Mic Drop, co-created by Ayush Aditya and Marcus Savelio and directed by Marcus Savelio, is certainly an interesting ride. As Savelio’s directorial debut in theatre, there are some rough moments and kinks to iron out. However, the heart and passion behind this show are undeniable.

This show follows the Aro Boys, a teenage rap group comprising Amir/Cookie Monsta (Ayush Aditya), Jarred/Jarrasic Park (Joshua Leota), Mattiu/The Weekdy (Roy Clark), and Jaxon/King (Tamahou Tehei). Other characters include Denice/Little D (Waikamania Seve) and Rap God (Joel Washington). This eclectic group brings unique and (mostly) clear characterisations that are generally entertaining to watch.

Rap is not a genre I am particularly familiar with. However, I approach this show from a musical theatre perspective, hoping to provide a balanced external view of this genre-driven piece.

One of the biggest strengths of this show is its message. At its core, it explores arrogance, ego and social power dynamics – themes that remain clear throughout. I love a show that knows what it wants to say. While the execution is questionable at times, I respect the vision.

Mic Drop follows a small teenage rap group in Pōneke and their quest to be the best. They face challenges of ego within their group that threaten not only their group’s existence but also the friendships that lie at its foundation. While these themes are strong, certain aspects could be further developed. The most significant of these is identity and self-image. This idea is skirted around throughout the show without quite landing.

These young characters create rap personas for themselves, tying their identities to them, which ultimately leads to conflict. At the show’s climactic showdown, Amir(Ayush Aditya) seemingly faces an existential threat to his identity as a rapper. While this moment appears to highlight the strength of the group versus the individual, an opportunity is lost to explore Amir’s sense of identity – not just as a member of the Aro Boys but as a rapper itself.

The opening of the show is particularly impressive. The energy the actors bring to the stage is electric as they set the scene with their introductions. The heightened atmosphere is obvious from the start. They quickly hook the audience with clever bars and hilarious lines. One of the strongest aspects of this show is its audience engagement and participation. From the start, the actors directly connect with the audience, hyping them up with call-and-response interactions to great effect. The audience cheers and dances along at various moments, and the highlight of this engagement comes when someone from the audience is encouraged to participate in a freestyle rap—which a brave audience member did, to the crowd’s delight.

Where the show slightly derails for me is at the introduction of Rap God (Joel Washington). While I respect the offer and the clear commitment to the character, his presence feels somewhat disconnected from the story. It is entirely possible that I am missing something here given my lack of rap knowledge, but I find the character a bit baffling. His apparent role as a mentor figure for the crew is immediately undermined by his odd characterization. His exaggerated physicality sometimes overshadows his role, making it difficult to understand his rapping in the introduction and increasing my confusion. I’m not sure if these choices were made at the writing/directing level or were offers by Washington in the rehearsal room. Either way, in my view, this character momentarily stalls the plot and detracts from the true heart of the show.

Despite these issues, the show gets back on track and resolves in a satisfying way, with a rap battle that put the characters’ relationships to the final test.

On this is opening night there are certainly some shaky, touch-and-go moments, with several lighting and sound issues throughout the performance. However, at every moment the cast takes it in stride, filling gaps and improvising appropriately until the issues are resolved. The nature of live theatre means things can go wrong at any time, so I commend the cast and crew for handling these hiccups with professionalism.

Overall, Mic Drop is an intriguing first piece of theatre from some very promising up-and-coming creatives. Though rough around the edges, the show is funny, clever and driven by a strong message. I’m sure Aditya and Savelio have learned a lot from this process and I look forward to seeing what they create next!

Mic Drop is performing in the Wellington Fringe Festival in Tapare Iti at Te Auaha until February 22nd.

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