"Ihimaera says hometown would be pleased with Whale Rider show"
- NZ Herald Online, 27 August 2004
"Think you Know the Story of Whale Rider?" - Thread Website, 25 August 2004
"A Dazzling Success" - New Zealand Herald, 23 August 2004
New Leading Lady Announced - 12 July 2004
New Star Set to Ride Whale on Stage - New Zealand Herald, 10 July 2004
Whale Rider's New Incarnation - The Independent, 23 June 2004
First Production Sketches - 11 June 2004
Television One Coverage of the Launch Event - 10 May 2004
International Stage Show World Premiere - 10 May 2004
Ihimaera says hometown would be pleased with The Whale Rider show
Author Witi Ihimaera says his former home town Gisborne would have been proud of the stage adaptation of his 1987 book The Whale Rider which opened in Auckland at the weekend.
Saturday's opening night audience was swelled by two busloads of supporters from Gisborne and Whangara - the East Coast settlement from where the story of Paikea, the 'whale rider', was drawn.
"This is the first big budget show of its kind to be produced in New Zealand and the attendance of elders and whanau from Whangara was like a blessing," said Ihimaera, a University of Auckland professor who is also associate producer for The Whale Rider: On Stage.
"We continue to be humbled by Whangara's support and by all the well wishers who sent warm messages from the district."
The show follows the internationally successful film adaptation of Ihimaera's novel, which was shot in and around Gisborne three years ago.
Though based in Auckland and produced by Auckland company Logan Brewer, the stage version has involved many Gisborne people.
"Some of the investors are from Gisborne, there are Gisborne people in the cast, Hone Taumaunu (cultural adviser for the film) acted as our guide and mentor, and Henare Te Ua, Ope Maxwell, Ngapo, Pimia and Tapeta Wehi, and Puka Moeau and his wife Pania, did an incredible job putting the kapa haka team together," Ihimaera said.
Saturday's premiere was dedicated to Whangara, and Ihimaera said that members of the cast, crew and production team were racked with nerves.
"But from the first moment that Paikea 'flew' in on his animatronic whale to the finale, when a rousing haka got everybody to their feet, there was fantastic applause," he said.
"Since then, word of mouth and reviews have made the show a hot ticket in Auckland where all the matinees and many of the nights have sold out."
Auckland Girls Grammar student Joylene Davis, 13, plays the lead role of Kahu - named Paikea in the movie, but originally Kahu in the book - and she won praise in a New Zealand Herald review.
Potentially the show's harshest critic could have been Hone Taumaunu, kaumautua of Whangara's Ngati Konohi people, but after the weekend opening he was convinced.
"Overall I found the show absolutely enthralling... a magnificent spectacle," said Mr Taumaunu who, with his 80 travelling companions, stayed at Auckland University's Waipapa Marae.
"But while it was spectacular, there were also some very poignant moments that touched my heart."
For Mr Taumaunu - who was instrumental in the establishment of Tapuwae o Rongokako Marine Reserve, at Whangara - there was an extra special message.
"I think every conservationist should go and see it ... There is a strong emphasis on the environment and looking after its flora and fauna, about the respect we should have for Tangaroa (Maori guardian of the sea) and his children."
Producer Logan Brewer said the show, backed by Asia Pacific Partners and international and local investors, had cost more than $2.5 million to put together.
"This is the first major indigenous New Zealand stage production and we're sure that it will be welcomed not only here, but overseas," the producer said.
- NZPA
If you think you know the story of Whale Rider, think again...
Producer Logan Brewer has a long colourful history of creating spectacular New Zealand performances for the world to see and this is no exception. Adapted by Scottish director, Toby Gough, the stage production of Whale Rider delves deep into the mysterious and magical world of Maori mythology, combining a dramatic entourage of the two worlds of the whale and Paikea (the whale rider); oceans apart in a spiritual battle until their eventual reunion.
Gough does not assume that you have seen the film, yet still manages to produce the entire legend in a fresh and vibrant way - whilst adding the whale's side of the story, the last piece of the puzzle to the original. It is easy-to-follow throughout, naturally traversing from intense Maori powhiri at the marae to classic kiwi comedy on the farm to intriguing, creative segments of effects. This is accentuated by the stage design; with silhouette screens act as a divide fashioning layers of depth to the stage, while all dimensions of the stage are explored; all well-illuminated with dramatic lighting. It produces a visual feast but more importantly potent symbolism to depict the mythology.
