Red Heavens is written, directed and performed by Martine Baanvinger. A solo show inspired by extraordinary story of Italian immigrant Angelina Moleta, told inthe book Angelina by New Zealand author Gerard Hindmarsh. Performed at the Mapua Community Centre to an audience of about 200, Martine holds us spellbound for an hour and forty minutes, carrying us on a journey from the tiny volcanic island of Stromboli to the wild, untamed D’Urville Island.

Martine seamlessly embodies at least ten characters: Angelina, her wise and sultry Nonna, her husband Vincenzo, Wetekia the Māori chief’s daughter, an Ariki, and more — each instantly recognisable as a unique individual. There is never confusion, only clarity and depth. A master of physical theatre, Martine gives every character their own voice, posture and presence. With a stamp of her feet and a flourish of his moustache, Vincenzo appears. Then, with a curl of the lip, lowered voice, and a knowing look, Nonna emerges, wise and sultry. I believe them all.

The set is simple yet brilliantly versatile. A frame becomes a window, a door, a boat, or a rack for hanging pasta. The pasta — such an essential staple for Italians — is cleverly represented by strips of fabric that transform into curtains, and most hilariously into swaddled ‘babies’ for the birth of Angelina’s children.

Martine’s performance is passionate, powerful and deeply moving. Her Angelina is someone you long to meet: funny, tender, curious and full of life. One of the most evocative moments comes when Vincenzo and his brother burn the bush on D’Urville Island to clear land. At first, Angelina marvels at the grandeur of the birdsong and mighty trees. The burning begins with excitement, but quickly turns into a vision of hell — birds aflame, great trees collapsing, animals with nowhere to flee. It is harrowing and sobering, a reminder of the destruction that happened across New Zealand when vast tracts of native bush were cleared.

Another highlight is Angelina’s friendship with Wetekia Ruruku Elkington, the daughter of a powerful Māori chief. Wetekia teaches her to weave and offers companionship, and their bond is portrayed with warmth and respect.

Martine has said she loves to play strong women, and she has already portrayed figures such as Annie Chaffey and Ans Westra. With Red Heavens, she continues her mission of bringing New Zealand’s history — and its diverse, rich characters — to life on stage.

If you get the chance to see Red Heavens, don’t miss it. You won’t be disappointed. My only regret is that I haven’t yet seen Martine’s other performances. She shines on stage, bringing warmth, vitality and passion in a way that is both creative and utterly unique.

Copyright © in the review belongs to the reviewer

Red Heavens portrays the true story of Angelina Moleta. Growing up on the active volcanic island of Stromboli, near Sicily, Angelina is betrothed to her cousin Vicenzo at an early age. In 1906, he brings his 16-year-old bride to the even more remote Rangitoto ki te Tonga/D’Urville Island, in the Marlborough Sounds. From this story Martine Baanvinger has crafted a compelling personal narrative of Angelina’s life as she adapts to the hardships of an isolated pioneer farming life while struggling with the forces of nature.

The plot is skilfully developed in short sections, and we first meet Angelina as a young girl in Stromboli. At first, the strong Italian accent Baanvinger uses makes it difficult to pick up the words, especially in competition with an erupting volcano, but it is certainly a powerful opening scene. And once familiar with the accent, it becomes a feature of Angelina’s personality, and makes the frequent Italian interjections more natural.

The action is continuous, and the second scene moves on to Angelina’s arrival on D’Urville Island, where she has to set up house with Vicenzo and her domineering cousin Rosa and her husband. Far from home and the support of her family and community, this must have been a difficult and distressing time for her, but Baanvinger does not dwell on this aspect. Instead she concentrates on Angelina’s positive qualities, and presents her as a strong and determined character, telling her story with affectionate, almost self-deprecating humour.

Baanvinger relates the events of Angelina’s life in the first person, at times speaking directly to the audience. This induces a level of intimacy and involvement that is thoroughly engaging. At other times she creates convincing dialogue with the main characters in her life: her nonna, cousin Rosa; her husband Vicenzo – you can almost see his twirled moustache! Baanvinger is an expressive actor, both verbally and physically, and has a deft ability to represent these personalities and to make gentle fun of their attitudes. 

The underlying disappointments and losses in Angelina’s life are never far away however; the hopes and dreams she brought from Stromboli remaining locked away in her glory box, which she never opens. When dramatic and tragic events do occur, they are conveyed with such intense emotion that they make compelling counterpoints to the light-hearted tone of the main narrative. These are underscored by Mark Manson’s evocative soundscape, composed from sounds recorded on D’Urville Island.

The lighting changes are subtle, but effectively enhance the different moods and atmosphere of the dialogue. Less subtle are the stark red dawn skies of D’Urville Island, forming the red heavens of the title that recall the volcanic clouds over Stromboli, and prompting Angelina to lament, “The Devil resides here.”

The staging is simple, but used very cleverly: a trunk, a fan to create the tempestuous winds, and a frame from which are hung strips of fabric. The trunk serves as glory box, boat, bath, bed and coffin. The fabric strips represent pasta, of course; a recurring motif through the play when referring to the traditional side of Italian life: “Pasta, pasta, pasta!” They also form drapes, a bird’s wings, weaving for a kete, even Angelina’s infant children. The only other prop is a beautiful coloured piupiu, a family taonga gifted to Angelina by Wetekia. Made specially for this play, it stands out against the white fabrics and is a striking symbol of the Māoritanga that Angelina embraces.

For a key element in Angelina’s ability to cope with her arduous lifestyle is the friendship she develops with Wetekia Ruruku Elkington, a high-born Māori woman who lives nearby. Wetekia shows her how to retain her power as a woman, and how to relate to the natural world around her. “Wetekia’s independent spirit has flown into my soul,” she says. This relationship nurtures her through hard times and gives her the strength to make the difficult decision to leave D’Urville Island after 40 years, to be closer to family and the Strombolani community in Wellington. “I will take a lot of bitterness to my grave, but Wetekia showed me how to dance.”

At this performance, members of Wetekia’s whanau, including her grandchildren, were in the audience, and performed an opening karanga. It gave mana and an added immediacy to the story, and it was a privilege to be present for it. As a play, it is a tour de force by Martine Baanvinger, who wrote, designed, directed and performs it.

Red Heavens is touring nationally in July and August (see Production Details, above, for the itinerary), and will be returning to Te Tau Ihu in September. I recommend everyone to find an opportunity to see this outstanding production.

Previous Martine Baanvinger shows: Solitude and Aperture.

Copyright © in the review belongs to the reviewer