Season Two

Returning with more new writing from throughout our performance history, Ngā Whakaaro Huritāo Season Two presents 10 more directors, actors, composer & sound designer, playwrights, dancers who we’ve created live performance with over 17 years of Tawata Productions.

We are friends, we are whānau. These reflections document our creative adventures and some remarkable moments that we have had together.

Season Two is written by Miriama McDowellKarnan SabaJason Te KareSarita SoSopa EnariDawn CheongJoe Dekkers-ReihanaSimon VincentHōhepa Waitoa & Te Hau Winitana..

Image Credit Dawn Cheong of the cast of the The Prospect (2012)


DIRECTORY OF WORKS/WRITER

The Prophet / MIRIAMA MCDOWELL

I think one of the best things about being an actor is that you move from job to job, from story to story. Like a story explorer, moving from island to island, collecting knowledge as you go.

Silence / Worth / KARNAN SABA

In the Indian classical music tradition every concert or rehearsal begins with a sound known as a tanpura or tambura. It is a harmonic drone which plays continually throughout the duration of a performance. 

Fallow / JASON TE KARE

The play was Fallow by Whiti Hereaka. In it, a married couple, Faith and Christian, celebrate their fifth wedding anniversary in their new home with a few other friends.

Dancing Lights In Bowls of Water… / DAWN CHEONG

Some learnings come consciously and most, subconsciously. For me the creative process is pretty much that kind of game, knowing and feeling the measurements you need to create a kind of balance, a skill in knowing when to hold tight and when to let it loose, and along the same vein, this can also be said about memory, the strongest weapon an actor has. 

and what remains / SIMON VINCENT

All of us have turning points in our lives, those moments where the beliefs we hold dear are not able to encompass an experience that is sent to change us.

He ngaru hokinga mahara / HŌHEPA WAITOA

Bless The Child is a ‘Taniwha.’ Not the mean, terrible, flesh-eating monster that will devour anything in its path according to the misguided. But instead, I allude to the more traditional, more ‘Māori’ meaning of the word.

Neang Neak’s Legacy / SARITA KEO KOSSAMAK SO

The beginning seems like an appropriate place…  I used to imagine what it would feel like to see myself on stage. To see a recognisable representation of my people, my family, me, and though I am patient, to this day, I’ve had stolen glimpses, but it hasn’t happened yet.

Who’s Poppin? / SOPA ENARI

The embryo of this show was a quagmire of thought strands trickling out of my subconscious, looking for a canvas to splash onto. I found that canvas in the form of thirsty ears and hungry minds with an insatiable appetite for narrative weaved together in this group called ‘Writer’s Block’ by a man who was ever searching for the bigger picture.

The Prospect / JOE DEKKERS-REIHANA

Sometimes a character stays with you long after you put down the script or leave the stage. They can influence your behaviour and relationships in ways that may or may not be healthy or even useful to the show.

Fire In The Water, Fire In The Sky / TE HAU WINITANA

Early 2016, its summer time in Wellington. I had been working on a piece that was about to be shown at Pūtahi Festival held at Victoria University of Wellington. Mīria asks to catch up outside in the amphitheatre.