AIGA is a moderately challenging but mostly uplifting multi-disciplinary theatre performance reflecting the fierce heart of the protagonist Lusi Faiva.
The production comes from Touch Compass, a leading professional arts organisation which is disability-led, and fosters the development of all facets of performance and production.
Lusi has been a founding member, and she has been involved in many productions since its inception.
To put the performance into some context, it was necessary to delve into Lusi’s background.
She has delivered a show Lusi’s Eden in 2001 which addressed her early childhood.
Born of Samoan parents living in New Zealand, she was diagnosed with cerebral palsy at 2 years old. Her mother was convinced by doctors to put her in a care facility, so she ended up at Kimberley Centre, a specialist institution for the mentally impaired.
This was for five years, where it was not neglect but lack of any nurturing interaction which caused real distress. Those first seven years are the most crucial to a child’s later personality and development.
There were some saviours. A visiting couple, Mr and Mrs Jones, who recognised her intellectual capabilities and started to teach her.
They featured in a short film Lusi made, Mr and Mrs Jones.
Cerebral palsy comes from anoxia (lack of oxygen) at birth. Consequently, its effects cover a wide spectrum of disability. Often intellectual ability is preserved, and people need to deal with the physical limitations.
She has also given this testimony to the Royal Commission of Inquiry into the abuse of care. Which is covering 50 years of institutional care in this country, involving over a quarter of a million children in that time.
This puts into context the fierce character of Lusi, and her overwhelming drive to be free, and to be recognised as an artist. With her Samoan heritage which she also had to recover.
The delivering of the 2-year-old child into care is enacted on stage. The adult Lusi delivers her small self as a sacrifice, and it is a powerful symbolic gesture.
On entering we are greeted by a traverse stage. Most of the disabled attendees have been ushered in early and take the smaller seating area. We are directed to the larger gallery.
The stage is designed as a huge vessel. It has a prow where a large screen displays Lusi’s dialogue.
There is a stern with large movable screen props.
This journey is an odyssey and reflects the epic nature of the trip that we are party to.
The Director Moana Ete plays the role of the Narrator. This is a key to unlocking the performance for us. It reminds me of William Burroughs and his breaking of conventional narratives to unlock the tyranny of sequential time. The equivalent in performance, dance and music is Laurie Anderson.
So, Lusi uses many protagonists and projections to be liberated from her physical limitations.
Of her life story, she wants to be, and does become a dancer.
Three performers represent Lusi in this aspect. Forest V Kago who is also a co-composer of the musical score, Iana Grace (Shortland Street), and Fiona Collins (Vagina Monologues, The Orator).
This is a production which took three years to come to its completed form. Done under crip time, and I had to find out what that meant.
Derived from cripple time. The allowance of extra time for people in wheelchairs to get to places they need to be.
A large part of the process was allowing plenty of time and space for the story to grow into its final state.
The Director talks about the process. Whispered secrets, mumbled songs of gibberish. scraps of paper containing poems.
Which leads to secrets screamed to the wind. The courage that is needed to dream.
Back in the visionary world of Burroughs and possibly borrowing from James Joyce’s Ulysses.
Some parts are impenetrable. Why is there the scream Don’t Touch Me! There is mention of Lusi’s dark sexuality.
There is ground-breaking contemporary music. I’m pretty sure Samoan Metal band Shepherd’s Reign music does appears. One of their best songs is Aiga, Samoan for family.
We also hear Englebert Humperdinck singing The Last Waltz, to soothe the nerves.
I do not think AIGA is meant to be any easy ride, and you would have the wrong impression if you thought it was all joyful.
Underlying it all is how the human spirit can triumph under intolerable adversity. A big part of Lusi Faiva’s success here is the courage it takes to put it into theatre.
Rev. Orange Peel
AIGA runs through 24 March. Tickets are available HERE.
Discover more from Red Raven News
Subscribe to get the latest posts sent to your email.