Aroha White is a talented actress, she has a singing voice that’s easy on the ear, and she has devised a work for this space specifically.

The story she tells and sings in a taut 40 minutes is about a singer who is looking for love – as usual, in all the wrong places. While White devised the story, it was written by Lydia Wisheart.

Billy is seduced by the prospects of fame in the form of a dodgy but, to the young singer, enticing agent. At a party she gradually realises a truth that she has been blind to for many years.

White as Billy gets intimate with her audience. From the start she builds a good rapport from the start and you can tell she thoroughly enjoys Billy’s persona. The story is told with the help of musicians Stewart and Lis Pedley, and the hard working barman, which works well.

Kate McGill ensures full use is made of the room, from having White lounge on top of the piano, to perching delicately on the edge of the bar.

There’s nothing wrong with a simple story but despite everyone’s best efforts this is too flimsy and predictable to be captivating.
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As we follow a hairy pair of muscled legs up the stairs I wonder what we are in for, but he strides on through to a fitness centre as we divert to The Hawthorn Lounge. And what a convivial lounge it is, under the (bar)tender ministrations of Peter Lowry.

The Bird Song’s gorgeously turned out song bird, Billie (Aroha White), has already disported herself atop the upright piano. Seated below are a guitarist and piano accordionist, Stu and Lis Pedley, soon to be introduced as The Flying Terror Bawdy Twins.

The song that gives the show its name (by Devente Hynes and Florence Welch; Florence & the Machine) is a tragic little cautionary tale about trying to silence a bird who knows too much and sings about it too loudly. But having delivered it with a blend of innocence and savagery, Billie is perky and warm in her welcome.

The realm of fraught relationships is further captured with her rendition of the Everly Brothers’ hit, ‘Walk Right Back’ before she tells us of her own recent experience with a sleazy talent scout from England and the issues this raised with her Kiwi manager Joseph.

White characterises Billie, Richard and Joseph with amusing insight, drawing us into the drama of her ambition and addiction, and her consequent emotional and moral dilemmas, with consummate ease and flair. She uses a range of performance conventions to share the experience, and works the room like a pro, endearing Billie to us despite her questionable behaviour.

Three other songs – ‘Between The Bars’ (Elliott Smith), ‘Four Hours in Washington’ (M Ward) which could just as easily be in Wellington, and ‘I’ll Be Your Bird’ (M Ward) – punctuate and support the unfolding story, all well placed and paced by director Kate McGill. The musical backing is lively although a rudimentary sound system allows the guitar to overshadow the voice at times.

Having explored three cat personae in The Litter Box for her Go Solo 09 piece, Aroha White went on to play a delinquent cat to Matariki Whatarau’s imprisoned dog in A Love Tail, also directed by Kate McGill. I’m told that was the first show in the WingHornTails trilogy and The Bird Song is the second.

Playing at 6.30 for just 45 minutes (until Saturday but not on Friday), it offers an excellent way to end the day or start your evening. Recommended.  
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