Prominent injection of Maori powhiri, haka and waiata, directed by Pania Papa and Puka Moeau, are full-to-overflowing with mana. Right the way through, I felt the hairs on the back of my neck stand up. This is sure to install pride into even the most unpatriotic of kiwis and likely to amaze international crowds. The personal intimacy of a live performance supersedes the film with a significantly more emotionally, involving experience.
Joylene Davis produces a spirited performance as Pai almost filling the massive shoes of Academy Award nominee and irresistible Keisha Castle- Hughes. Although at times she shows a lack of acting prowess, it is salvaged by the innocent, naïve nature of her character. Rawiri Paratene is back as Koro (and the Pathfinder) and is the rock for all of the other actors to lean upon showing no weakness from his week-long flu. He appears softer than he was in the film. Vicky Haughton as Nanny Flowers (and the Pathkeeper) produces a replica of the quality performance that earned her New Zealand's Best Supporting Actress award in 2003 for the film. Karlos Drinkwater plays the hard- case Uncle Rawiri and is surprisingly compelling in the second half, after you become familiar with his laid-back, comfortable interplay with Davis.
Many of the actors are just good enough, but that adds to the grass-roots flavour. The direction of choreography by Maaka Pepene is exciting and original. It subtly incorporates contemporary dance with traditional Maori kapa haka. As does the music, which peaks in an explosion of Pacific Island drums and dance after the intermission.
The combination of spectacular aerial production with fluid dance is at times reminiscent of Ang Lee's masterpiece Crouching Tiger Hidden Dragon. The use of Te Reo Maori crafted into the script in an interwoven manner will be accommodating to an international audience. The authentic portrayal of Maori culture will signify to the world the invaluable quality it bestows. This facet guarantees it to be a theatrical performance unlike any other in the world.
To be perfectly honest, I do not know how The Whale Rider could have been done any better. Its impact is largely due to the balance of cast and production expertise, combining intimate knowledge of the Maori culture and world-class theatre skill. Make no mistake, answer the call, see The Whale rider a journey between two worlds, it sets an unprecedented benchmark of quality for New Zealand theatre to aspire to.
Kia ora, kia ora mai.
Glossary of Maori terms:
powhiri : performance
mana: power, respect
Kapa haka : dance group
Te Reo: Maori Language
Kia ora: Thank you/ Good health to you/ hello
waiata: singing
marae: tribal grounds
mai: to come towards speaker
Reviewed by Peter Thornton for 'Thread'
The Whale Rider at The CivicIt is enchanting to imagine that the stage version of The Whale Rider could emulate the international success of its screen cousin. Producer Logan Brewer certainly has the vision to make such a dream a reality, and he has assembled an impressive array of talent to bring Witi Ihimaera's story to life on the stage.
Guiding the production is Toby Gough, an acclaimed writer-director whose intriguing credits list includes a series of cross-cultural Shakespearian productions in locations as diverse as Havana, Delhi and Lhasa. His staging is brilliantly inventive, demonstrating that the most moving spectacles can be generated by the simplest of means.
The drama is most engaging in its portrayal of the hardcase denizens of Whangara. Karlos Drinkwater as Uncle Rawiri projects an infectious sense of humour from the moment he walks on stage.
Vicky Haughton as Nanny Flowers, and an irrepressible Mabel Wharekawa-Burt, also deliver robust performances that keep the drama firmly grounded in the rural community that has gifted this wonderful story to the world.
Rawiri Paratene as Koro commands the stage with an imposing physical presence. His superbly modulated voice glides effortlessly between a mellow resonance used for narrating the mythical story and the gruff staccato of Koro's vernacular.
Newcomer Joylene Davis brings freshness and vitality to the pivotal role of Pai. Her impressive dexterity with the patu and taiaha allow her to convincingly take on the boys who are being drilled to usurp her leadership role in the community.
The drama is interspersed with moving performances by the Matariki kapa haka group, and brief but highly effective interludes of contemporary dance choreographed by Maaka Pepene.
