Hone Kouka's Tu encompasses a large number of plot points and characters.
Participation in 20th century international conflicts is a recurring topic in Maori theatre. In the past two years Auckland has seen at least five Maori productions (written over the past two decades) set during World War I, World War II (particularly the Maori Battalion in Italy) and Vietnam.
The primary
focus is not usually the fighting itself, but war's impact on romance, love and whanau life.
The theme of ocean-spanning ties (formed within living memory) is in contrast to arguably the most significant theme in Maori theatre: ancient ties to the whenua, the land.
These plays both critique and uphold the cultural touchstone of the Maori warrior. Tu is no exception. Adapted from the Patricia Grace novel, it shows the insidious effects of war on four generations. Writer and director Hone Kouka plunges immediately into melodrama with a red-lit haka targeted at our protagonist Tuhoe, called Tu for short, like Tumatauenga, the Maori god of war. But 30 years after he fought in World War II, Tu is no godly figure (although he is surprisingly youthful, as played by Tammy Davis); he's a tragic, broken man.
The reasons why are revealed through well-choreographed reminiscences and hauntings across Mark McEntyre's traverse stage. Particularly effective in this good-looking Tawata production is kapa haka movement morphing into synchronised animal-gutting at the freezing works.
