Wonder Fob

The National Business Review.

Theatre: Classic comedy with bite works at all levels.
John Smythe

The Taro King
Written and directed by Vela Manusaute
Bats, Wellington

Low comedy, high drama, socio-political satire, cultural archetypes delivering insults and insights that delight and disturb---it’s all there in Vela Manusaute’s The Taro King. What makes it work at every level, despite its lack of conventional structure, is the passion and commitment of the performances and the underlying truths from which the scenarios grow.

It starts and ends with Filipo (Aleni Tufuga) cutting taro at the Otara market. The way of this world, its hierarchies, prejudices, limitations and dreams of liberation are thoroughly canvassed in irreverent exchanges between the hard-working Samoan Filipo and his loud mouthed Fiji Indian mate Raju (Rajeeve Varma).

This is the generation whose parents came from the islands to give their kids a better life in paradise. Now Filipo’s dream is to take his family to a new paradise over the bridge. “Mangere Bridge?” “The Harbour bridge, to where there are no Samoans.”

The conventions of commedia dell’arte and Shakespere’s Italian comedies spring to mind, which is not to detract in any way from the authenticity of the Taro King’s Pacific Islands-cum-South Aucland roots. The point is this is classic comedy with bite, culturally specific in its focus yet timeless and universal in its application and implications.

With a more naturalistic truth that is touching in its pained compassion, Filipo’s wife Mele (Jenni Heka-Beazely), counterpoints his responses to frustration, which are especially extreme when alcohol lubricates them. Anti-social behavior is simultaneously recognized and better understood.

Ruthless free market dynamics are embodied in the way Sammy (Manusaute) juggles his business according to the supply issues and price fluctuations brought about by the latest coup in Fiji. Bottom of the heap is Pua (Edmund Paongo), “manager of the trollies.” Loyalties and moral values are tested when he is made redundant, Filipo’s much bragged-about promotion falls through and Raju, appealing to Sammy on behalf of his mate, is offered the promotion instead.

Alongside the “free market” plot line, and less integrated with it than it could be, is the wider family story. Would-be activist rapsta Ricki (Johni Sagala), 36 and still living at home, drives his martyred but doting mother (Ana Tuigamala) crazy, while favourite son (Paongo) is lumbered with the massive expectations of his father (Ene Petaia) tht he will become lord of the Olympic boxing ring.

The scenes are not plot-driven, but set up as arenas in which the issues of the day can be kicked about to comic and dramatic effect for as long as the entertainment value lasts. The biggest challenge to conventional requirements for concise writing and strong forward momentum comes with the scene where Dad farewells Vinnie with a long speech that alternates glory with dire threats while integrating well-told tales of the past.

Mum’s “stop talking about yourself and talk about your son!” interjections acknowledge the true nature of the sequence but still it outstays its welcome, perhaps because it’s he only performance that looks as if it’s trying to be funny.

Watching the play in a theatre full of Pacific Islanders laughing hugely, listening closely and feeling deeply is an experience in itself, and a tonic. There are plans afoot to restage in Auckland next year. It deserves to make it and to attract an audience all over Auckland.

5-Nov-2004