Arohanui
Lynn Freeman
Arohanui, The Opera House, Reviewed by Lynn Freeman
THIS is huge - operatic kapa haka blending the contemporary and the traditional, tied together with a message for our times. It is ambitious and it demands a huge amount from those on stage, who give it their absolute all. Arohanui is not only about the greatest love but is created with love – for Maori culture and for all of us, visitors and Kiwis, who go to see it.
The country’s top kapa haka exponents were recruited for this production, a jewel in the Real NZ Festival crown. As you would expect, the kapa haka elements of the production are pure magic and those glorious voices fill the Opera House. There is though a story to be told here, a tale full of mythology with big nods to Maori and other ancient myths and also of course the stuff of Opera.
The children and women in the production turn in particularly strong acting performances. Especially from the children – Peata Waitai, Puriri Areke Te Hapūa Koria and Petiata Koria as the young Kuratawhiti, Kāhu and Mira are absolute naturals. Kurahapainga Te Ua, Taumata Soloman and Te Ara Vakaafi are also excellent as the corresponding adult characters. Tiria Te Kurapa stood out as Katipa, such presence on stage, the same goes for Kereama Te Ua whose King of the Faeries was disconcertingly other-worldly.
Now, Arohanui is not perfect. The story falters and loses momentum in places and some of the performers struggle with the acting demands put on them. But it’s easy for forgive when all those involved have set the bar so high. It deserves further development with a view to taking it overseas. There is a huge team behind it, but the drivers are kapa haka directors Tapeta and Annette Wehi, artistic director Tanemahuta Gray, theatre director Jim Moriarty and writer Helen Pearse-Otene. They, their cast, designers and operators have created something mythical and magical – and majestic.
THIS is huge - operatic kapa haka blending the contemporary and the traditional, tied together with a message for our times. It is ambitious and it demands a huge amount from those on stage, who give it their absolute all. Arohanui is not only about the greatest love but is created with love – for Maori culture and for all of us, visitors and Kiwis, who go to see it.
The country’s top kapa haka exponents were recruited for this production, a jewel in the Real NZ Festival crown. As you would expect, the kapa haka elements of the production are pure magic and those glorious voices fill the Opera House. There is though a story to be told here, a tale full of mythology with big nods to Maori and other ancient myths and also of course the stuff of Opera.
The children and women in the production turn in particularly strong acting performances. Especially from the children – Peata Waitai, Puriri Areke Te Hapūa Koria and Petiata Koria as the young Kuratawhiti, Kāhu and Mira are absolute naturals. Kurahapainga Te Ua, Taumata Soloman and Te Ara Vakaafi are also excellent as the corresponding adult characters. Tiria Te Kurapa stood out as Katipa, such presence on stage, the same goes for Kereama Te Ua whose King of the Faeries was disconcertingly other-worldly.
Now, Arohanui is not perfect. The story falters and loses momentum in places and some of the performers struggle with the acting demands put on them. But it’s easy for forgive when all those involved have set the bar so high. It deserves further development with a view to taking it overseas. There is a huge team behind it, but the drivers are kapa haka directors Tapeta and Annette Wehi, artistic director Tanemahuta Gray, theatre director Jim Moriarty and writer Helen Pearse-Otene. They, their cast, designers and operators have created something mythical and magical – and majestic.
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