Michael James Manaia - New Zealand International Arts Festival ...

EDUCATION PACK
Michael James manaia

FOR STUDENTS
Kia ora and welcome to SchoolFest 101.
This is your guide to getting the most out of your Festival experience.
A live theatre performance can be really exciting. Everyone involved in the production – the cast and crew – work
very hard to give a great performance. It's also the job of the audience to help the performers give their best. One
way you can do this is by practicing the rules of theatre etiquette and by being generally considerate to others
around you.
Here are some etiquette tips:
Get there on time. To avoid being late, plan to arrive 30 minutes early. If you're late, you
might not be allowed into the show.
It's always a good idea to visit the restroom before the performance begins! It isn't always
easy to leave during a show.
Pay attention to any announcements that are made before the performance about the
rules of the theatre you're attending, and the location of the fire exits.
Don't take pictures during the performance. It can be very distracting to the performers
and could cause a mishap. The design of the show is also the intellectual property of the
producers. They don't want to see their property splashed over the internet!
Turn off your cell phone. Other than the noise & disruption it could make, it can interfere
with the sound system in the auditorium – even on silent. Please make sure it is
completely turned off.
Be considerate to those around you. Don't eat or talk during the performance ...
whispering is still speaking, so please limit this to emergencies only! If you need to unwrap
cough lozenges, try to do it during applause, or loud musical numbers.
Keep your feet on the floor, not on the seat or balcony in front of you. If you must leave
during a performance, wait for an appropriate break in the show or exit during intermission.
Do applaud when the performance is over. This tells the performers and crew that you
appreciate their work. Stand and applaud if you really thought the show was great. Some
audiences will shout out ‘Bravo' (for male) or ‘Brava' (for female) if they think a
performance was outstanding. You can also applaud and laugh at appropriate times
during the performance.
Now that you know what the etiquette is you can enjoy the show!

FOR TEACHERS
We love having students at the New Zealand International Arts Festival. These students, especially younger
ones, often have a visceral, unmediated response to performances that performers love to see, and rarely do
from more hardened theatre-goers. But going to the theatre has its own set of etiquette and protocols. It's part of
the whole experience and when adhered to, everyone benefits.
Please ensure that your students are well briefed in theatre etiquette. Here are some tips...
Discuss theatre etiquette with your students
Spend some time talking with your students about what they can expect and what is expected of them. Get them
to brainstorm what they think good theatre etiquette looks like
Here are some guidelines to get you started.
Dress Code
For the New Zealand International Arts Festival schools' performances there is no set dress code - tidy school
uniform or mufti is fine. For the Schools to Festival shows (where students attend public evening shows) students
may be seated amongst people who have been looking forward to a swanky night on the town, so again tidy
school uniforms or mufti is fine, but encourage students to wear the nicer clothes in their repertoire.
Dress Rehearsals
Three of the Schools' Performances (Peter & the Wolf, Hōhepa & Stravinsky: Oedipus Rex/Symphony of Psalms)
are Dress Rehearsals. This means that the shows may be stopped at any time and taken back to an earlier point
in the performance after the director/conductor addresses the cast/crew. Although this is rare, it does happen,
and it's part of the show. If anything, students are required to be MORE considerate and attentive during this
process. You could encourage your students to see it as a unique learning opportunity; what was the
director/conductor unhappy with How did the performers respond Did they get it right the next time
Cell phones
A cell phone ringing or beeping is distracting for performers and audience members. We need your help to make
sure this isn't an issue. Please remind your students to turn their cell phones off - not to silent, off! Please be a
good role model and turn yours off too.
Get there early and keep together
Doors generally open 30 minutes before the show starts. Allow plenty of travel time to the theatre. Once at the
theatre, stick together and make sure students know where they're sitting. Ushers are only too happy to point you
in the right direction.
Preparation and research
Your students are more likely to get something out of the experience, and be attentive and responsive, if they
know some of the context behind the performance. Talk with your class and encourage them to research the
show, the company, and the director. The more they know the more they'll understand and enjoy the work. We
will have links and resources up on the New Zealand Post SchoolFest section site from 30 January 2012.
Most of all, remind them to enjoy it!
Despite all the etiquette guidelines, as well as a learning opportunity, live performance is also about having fun
and seeing something different. Remind your students to enjoy the experience and have fun!
Please don’t hesitate to contact us with any questions. We’re here to help.

