This is brilliant.  An exceptional New Zealand story we can all relate to, acted and directed to the highest standards of excellence, and reminding us why live theatre, its immediacy and intimacy, must be cherished and protected. 

The set, a diagrammatic map of Niu Sila, our green grassy land set in a brilliant blue Pacific ocean, is most effective – credit to John Parker – and throughout the play the sound is amazingly slick, particularly in the cricket-playing scene.  One is left wondering how that precision is achieved – Thomas Press, Sound Designer and Touring Technical Operator, take a bow. 

The story-line takes us back to Auckland of the 70’s and the arrival of new immigrants from Samoa, the Tafioka family. They have a six-year-old son, Ione.  Next door live the palangi Burtons with their six year old son Peter.  The play explores the boys’ close friendship as they grow up, the two families differing ways of being, and eventually, as young adults, the serious split between Ione and Peter, as their lives take completely different directions, one ultimately tragic. 

Throughout, I watch and listen with a smile on my face.  The characters are brought to vibrant life by the talents of Fasitua Amosa and David van Horn: Mrs Burton, the politically correct mother; warm, physically affectionate Ione’s mother, Mrs Tafioka; racially prejudiced teacher Miss Heathcoat; the respective fathers; curtain-peeping neighbour; policeman; the coach at the Indian Sports Cricket Club, et al. 

There are wonderful laugh-inducing yet touching scenes throughout, especially those showing conflicts in living expectations.  Ione’s introduction to a symphony concert with the instructions not to applaud between movements – and his loud reproof to an old lady who has the temerity to clap at the end of the third movement – brings the house down.  It is delicious.

It is also touching.  As men, meeting up after years of estrangement, and remembering the past, both actors have real tears in their eyes.  Altogether this two-hander is a tour de force and unforgettable.

Since its premiere in 2004, Niu Sila has been regularly performed around the country and arrives in Nelson trailing awards.  However, this is the first time I have seen it and it makes such an impression, arouses so many emotions, that afterwards I can’t sleep, hearing Radio New Zealand’s All Night programme all night!

At a subsequent Arts Festival Event, those who were lucky enough to secure tickets were heard telling others about Niu Sila and what it had meant to be present at this superb night of theatre. The memory of this scintillating play shall last a long time.

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It was a great feeling arriving at Q’s Loft to review Niu Sila which I could still remember vividly, having been at The Maidment premiere more than 8½ years ago. 

The show then featured Dave Fane (Ioane Tafioka) and Damon Andrews (Peter Burton) under the direction of Conrad Newport. This time however there was a brand new cast at Q Loft – Fasitua Amosa and David Van Horn – under the direction of Ben Crowder.

For those who haven’t seen the show before, Niu Sila’s story spans three decades. [More]

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This is the second production I’ve seen of this iconic piece, first written in 2005 by Oscar Kightly and Dave Armstrong.*  Their irreverent, hilarious, heart-warming and tragic script speaks to Peter and Ioane’s generation (i.e. mine), as well as entertainingly informing anyone less familiar with the politics and mind-sets of the time. 

The beautifully simple iconic set comprises three solid, sloped benches cut in striking angles to clearly represent the three main islands of our proud nation and covered with grass-green textured material.  With no accompanying programme, I regret being unable to commend the designer by name.

The story is told by Peter (David Van Horn) who at the age of five meets his best friend Iaone (Fasitua Amosa) when his family the Tafiokas moves into the neighbourhood.  Essentially a celebration of their friendship, in sharing the countless mirthful episodes spanning the decade or so that they spend growing up together, we get an insightful and only partly nostalgic overview of life growing up in the eighties or thereabouts. 

While laws and attitudes have improved in many ways, the inherent prejudices illustrated by many characters (and not only the Caucasians) in the play are unfortunately still shared by a number of people to this day. 

Ben Crowder’s experience in producing children’s theatre holds him in good stead for directing this work, centred as it is on the two excitable boys’ adventures.  Van Horn’s measured, radio-like narration contrasts with his array of characters, which in turn compliments Amosa’s appealing raw energy.  Their versatility is evident as each constantly switches between so many distinct and believable characters I’ve lost count. 

Principle roles, besides the two irascible lads, include Peter’s liberal (and atheist) parents, proud of their decision to raise their son in a working class area; Ioane’s extensive family, including little sister Sulu who gets a good deal of laughs considering she is only spoken to or about rather than personified (until she grows up); the Tafioka family church’s respected minister, whose demeanour and dress sense earn him the secret nickname ‘Criminal’.

Narrative-wise, although I’m laughing and crying with the rest of the Q Loft’s capacity opening night house, I find myself quite bemused by Ioane’s blunt rejection of his inseparable childhood friend, after all they’ve been through.  Having proven quite capable of deep respect and intelligent reasoning, why does he choose to denounce his closest ally as a patronising hypocrite, not to mention turn his back on his own potential?  However, I can ultimately accept this scenario, albeit in despair, only for having witnessed such frustrating obstinacy all too often in reality.

*See my 2008 review here. 

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