Writer: Miria George
Director: Benny Marama
Producer: Kelsie Curtis
Company: Tahi Ta’i Tasi
In 2009, Tahi Ta’i Tasi’s Benny Marama appeared in the original production of Urban Hymns staged at Te Whanganui-a-Tara Wellington. Writer Miria George had explored the themes of desperation, abuse, drugs, the criminal underworld, unemployment, street art, the recession, and education and wove the words of award-winning poet Hone Tuwhare throughout.
Marama’s 2023 revisitation of Urban Hymns has seen him move from the gritty role of Isaiah to director. Incredibly, fourteen years later the societal issues remain the same and save a small superficial change adding the use of vapes, the message lives on to speak to the next generation.
Herein lies the genius of Marama’s choice to stage Urban Hymns. Not only did Generation Z step up to the plate last night at the Meteor, but in Marama’s own words, this cast was “unapologetically brown.” Tahi Ta’i Tasi is passionate about providing theatrical opportunities for Pasifika and Maori and working towards closing a gap that undeniably exists in theatrical arts.
Marangai Wainohu-Savage (Joseph) and Jermaine-Pierre Clover (Tobias) took charge from the outset. Their convivial discourse highlighted George’s clever writing. As mates Joseph and Tobias, they were relatable, convincing and playful.
Destiny Maxwell (Blue), Felix Rowe (Lucius) and Bailey Lindsey (Das) delved into the roles magnifying their character’s vulnerabilities and adding comprehensive depth to the themes. Shoutout to Lindsey for also writing the music that was played prior to and during the performance. It is worthy of further development.
As Isaiah, Kobe Young’s hypnotic performance was equally compelling and terrifying. One of Young’s finest moments was nearly out of sight as he lurked in the dim recesses, his back to the audience. Young’s portrayal of Isaiah was a benchmark performance that will remain memorable for many years.
Theatre stalwart Conor Maxwell (Jerome) and the hardworking Hannah-Rose Cook (Lela) had smaller but impressionable roles. Maxwell and Cook gave realistic portrayals of the abuser and abused in a manner that was uncomfortably familiar. We’ve all seen couples like that in our daily lives.
Kat Turkilsen’s excellent lighting design was key in creating a grimy, moody atmosphere. Danny Bailey’s costuming was exceptionally well curated and as an entire ensemble, the look was cohesive and appropriate.
A Q&A session followed the performance and insights were given on the creative process. It was imperative for Marama and producer Kelsie Curtis to provide a safe space and to encourage play. The actors were given free rein to develop their characters, and each had enjoyed the process under the gentle guidance of Marama.
All in all, Urban Hymns is an important and relevant contemporary work. At just over an hour’s duration, it will give pause for thought for far longer. Will society be any different in another fourteen years? If nothing else, we can expect an exponential growth in theatrical diversity from our talented Generation Z via Tahi Ta’i Tasi.
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