The Factory Theatre the Next Big Thing Reviews
Killer Kreation Knocks yer socks off [by Sharu Delilkan]
The 'Klu Kux Klan' of Pacifica aka Kila Kokonut Krew have nevertheless once more pulled a rabbit out of the lid with some other offset –The Factory, New Zealand's first Pacific Island musical.
"What the hell", I thought. "How can it have taken until 2011 to produce a musical, with the abundance of Pacific Island musical talent in Aotearoa?"
The Factory is not just created by Islanders, it'southward a musical about Islanders, that covers the struggles faced by generations of Islanders coming to Niu Sila for "milk, honey and coin".
The show is the brainchild of KKK co-founder Vela Manusaute and is inspired past his begetter'due south journey to Aotearoa to work and make a amend life for his family.
The factory is the main character, originally providing hope and income for new arrivals to New Zealand but ultimately stripping the workers of their connections to family and their aspirations for a better life.
The evil factory owner, played past Asalemo Tofete (described as "brownish on the outside but white on the within"), may be considered stereotypical by some. However it obviously struck a chord with some of the audition who delighted in the parody and portrayal of a rich human being who exploited his own people to the detriment of his own soul.
The original music score composed past the talented Poulima Salima, also the live orchestra's conductor, was one of the stars of the testify. It's not often that you get to hear an entirely new score for a musical, so this was certainly a treat. The vii-piece orchestra, stage left, was too a great touch that added to the occasion. Lead extra Nastassia Wolfgramm, playing the daughter of The Mill's owner Lilly, should also be credited for a majority of the compositions.
Choreography and movement around the stage was beautifully executed and the versatile set was fully utilised thanks to Siaosi Mulipola's fabulous trip the light fantastic sequences.
Some first night jitters were axiomatic in the solos but these were soon ironed out, especially during the chorus numbers which were bang on, clearly displaying the wealth of talent inside the ensemble bandage.
Ready and lighting designer Sean Coyle deserves special mention. The dramatic impact with his minimalist gear up, essentially made up of scaffolding and draped pieces of fabric really works.
All the women – Tupe Lualua, Joanna Mika-Toloa (Susana), Victoria Schmidt, Taofi Mose Tuiloma and Wolfgramm – displayed their astonishing vocals, adding to the flavour of the evening.
Well-known every bit a theatre thespian and comedian, Fasitua Amosa (Mose) really shone and revealed his subconscious talent as a great singer and rapper with his number "How Come?"
The dearest story betwixt Tom Natoealofa (Tim) and Wolfgramm (Lilly) works well, both excelling vocally and in their onstage performances.
Paul Fagamalo equally the Fa'afafine also delights the audition throughout and excels in his performance of the vocal Factory Floor Queen. The line "Why can't they run across the little male child who wanted to exist a queen" is specially poignant.
Some clever visual effects such as the projection of the messages abode on the backdrop is something I would have liked to have seen more of, to help highlight the separation of Pacific Islanders in New Zealand from their dwelling house and community.
The Factory is cleverly punctuated with the get-go and terminate bells of the workers' shifts, which helped to change scenes without the need for blackouts. It also highlighted the monotony and repetitiveness of working in a factory with little promise of progression.
Predominantly in English, The Factory is very attainable. However the occasional apply of Samoan lends an authentic experience to the production while beautifully emphasizing the separation of culture and identify.
The continuing ovation was well-deserved. It was lovely to exist among it, and the genuine outpouring of appreciation for what KKK has achieved was a privilege to behold.
Having done the first Tongan play, and now the beginning New Zealand Pacific Island musical you can't help but ask "What'due south next?" For me I will continue to support KKK because under the inspired guidance of both Manusaute and co-founder and co-director Anapela Polataivao they are spring to deliver excellence. The anticipation of whatever they do side by side is something I will look forward to with baited jiff.
The Mill is presented by Kila Kokonut Krew and plays at Mangere Arts Centre until 10 September.
More information at Kila Kokonut Krew 's facebook folio.
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Source: http://www.theatrescenes.co.nz/review-the-factory-kila-kokonut-krew/
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