At the heart of the novel, Ihimaera speaks of the difficulty of joining two worlds - the real and the unreal, the natural and supernatural, the scientific and the fantastic. This metaphysical challenge is echoed in the technical and imaginative problems inherent in bringing a pod of whales into the Civic.
In depicting the migration, led by the Ancient One ridden by Paikea on his original journey to Whangara, the production is not totally convincing. These sequences are lyrically described in Ihimaera's novel, but this is the only element of the production where one felt there was some failure of stagecraft.
Musical director Wayne Laird creates some deeply evocative soundscapes, but though he manages to avoid the New Age cliches of whale song, he makes some strange musical choices in scoring the migration.
When the whales leave the warm waters of Hawaiki they are accompanied by the pounding rhythms of Cook Island log drums. The sound is uplifting but seems incongruous with the fluid movements of a cetacean migration.
Similarly, as the herd breaks out of an Antarctic ice cave, the performance of a spirited haka strikes a discordant note.
When Koro explains the military origin of haka gestures to the students at his wananga, he identifies the reason why this art form might not be the best choice for representing the numinous presence of leviathan.
The ethereal singing of Hinewehi Mohi was much more successful in articulating the voice of the whales, but the frequent intrusion of electronic rhythms meant she did not always have the space needed to establish the ineffable quality of whalesong.
However, in the opening and closing sequence all of these problems are brilliantly resolved. A harness and simple floating shapes combine with Bryan Caldwell's magical lighting effects to create a dazzling image of Paikea's mysterious liaison with the whale.
Reviewed by PAUL SIMEI-BARTON, The New Zealand Herald, 23 August 2004.
New Leading Lady Announced
It is with great pleasure that the producers of The Whale Rider can announce the leading lady for the stage production beginning on 20 August.
Joylene Davis, a 13-year-old Auckland champion of traditional Maori arts, will perform the role of Kahu -- previously known as Paikea and portrayed by Keisha Castle-Hughes in the movie.
Joylene was born in Australia where she lived with her parents, three brothers and sister before coming back to New Zealand to live with her wonderful Nanny - Esther Davis and learn about her Maoritanga and Heritage. Joylene has tribal affiliations with Ngati Whaatua, Ngapuhi, Ngati Haua (Hapu - Main Tribes) Ngati Hine (Iwi - Sub Tribes).
She is currently attending Auckland Girls Grammar and is honoured to have been selected (one of only 3 Year 9 girls) to be a performer in the Performing Kapahaka group. Senior Girls usually make up the entire group. She is also in the front row - which is an even bigger honour.
Their group recently competed at the Secondary Schools National Kapahaka Competitions in Wellington. Their group won the Mau Rakau section and the Taonga Puoro (Musical instruments - Large Flutes). Joylene also plays the Putatara (Conch Shell). She loves performing Kapahaka - it is her passion!!!
Joylene joins a stellar cast preparing for the stage version of Witi Ihimaera's The Whale Rider. The line-up includes George Henare, Rawiri Paratene and Vicky Haughton. It is being directed by the acclaimed Toby Gough with songs by Hinewehi Mohi.
This is a story of Paikea's spear and Paikea's Whale. When Paikea the ancestor first arrived on his whale he brought spears of mauri - life force and knowledge as gifts from the gods.
Paikea threw one spear into the future to flower when the people were troubled and the life force was needed most.
Koro's grand daughter Kahu is the promised spear waiting to fulfil that destiny. One thing prevents her from flowering - her grandfather, a man dying to ensure survival of his tribe, to protect his shores.
Paikea's whale is a thousand years old and guarding his herd. The ancestral migratory paths are dangerous and full of obstacles. Haiwaki, his place of birth is dying, his herd is under attack.
Koro and the Whale are the leaders of two worlds under threat. But tradition blinds them both. Only one thing can save them. Sacrifice. Koro must sacrifice his grand daughter and the whale must sacrifice himself. Or innocence will drown.
New Leading Lady AnnouncedJoylene Davis and Keisha Castle-Hughes have a lot in common.
Both were born in Australia of Maori descent and neither had any acting experience before she landed the key role in Whale Rider.
