 2080: a wave of creative productivity

Playwright and actor AROHA WHITE is currently riding a wave of creative productivity at Circa Theatre, having her new play 2080 in development as part of Tawata Productions’ MDF 2014 as well as performing in Hapai Productions’ HIKOI!  We caught up with AROHA just over a week away from the opening of the Development Season of 2080.

1.  Aroha, you're very busy in the rehearsal room as an actor for Hapai Productions' HIKOI, whilst the third play you've written, 2080, is being rehearsed for a Development Season with Tawata Productions in Circa Two - how are you finding the creative mind split?

Oh! Well I think 2080 is destined to be a mind splitting play. You see, when I was lucky enough to first develop the script two years ago, I was in the same situation. I was work shopping the 2080 script during the day, performing Sunset Road in the evenings and writing at night. This time round, I’m flat out in the rehearsal room for Hikoi during the day but have been making the most of our early chilly mornings to make any amendments to the script that are needed. Knowing that the 2080 crew are just next door is definitely distracting, I want to be in there and playing with them, buuuut at the same time I wouldn’t want to be anywhere else than on the floor with my nutty Hikoi family. I count myself very lucky to have the opportunity to undergo a mind split.

2.  In 2012, 2080 made its very first outing as a brand spanking new script - how have your ideas about your play changed over the last two years?

The main change has been growth in the world. Finding dark corners I didn’t see the first time, looking for more of them and realizing the longevity of this story.

3.  The word on the street is that 2080 is an 'indigenous sci-fi' - would you care to elaborate upon this statement?

2080 is a cautionary tale. It is one of many many possible outcomes for our future. It is a world I would never want to live in. For me so often the only way to start solving a problem is to sit down and talk it out, that’s what started this korero. The world that 2080 exists within is science fiction, no doubt about it, set in the not too distant future with laws of its own, 2080 skates the line of reality and fiction. But the growing gap between rich and poor in this country is not fiction nor is the ease with which people are dismissed because they are deemed as “different”. I’m a fan of this new indigenous Sci-Fi genre I think.    

4.  You and Tawata wanted to develop 2080 a little further before taking the play into full production -  how is the Development Season useful for you as a playwright?

It is the chance to take bold swings for all elements of the play. As far as the script's concerned, already the development season is introducing me to aspects of the world I hadn’t realized. Having Natano, Shadon, Acushla and Hone knocking their heads together also means we get to fearlessly explore the world. The growth of the play is the natural next step. When we take 2080 in to full production next year I expect to know all the street names in the brother’s neighborhood, no stone left unturned.

Using animation for the set is a big job. Even simple animation like what we want to look at for 2080. It’s amazing not having to rush straight to an end result, trying to avoid broad strokes in order to get to an end product and aiming for specificity. The development season lets us explore our options and also see how it reads to an audience. The hip hop is in the same boat as the animation.

5.  With 2015 being the year of full production for 2080, what's your idea for your next stage play? 

Ladies. Leisure. Love. Lust and loss. We’ll start there.

6.  As we're celebrating Matariki, what are your hopes and dreams for the forth coming year?

I have some travel on the cards in August this year and if I’m well behaved February next year. I’m blessed to be a part of Tawata’s Auckland season of Sunset Road after Hikoi finishes up for this year. There is a play for the ladies wandering around my head looking for a piece of paper to get all over, I very much hope this can be a collaboration of wahine toa writers and actors. I hope to get up to Auckland in October to work with Nga Rangatahi Toa on a project called Manawa Ora telling stories from our South Auckland brothers and sisters. And then it will be time to get this Maori / Pasifika Sci-Fi production (2080 that is!) up and singing.  Woo-hoo.

The MDF Development Season of 2080 runs in Circa Two from 25-28 June, with a preview on 24 June. Hikoi runs in Circa One from 28 June to 12 July, with a preview on 27 June. A series of free rehearsed readings will take place as part of the Matariki Development Festival on 4 and 5 July. To book for any of these fantastic works, visit www.circa.co.nz or ring the Circa Box Office on 801-7992.