HIGHLY UNIQUE COMMUNITY THEATRE A 'MUST SEE'

This is what theatre's all about: telling our stories – especially those that are little known and/or are in danger of being forgotten. Helen Pearse-Otene has written a beautifully crafted – thoroughly researched, authentically-toned, creative, imaginative and often poetic – script with input from a large cast and director Jim Moriarty. Every one owns their role and the total package completely. 

I've just seen the third performance and concur with all Helen Sims has said above. I'd add Ian Lesa's Taiki ‘Jackie' Kenning is a strong performance too with lots of it conveyed non-verbally. A kaumatua noted after the show that Lesa deserves special credit for embracing the kaupapa given he is Samoan. Kia ora to that.

Matt Deussller really nails the individualistic son, Robbie Beamish, bringing home the mercenary values (if that's the word) of his belief-system. And Ani Morris – who choreographs and leads the waiata – delivers a consummate performance as Mrs Berry, not least with her own strong singing voice.

The singing in both Maori and English is in turns stirring and toe-tappingly entertaining. There is not a weak link in the entire company of 26. Everyone knows they are engaged in a work of epic importance and they make it ‘sing' by attending to the detail every step of the way. 

A word too about the lighting, operated by Sean Peach: it is superbly done to bring focus where it should be so that nothing gets lost in the big open stage.

Don't miss this: it is a rare and special opportunity.  

Yes! Theatre as it's meant to be: honest, vibrant, informative and committed! The material is both relevant and revealing, and the blend of European and Maori theatre infuses the play with a captivating level of vitality and immediacy. You can't fault theatre of this kind, it would seem petty, and in this production you'd be hard pressed to find cause to do so anyway. Go and be moved, inspired and, of course, excellently well entertained!

What do mean by "You can't fault theatre of this kind, it would seem petty..."?? What is it specifically that places this kind of theatre (or any for that matter) beyond critical reproach? 

"What is it specifically that places this kind of theatre (or any for that matter) beyond critical reproach?" The unspoken agreement that nobody will utter an unkind word about anybody else - or else.  The only place incisive honest hard-hitting thoughtful criticism is allowed is in strictest private, and if your views leak out - take cover. Barbara Sumner Burstyn knows something about the bullying NZ underbelly that starts rumbling if you disobey these rules. 

To what do you refer, Corus?  This is the only commentary I can find from Barbara Sumner Burstyn in relation to reviews: http://www.sumnerburstyn.com/POV/film-review.htm 

Thanks for that John. Very revealing. She was always batty. 

I think Corus may have been refrring to this: http://www.stuff.co.nz/auckland/local-news/7550800/Apology-over-dead-soldier-comments 

So to get back to the original point, in saying “You can't fault theatre of this kind, it would seem petty, and in this production you'd be hard pressed to find cause to do so anyway”, I think Mr Dussler is acknowledging that the Te Rakau Trust's primary purpose is not to present theatre as an artistic object but as a means to a greater end.

Dog & Bone is part of “the underTOW project [which] is a series of plays that aim to cast light on the legacy and unknown stories of our country's founding document, Te Tiriti o Waitangi.”  Te Rakau “utilises the unique form of ‘Theatre Marae' to work in marginalised and mainstream communities.”

Obviously if the result was embarrassingly incompetent it would have to be called to account and/or it would not be reviewed on Theatreview. But as the reviews indicate, there is a power and purpose in the work that transcends the different levels of training and technical expertise in the large ensemble cast. The production engages its audience in a story, themes and questions that are fundamentally relevant to who and where we are in the world and in history.

If our major theatre companies were to direct their resources towards producing such plays, the results would be different.  There would be higher production values, and greater depth, perhaps, in some characterisations. And the ticket prices would be much higher, only the relatively financially privileged would have access to it, and its value to “marginalised and mainstream communities” would be negligible.

Jim Moriarty and Helen Pearse-Otene are dedicated professionals who utilise theatre to achieve significant social purposes. They make no assumption that they are above rigorous criticism and in my observation and experience have the professional chops to welcome constructive feedback that holds them to the high standards they seek to pass on to the members of their company. 

I have only heard great things about the work of Jim Moriarty and Helen Pearse-Otene, it's was the idea that criticising worthy work could reflect badly on the watcher that got me. Neither relevancy nor expousing "correct politics" can excuse theatres short comings, ever in my opinion. Enthusiasim can excuse experience and heart can certainly excuse technique however. It sounds a great play. I'm still not sure what Sumner Burstyn had to do with anything... 

Apologies for not having responded to the comments made about my review, and thank you to John Smythe for firstly sending me an email and letting me know about them, and secondly for interpreting my comment correctly and more eloquently than I could have done it. First of all, I must confess, that I sympathise with these comments, because any muffling of critical voices compromises not only the critic, but also the growth and development of theatrical practice. I have worked as a professional actor in Germany (my country of origin), and I could probably 'find fault', if I was to scrutinise the perfomances of this committed cast. But I do not think, that this would be relevant criticism. As John Smythe states: "The production engages its audience in a story, themes and questions that are fundamentally relevant to who and where we are in the world and in history." As the cast achieves this admirably, and the play and the direction are inspired and highly entertaining, "it would seem petty" to me to do so. As it is, I am only grateful to the Te Rakau Trust and the cast for this memorable theatre experience.