Storyteller Kristyl Neho is touring her solo show Tangihanga with dates in Hawke’s Bay in October. The show follows Jess, the family glue, as she navigates the days after her father’s death.
Rather than being a work heavy with grief, it deftly covers the full gamut of emotions such an intense time brings to a family. It is also a fine piece of entertainment that gives the audience plenty to chew over at post-show debriefings!
Neho has made an interesting choice not to centralise the drama on Jess, but rather show the reactions to her and her story from a core group of characters. This speaks directly to Neho’s main motif: it is the weaving together of family that holds an individual rather than any particular and exclusive parental lines.
The pull between the two whāea who share the heavy lifting in the work – Auntie Margaret and Auntie Hana – creates a tension that holds the structure and moves the action forward. And, although there are many moments of hilarity – real head-thrown-back belly-laughs – there are also tableaus that show Neho’s honed ability to control moments and bring them to a stillness whereby the audience is literally holding collective breath.
The work has a tricky opening gambit, which requires a lot from the audience, especially those going in cold. It does however immediately place the piece in terms of tone and setting. The relief felt when we encounter the brash, funny and gormless family members – all architypes found in our own social networks – is even greater as we emerge from the initial shock of death.
Over a few minutes Neho becomes macho nephew, then guileless aunt, then child in wonder, clown, crone, sage, and then – almost icon like – the innocent: downstage, spot-lit, single tear.
The linear structure of the work helps balance what could be complex due to the number of characters involved – programme notes suggest over 30. This is coupled with the work’s fable, almost allegorical, nature, leaning on quintessential set forms that are immediately recognisable: the witch and the fairy godmother. At times Neho channels Mahuika in her telling of Aunt Margaret!
There is some unnecessary sign posting and some chunks are potentially ‘overwritten’, especially when considered alongside Neho’s masterful acting ability. Her gestures, emotional acuity, and stamina as an actor, vocalist and art creator can be relied on to carry the words as well as the silences between. There is a quality to the show that suggests workshopping is still in process and it is an honour for audience to be privy to such a vulnerable aspect of theatre making.
Tangihanga is a very honest piece – secrets and lies given light during times of heightened emotion – and many narrative moments are so far-fetched they can only be based in fact. This raises interesting questions around authenticity, origin story and whether narrative is real, imagined or devised.
And what does it matter? Neho presents a work that has all the universality required to enable all the audience to fully participate while still having the heart and soul that can only come from lived experience.
Tangihanga is on at Toitoi Hawke’s Bay Arts and Events Centre from 8-12 October.
Tickets through toitoivenues.co.nz