Contents
About Taki Rua
Cast & Creatives – Michael James Manaia
About Michael James Manaia
o Synopsis
o Directors Note
Making of Michael James Manaia
History of Michael James Manaia
Activities/Discussion ideas
Resources/further reading
New Zealand International Arts Festival

About Taki Rua
OUR VISION
‘Connecting Our Heritage – Past, Present & Future’
‘Topa ana te kaeaea, ōna whatu tau ana ki te ukaipo, te kōpūnga, te uri whakatupu’
OUR MISSION
‘Ensuring the foundation for Māori voices to be heard worldwide’
OUR STORY
For 27 years Taki Rua has been an arts industry leader – a creative rule breaker, unpredictable and
unconventional, challenging and evolving the definition of Māori theatre. We exist to connect our
heritage, past and present and ensure the foundation for Māori voices to be heard worldwide.
Stemming from a traditional culture and adapting to a multicultural world, Taki Rua is a call to our
audiences and artists to celebrate and share stories from our own back yard that define and
challenge the essence and perceptions of who we are as the indigenous culture of Aotearoa.
Our challenge is to voice the questions of our past that remain unanswered in our present; we
celebrate these voices as a taonga. We are the conspiracy of our ancestors and our work ensures
their voices are still heard today. We acknowledge our foundations are the achievements of those
who have gone before us.
Our objective is for Māori voices to be celebrated and proudly owned by all people of Aotearoa. We
want to inspire and encourage the next generation of New Zealander’s to fall in love with their
culture through the medium of theatre. The invitation is to know who we are; by investigating our
collective past and recognising our history and future are not black and white. We extend this
invitation to our artists, our audiences, our people
Four Strands
Te Reo Māori (Community)
‘Unique in Aotearoa’
Taki Rua Productions annually tours works in Te Reo Māori for schools, marae and community
centres throughout the country promoting the holistic use of Te Reo within theatre for audiences
and practitioners.
New Zealand International Arts Festival

Te Wai Paapaku (Development)
‘Bridging emerging artists with experienced professionals’
Envisioning and developing new, New Zealand work by encouraging new voices in Māori and English
while providing professional development for the next generation of theatre practitioners.
Te Wai Hōhonu (Main Stage)
‘Raising expectations and setting new levels of achievement’
Ensuring Māori theatre has a high profile presence nationwide and is accessible to wider New
Zealand audiences.
Te Wai Rangimārie (International Presentation & Relationship)
‘Securing involvement within the global theatre community’
Promoting our company and successful works to international opportunities and securing off shore
and local production commitment.
Te Reo - Schools Tour
For the past 15 years Taki Rua Productions has annually toured works in Te Reo Māori for schools,
marae and community centres throughout Aotearoa/ New Zealand. Taki Rua Productions has a
commitment to communities, children and promoting access to Māori theatre to help all New
Zealanders feel comfortable in taking ownership of Te Reo Māori, an official language of New
Zealand.
Taki Rua makes professional theatre available to rural and urban communities encouraging
engagement and participation in the arts while increasing audience awareness and exposure to
Māori language and tikanga. Enabling communities to experience Māori theatre in their own
backyard, the annual tour has been highly successful throughout its 15-year history and continues to
build upon its audience numbers.
This is the only 100% Te Reo Māori annual tour and is an exciting opportunity for tamariki to
experience quality theatre. It further promotes the holistic use of Te Reo Māori within theatre for
audiences and practitioners. By taking Māori theatre to Kura kaupapa and small communities we
aim to engage rangatahi and we endorse the use of te reo Māori i ngā wā katoa, i ngā wāhi katoa.
New Zealand International Arts Festival

