HYPERSPACE by Albert Beltz at the ASB Waterfront Theatre, 9-24 Feb

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HYPERSPACE is a slick and joyous celebration  of disco dance meets kapa haka, complete with a Shakespearean twist. It has it all. It touches  your heart and digs deep. You are laughing but feeling a resounding truth. Something everybody knows — that looking good and moving your body is cool and fun and we are all on a journey.  This was a festival of lycra and lyricism.

Not for those who are allergic to the smell of the gym or pumping metronomic beats, perhaps. But if you can’t tell already, I had fun.

HyperspaceWritten by Albert Beltz, directed by Tainui Tukiwaho (and choreographed by Jack Gray) Hyperspace this world premier is already an award-winning production, winning Best Play at the 2023 Adam NZ Play Awards (for new plays).

Do we need to have seen gifted playwright Alfred Belz’s prequel, Astroman, telling the story of sister and brother Natalie (Te Ao O Hinepehinga) and Sonny Te Rehua (Kauri Williams)? If you have seen it, you may feel even more connected to this story, but this work seems to stand on its own.

HyperspaceSet in the early 90s era of disco and lycra, the plot isn’t overly complex: girl meets boy. They clash. They create some amazing dance. But — and here’s where the artistry comes in —this is a Māori story. Natalie and Tāwhai Pātai (Kruze Tangira) decide to reclaim the dance space with some Kapa Haka disco-fusion. That’s less cheesy than it sounds. Its a political story that feels relevant and connected to what’s happening now in a way it wouldn’t have back then.

And back then, disco was a cultural phenomenon. I Know. I was there, and I could appreciate all the references to all those dance steps.  It took me back to studio 54 NY NY! Or maybe Les Mills circa 1990, with those great costumes, crisp dialogue, and acceptance of healthy female shapes. With Māori jokes – laughing at our human-ness — the humour kiwis of all backgrounds get. It unites us. It was necessary but a little sad to be reminded of the homophobia, sexism and misogamy of those days. I think we are making progress as a society.

I particularly liked the way that music and solo dance was used to explore psychological states the characters were going through as they discovered themselves. We understood them so much better for that.

The set is cool. No curtains to cut the flow but lots of attention to detail. The way the show started was organic. Dancers stretching and moving. An awakening but also to a welcoming to a different kind of theatre. Te Pou Theatre in collaboration with the Auckland Theatre Company have managed to colonise the glamourous space of the Waterfront Theatre.  It is a true Taonga of  Auckland. They made the  stage comes alive with a waka full of energy talent and purpose.  A lot of mahi went in to getting  the balance right for the dance which was tight but loose.

Hyperspace

The collaboration and chemistry  between the leads also had a Māori feel. Kauri Williams as Sonny was a stage stealer. He was able to claim that centre stage through the palpable generosity of other leads, and his own talent and generosity of performance. He took us to places where we felt comfortable to go deep and connect with our Wairua (spirit).  Amber Curreen (Poutoko Whānau, Te Pou Theatre ) said: “Right now it is more important than ever to have models of working together in partnership between Māori and tangata tiriti to achieve a shared vision.”

I hope that our future  is as cultured, colourful and fun as Hyperspace.

Gabrielle

Photos courtesy: Andi Crown

HYPERSPACE by Albert Beltz is on at the ASB Waterfront Theatre until 24 February.

Info and tickets here.

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