Waenga is about Connie, a spirited young woman juggling her dreams, and a mysterious unfortunate trip to a place where she feels out of place. She’s joined by Grayson, a junior defence lawyer trying to balance the legal world with his own cultural identity and independence.

The story comes from rising artists Hariata (Connie) and Tamati (Grayson) Moriarty. Right from the start, they drop us into a holding cell, where their personal experiences help unravel a mystery involving injustice, racial profiling, police targeting and human rights violations.

It all kicks off when Connie, a young Māori musician, gets arrested while busking outside a store. The shopkeepers, uncomfortable with the crowd she draws, accuse her of causing trouble — painting her as a problem when really, she’s just performing. This unfair treatment puts her in the spotlight for all the wrong reasons.

At the police station her lawyer, Grayson, shows up, only to be met with Connie’s fiery and unpredictable energy, fuelled by the injustice she’s facing. Together, their story shines a light on the deeper issues at play.

Waenga is a show that really speaks to Māori and all New Zealanders because it tackles real issues we’re facing together as a country. It shines a light on concerns that communities keep raising with the Government, only to be met with silence or dismissal.

The audience truly connects with the messages in the show. It’s grounded in real-life experiences and brought to life beautifully on stage. What makes it powerful is how boldly it addresses culturally insensitive issues that Māori still deal with today — issues that shouldn’t even exist in a time when progress should be a given.

One part that really stands out to me is seeing how these issues are viewed through the eyes of tangata Tiriti (non-Māori allies), especially through the character Patent, who is also played by Hariata. That perspective adds a unique and important layer to the story.

Both actors are double-cast, and they absolutely nail it. They switched between roles so smoothly, using body language and movement to clearly show each character change. The way they handle those transitions showed real talent.

The use of te reo Māori in the show feels completely natural— the “illustrious words of our tīpuna” flow so smoothly and effortlessly. The level of reo really lifted the whole performance and showed how this new generation of artists is confidently creating reorua (bilingual) theatre.

Even though the show tackles some heavy topics, it is full of clever and funny moments that break up the intensity and keep us fully engaged. Every scene brings something new — there is never a dull or repetitive moment.

Rameka Tamaki’s music and composition are beautifully done and play a big role in guiding the story. His music helps ground the audience and set the tone for each scene — especially important since the stage setup is super minimal, with just a table and two chairs.

That kind of setup really highlights the talent involved. When a show is stripped back to just two actors, a musician, and a few props, and it still leaves a huge impact — that’s something special. It totally deserves the standing ovation it gets at the end.

After the show ends, the cast opens the floor for a discussion and feedback, which is a really cool way to connect with the audience. One big takeaway from that kōrero is how inspiring it is to see Hariata and Tamati continuing their parents’ legacy through their art.

They have grown up with Te Rākau Hua o Te Wao Tapu, led by Helen Pearse Otene, their kaituhu wewete me kaiwhakaruruhau (dramaturge and mentor) and Jim Moriarty, their kaitohu (director). It’s awesome to see that creative passion being passed down and carried forward in Waenga.

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