Cast & Creatives
John Broughton – Playwright - Ngati Kahungunu Ki Heretaunga, Ngai Tahu
ED BSc (Massey) BDS PhD PGDipCOMDENT Dip Grad (Otago)
John is an Associate Professor at the University of Otago with the Dunedin School
of Medicine and the Faculty of Dentistry. He spent 17 years in the New Zealand
Territorial Army progressing through the ranks to be a commissioned officer. He
was recently received the New Zealand Defence Services medal. He has written
numerous plays which have been performed throughout New Zealand and
overseas. In 1990 he was awarded the Dominion Sunday Times Bruce Mason
Award.
Nathaniel Lees - Director
Nathaniel has been an actor and director for almost 30 years. In this time he has
acted in many productions both here in Aotearoa and internationally. As an award
winning director, he has directed productions throughout Aotearoa and the
Pacific. His work in the film and television industry is well documented, from
numerous NZ television series and productions to blockbusters such as The Matrix
Trilogy and 30 Days of Night. Nathaniel currently works as an acting tutor at Toi
Whakaari: NZ Drama School.
Maaka McGregor - Sound Designer/Musician - Ngati Raukawa
Maaka McGregor is a multi instrumentalist, producer and audio engineer. He had
his first formal drum lesson with drumming legend Roger Sellers in 1987 and has
since spent his life playing and recording for more than 50 bands nationally and
internationally.He started his career at Te upoko o te ika in 1986 and has a lifetime
of experience in commercial production, live sound, radio, film and television
broadcasting. Some of the more well know NZL bands and artists he has worked
with are Moana and the Moa Hunters, Electric Wire Hustle, South Side of Bombay,
Holly Smith, Dam Native, Recloose, Hinewehi Mohi, Fat Freddies Drop, Upper
Hutt Posse, Nathan Haines and Scribe. Maaka is best known internationally for
his work with the ground breaking Māori electronica band ' WAI'.
Lisa Maule - Lighting Designer
Lisa Maule is based in Wellington and has worked as a lighting designer on
many productions with notable producers of New Zealand work including
Taki Rua Productions, Downstage Theatre, Circa Theatre, Armstrong
Productions and STAB (BATS Theatre). She has received substantial critical
acclaim for her work including Chapman Tripp Lighting Design of the Year
1998, 2000, 2008.
Lisa has 20 years experience in the performing arts sector and is a Senior Tutor
in the Technology and Management programmes at Toi Whakaari: New
Zealand Drama School.
"Lighting, you could say 'illuminates' the collective vision and is a natural
partner with sound to help an audience journey through the performance.
New Zealand International Arts Festival

Collaboration is at the heart of performing arts process and I enjoy each team I
work with and each new project."
Daniel Williams - Set/Costume/Props Designer
Daniel graduated from the Performance Design Degree taught jointly by
Massey University and Toi Whakaari: NZ Drama School in 2006. His
theatre career has seen Daniel design Sets and Costumes for Samuel
Beckett's EndGame, Please Don't Feed the Models, Angels in America and
A Streetcar Named Desire. He was nominated Weta Workshop Set
designer of the Year at the 2007 Chapman Tripp Awards and then won the
following year in 2008 for his work on The Little Dog Laughed. The past two years saw Daniel work
in Theatre and Film in Edinburgh, Amsterdam, Prague and London, since returning to New Zealand
he has worked on Long Cloud
Youth Theatre's Dutch season. Most recently he designed the set for The 39 Steps
at Centrepoint Theatre.
Te Kohe Tuhaka – Performer - Ngati Porou
Graduate of Toi Whakaari: NZ Drama School. Te Kohe has worked extensively as an
actor and presenter in theatre, film and television. Recent film and television
highlights include Billy, What Really Happened at Waitangi, Go Girls and Eruption.
Stage credits include Silo Theatre’s acclaimed production of The Brother Size, Maui:
One Man Against the Gods and the award winning Paua by SEEyD Theatre.
Synopsis
A unique and poignant story about a New Zealand man who, after returning
from the Vietnam war, finds himself at odds with his culture, his history and
his memories. Packed full of dynamic theatrical action and colourful
characters, we follow one man's journey through childhood, family, love,
grief, violence, conflict and passion.
For further reading, see paper:
Michael James Manaia: the personal is political.
Written by Christina Stachurski
Published in JNZL: Journal of New Zealand Literature
Directors Note
Image::Philip Merry
To provide insight and an alternative perspective to a societal issue is one of the foundation
elements of theatre.
Michael James Manaia is the story of a man who has committed a tragic act, and his struggle to
come to terms and understand the reasons for this act.
The fact that he is a Māori and is born and raised in that cultural environment only adds to his
confusion of identity when placed in the societal shifting of values in the early 1970’s in New Zealand
and the global aspirations of the United States during the Vietnam War.
New Zealand International Arts Festival

