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MAUI:
ONE MAN AGAINST THE GODS - TANEMAHUTA GRAY |
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Courtesy - Anna Chapman
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‘Maui: one man
against the gods’ is the brain child of Tanemahuta Gray who has
combined elements of kapa haka, aerial work, contemporary dance and
hip-hop (– or was it rap?) to bring the legends of Maui to life in te
reo Māori.
I saw one of the initial performances of the work in progress that has
evolved and progressed into Maui: one man against the gods. The
performance then was a rough diamond, but the potential was clear, and
as with any diamond, the cutting and polishing reveals the inner
brilliance. Two years have made a world of difference to Maui.
The casting was crucial to the overall success of the production, and
the leads were great. Toni Huata as Hine-Nui-Te-Pō was a brooding
presence throughout the production – and my favourite. Her presence,
whether on the stage or suspended above it was compelling.
The character of Maui was integral to the production and Tamati Te
Nohotu embodied the character well. As a young man, confused by the
mortal world, the antipathy of his siblings and challenging the realm
of the gods his performance worked.
Toa Wāka as Tama-Nui-Te-Ra played the proud and ultimately betrayed
father well. Mere Boynton as Taranga was gentle and proud.
The brothers of Maui were a breath of humour with their antics. Their
every emotion was shown on their faces; from jealousy as they came to
terms with the arrival of the unknown but cherished brother, to relief
as they survived the uplifting of Te Ika a Maui.
From the beginning, it is apparent that the story telling will be
different. The aerial work is beautiful, weightless and enchanting.
Thanks to the well publicised feats of the Cirque du Soleil in New
Zealand, it isn’t as novel as it once was, but in this context it is a
new and exiting dimension, used well to supplement the story telling.
The ensemble work was clean and tight. The experience of the group in
both contemporary dance and kapa haka showed as they moved well between
the two forms. The ensemble was used to enhance the story telling. The
costuming of the ensemble let it down at times.Being too literal and
distracting, when the skill of the dancers alone would have been
sufficient. |
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Spectacular aerial theatre, gripping Maori performing arts and
sensual contemporary dance are combined for the first time ever
in this bold and refreshing new production.
(Photo: Westpac St James Theatre)
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One of the flying winds: Maui takes you deep into the magical
world of the elements.
(Photo: Westpac St James Theatre)
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Hine nui to po played by the haunting voice of Toni Huata leaves
the Maui brothers wondering when their turn will come next. Maui
looks at the very thin line between life, adventure and death.
(Photo: Westpac St James Theatre) |
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The set offered a number of levels and angles for the story telling
and this was used to full advantage throughout. It was simple and
evocative, which seemed to be a theme for many of the components of
this production. Lighting and sound were both also highly
complimentary to Maui.
The end of the production does not support the build up before it,
it felt flat and inconclusive. The production team acknowledge that
this premiere season of Maui is another step in the production and
work-shopping process. When the show opens in Auckland in February
2006, I highly recommend that people give it a go – a New Zealand
story, put together by New Zealanders, told in a uniquely New
Zealand way – and did I say that I thoroughly enjoyed it?
* Review by Anna Chapman, Communications Coordinator, Manukau
Business School.
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Copyright Event Polynesia Ltd.
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