Arriving fifteen minutes before the show’s expected start time of 7 pm, I walk down the hallway of Māngere Arts Centre, and am surprised to see a line already formed and the theatre seats almost full. There is much chatter and anticipation for this double bill, Kuini & Shapes In The Clouds, at the Pacific Dance Festival.

The first piece in this show is Andy Tilo-Faiaoga’s Shapes in the Clouds, co-choreographed with his son Dallas Mitchell-Faiaoga. I remember reading the blurb for this and not quite knowing what to expect. What unfolds in front of me is not at all what I imagined.  Watching the first scene takes me back to when I first saw Pacific dancers in these spaces: so much power, so much grace.  They bound, they leap, and they do all the sound effects.

Mitchell-Faiaoga is a young force to be reckoned with. I recall interviewing Tilo-Faiaoga for the PDNZ (Pacific Dance New Zealand) program, and he mentioned Mitchell-Faiaoga’s ambition to be famous and an artist, in that order.  Based on watching his performance here, I think he can, and will.  At 11 years old, his personality shines through in his performance as ROBOTZ.  He brings the energy, the joy, and the dance moves.

Dallas Mitchell-Faiaoga and Andy Tilo-Faiaoga

Tilo-Faiaoga, likewise, does an awesome job portraying the character of Mr Miti.  He channels his inner ‘old man’ with excellence.  He reminds me of my Samoan grandfather, although mine wasn’t quite able to move the same.  Mr Miti’s character shows the audience the dreams of a father, set aside to provide for his child.

The choreography flows brilliantly with the dancers carving pathways into the floor and air, combining explosive movements to an upbeat soundscape.  They also weave in traditional Samoan siva, like the Fa’ataupati.

Tupua Tigafua, Haanz Fa’avae-Jackson, and Rikki Tofi charge into their roles with obvious experience, high energy, and execute each action with technical intentionality and style.   Haanz’s comical window-washing scene causes the audience several fits of laughter.

Overall, Shapes in the Clouds is a tender, lighthearted, entertaining, and beautifully executed work, combining Samoan siva with the demanding elements of contemporary dance that I haven’t seen done this well for a long time.   On the other hand, I believe they have pulled together a piece that encompasses the beauty of Pacific storytelling, with humour and grace.  It is a treat for the whole family.

After the final scene, the crowd erupts in applause, and gradually the sound and lights dim into blackness. In the dark, nine figures take the stage, signalling the start of the second work, KUINI, choreographed by Lyncia Muller.

As lights come up, we see that the performers are divided into three groups: one group of five dancers, seemingly intertwined in the front; a row of three women behind them; and finally, a lone male figure. The sound of heavy rain can be heard through the speakers and also outside the theatre, and a woman’s voice rings clearly over the downpour.  It is strong, beautiful, and fills me with a deep sense of cultural pride.

As the harmonies of the ‘Friendly Islands’ weave their lyrical genius, the dancers begin to untangle themselves. Their movements are supple, graceful, and intentionally articulated.  The five dancers move in unison, clearly well-rehearsed.  Their bodies bend and flow into each new action as if they have always known how.  Two women are lifted and supported at different points, as if to signal to the audience that they are the stars.  This is about them.

Likewise with the singers: three female voices, supported by a single male counterpart.  Their exceptional voices carry the notes of Tonga, and likewise amplify the actions and the movements with their beautiful blend of voices.   While continuing to sing, Seini Fakatava, Adyhana Urikafilifilia, Roselie Urikafilifilia Taulalo, begin to haka, while Netane Taufa Taukiuvea Jr continues to sing.  This highlights the performance’s purpose, to honour the late Queen Sālote Tupou, a woman known for championing Tongan women and recognising them as central to Tonga’s future, even in a society led by patriarchal figures.

One by one, the cast appears holding something valuable: a book of Queen Sālote’s poems, a traditional Tongan fan, and various other pieces of koloa (treasure).  To me, this signals the late Queen’s impact on the island, on education, on the arts, and her vision for her people.  All of this is brought together by a spectacular violin solo performed by the lovely ‘Alakihihifo Vailala.

KUINI fully captures my attention and reminds the audience not only of the immense influence of Queen Sālote but also of her deep desire to see her people thrive and flourish as Tongans.

Muller also appears onstage, adorned in a Tongan ngatu, performing a tau’olunga.  She moves with strength and dignity, again reminding us of the Queen. Her choreography interprets her understanding of Queen Sālote’s poems and songs. Her movements tell stories: stories of strength, stories of women, stories of Tongans. It is a tribute to a legendary monarch, yet it holds great weight today. It calls forth excellence and empowers all who see it. KUINI is not to be missed and will be a delight to all who are fortunate enough to witness it. I truly hope Muller can take this piece home to Tonga.

Overall, the Double Bill is an ingenious pairing, combining childlike wonder with the wisdom and legacy of a royal leader. Ten out of ten.  I hope to see both pieces again.  Andy Tilo-Faiaoga, Dallas Mitchell-Faiaoga, and Lyncia Muller have done incredible work in their storytelling and execution.  While both pieces are very different in theme, the amount of skill and passion in both productions is top tier, and I can’t wait to see more from them in the future.

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