We as an audience become witnesses to this man’s struggle to get a handhold on reasons for his
actions as he relives and is flooded by memories and images of his life – from his close relationship
with his younger brother in rural New Zealand through to the horrific images, memories and
consequences of his role in the Vietnam War.
To witness is to be involved, and to be involved is to begin to understand.
To begin to understand is to begin to take responsibility.
I want to acknowledge the work of all who have gone before in the creation of Michael James
Manaia, and thank all involved in this production as we strive to understand and thus share the
responsibilities of our society.
He aha te mea nui o te ao
He tangata! He tangata! He tangata!
Nathaniel Lees
Making of Michael James Manaia
To create Michael James Manaia Taki Rua had to first select the creative team to best realise the
work, team members needed to connect with the content and style of the piece as well as
understanding the purpose of bringing this work back to the stages of New Zealand. Once selected,
the creative team embarked on a collaborative making process of workshops and rehearsals led by
Director, Nathaniel Lees. In late 2011 the whole creative team, director, set designer, sound
designer, lighting designer and performer all came together for a two week development workshop.
The purpose of the workshop was to give the team time to explore the script, its themes, images,
music and characters in order to identify the future direction the piece would take. The workshop
period was also an opportunity for performer, Te Kohe Tuhaka to familiarize himself with the role of
Michael James, his ability to know and carry the role is essential to the success of this work as it is a
solo show.
After the initial development workshop, the creative team then entered a 5 week full time rehearsal
period leading up to the festival premiere. The creative team worked collaboratively to bring all their
ideas to life throughout the rehearsal process. Each member is responsible for generating ideas and
leading their area of expertise, ideas are then brainstormed collectively and decisions made towards
the finished work. For Te Kohe, the focus was on bringing Michael James to life, refining the
character and how he communicates the story with the audience; this involves physical, vocal and
emotional rigor and training, fine tuned by the director. By the last week of rehearsal all elements of
the production are finalised and the finished work is ready for public presentation.
New Zealand International Arts Festival

History of Michael James Manaia
History
First performed at Downstage in 1991, Michael James Manaia has received much critical acclaim,
completing performance seasons throughout New Zealand and abroad. This story is as relevant
today as when first performed and speaks not only to our identity and history as New Zealanders but
also to the ongoing and widespread issues associated with the war that affects much of the world
we live in. This work has the potential to initiate valuable dialogue and awareness around questions
of war and manhood, doing so through a rich and dynamic performance experience.
The first workshop of Michael James Manaia, facilitated by Playmarket, was held at Tapu Te Ranga
Marae in Island Bay, Wellington, 24-24 October 1990.
Michael James Manaia opened on 15 February 1991 at Downstage Theatre, Wellington. Manaia was
played by Jim Moriarty, and Colin McColl directed.
This production then went on to open at:
The Trustbank Theatre, Dunedin on 5 April 1991 for New Zealand Writers week
The Traverse Theatre, Edinburgh, Scotland on 13 August 1991 for the Edinburgh Festival
Watershed Theatre, Auckland on 24 November 1991
The National Library Theatre, Wellington on 21 March 1992 for the New Zealand Festival of
the Arts
Michael James Manaia is presented by arrangement with Playmarket
New Zealand International Arts Festival

ACTIVITIES/DISCUSSION IDEAS
Ideas for discussion
What made this a New Zealand play
What were some of the struggles that Michael James was dealing with in the play
How was Māori culture/ language expressed/ used within in the play
Why do you think this story should be told today
What didn’t you understand in the play and why
How did the performer use his voice and body to create different moods/ characters
within the story
How successful was the performer in keeping the audience engaged throughout the
performance
What did and didn’t you like about the play and why
What kind of play is it What are the themes
How does Michael James change during the course of the play
o
o
How would you describe him at the beginning
How would you describe him at the end
How did the production elements of lighting/sound/costume/music create a mood
in the play What did they do
Can you find any reviews of the show Do you agree with them Why/why not
New Zealand International Arts Festival

ACTIVITIES
Explore creating three different characters using only physicality to show their differences,
consider age, vocal quality, pace (i.e. are they fast talkers, mumblers, slow movers etc). Play
with pushing each character to extremes to see how different they can appear.
Choose an environment, e.g. bush, city, beach, and identify some of the key sounds and
rhythms that we associate with these environments. Use instruments or found objects to
recreate one of these environments using only sound.
Write a 400 word review of this play, describe the story, themes and production elements
that stood out for you, tell us how these affected you, what was successful and what was
not.
Find three songs by musicians that you know that capture something of the mood of this
play and explain why and how this is true.
Resources & further reading
http://www.playmarket.org.nz/playwrights/john-broughton
http://www.takirua.co.nz/
The Free Library:
http://www.thefreelibrary.com/Michael+James+Manaia%3A+the+personal+is+political.-
a0204543896
Michael James Manaia by James Broughton
Published by University of Otago, Dunedin, 1994
New Zealand International Arts Festival