The role of Paikea made Keisha famous and took her all the way to an Oscar nomination. Now Joylene, 13, who goes to Auckland Girls Grammar, is to play the part in the musical stage version, which opens at the Civic Theatre on 21 August.
She's not worried about being compared with Keisha. "I'm just going to be myself."
The stage show has six major songs and a score including whale sounds recorded by Antarctic researchers. It will look at both the whale and human sides of the story, more so than the movie, says director Toby Gough.
"The story reflects two worlds, and the whales are an allegory to the human story. This tale is culturally specific but with universal themes."
He found both aspects of Witi Ihimaera's book more suitable for stage. "Theatre is a storytelling medium, whereas film is visual," said Mr Gough. "And Witi Ihimaera is a great storyteller. Witi is definitely up there with the Bard, in fact, I'd say Witi is New Zealand's Bard."
Also performing will be Joylene's grandmother Esther Davis, cast as her aunt.
Ihimaera never expected his work would reach the scale it has.
"In New York I wrote a short novel for my daughters... Now we have a possibility of being on Broadway. When you give your work to other people with vision, it takes it to places you never imagine.
"It's not a story that belongs to me. We've had a glorious performance from Keisha and now we have an opportunity for another girl."
Mr Gough says the biggest challenge is filling the stage with whales convincingly. How will they do it? "That's the big surprise."
MELISSA CLARKE, The New Zealand Herald, 10 July 2004.
Whale Rider's New Incarnation
The Whale Rider On Stage launches at Auckland's Civic Theatre on 21 August with ambitions to move on to London - the theatre capital of the world.
The stage spectacular is backed by a group of New Zealand and American investors to the tune of "many millions of dollars." The producers are reluctant to reveal how much they are investing because of commercial sensitivities when negotiating with promoters offshore.
The producers claim the show "will be to the ocean what The Lion King was to the jungle."
"We're really using New Zealand as a platform for an international roll-out," said Jock Maclean of Asia Pacific Partners, which put the deal together. "The intention is, given a successful season here, we would go straight to London, New York or Australia." Maclean says London is the most likely choice. Its theatre-going population is keen to embrace theatre productions of this type. The Whale Rider On Stage is neither theatre nor a play but takes the form of a "theatre spectacular" in the same vein as Lion King.
"Actors sing to the audience, rather than to one another," he says. Maclean says the strong storyline proved its worth with audiences following the film's success.
The stage spectacular carries strong New Zealand themes. Visually it is expected to resemble another New Zealand success story - Nelson's Wearable Art Awards.
"The show has huge potential," Maclean says.
But people shouldn't underestimate the challenges of finding financing in New Zealand and rolling out a commercially viable production.
Maclean notes the book, The Whale Rider, written by Witi Ihimaera combines two tales: the whale story and the human story. The film and the stage show both are based on the book. The film focused on the human story but the stage production focuses on the whale story.
An impressive line-up of production staff has been recruited.
Logan Brewer will produce. He has been responsible for some of New Zealand's most prestigious design projects, including the New Zealand Pavilion at the World Expo '92 in Seville and the New Zealand Pavilion at Expo '88 in Brisbane. He also captured international attention for his production and design of the opening and closing ceremonies of the XIVth Commonwealth Games in Auckland.
Director for The Whale Rider On Stage is Botswana-born, international award winning writer and director Toby Gough, who currently lives in Cuba.
Robert Gillies is production designer. He has worked mainly in feature films, theatre and television during the past 20 years. He is a five-times winner of the New Zealand Film and Television Awards' Best Design' Award.
The composers include well-known poet, singer and Maori broadcaster Hinewehi Mohi. She'll play a critical role weaving Maori language and traditional themes into the electronic landscape of The Whale Rider On Stage.
Joining forces with her is Wayne Laird, who was principal timpanist with the Auckland Philharmonia Orchestra. He toured internationally with the performance group From Scratch, appearing at prestigious venues world-wide.
The cast for the show includes two performers from the film. Rawiri Paratene will play Koro, the same role he played in the film. Vicky Haughton, who played Nanny Flowers in the film, will also take the same role on stage.
Asia Pacific Partners is executive producer. The company was formed a little more than a year ago with activities in tourism, property, media, publishing, entertainment licensing and merchandising. Partner Jock Maclean's background is in investment banking and trade and property management. He worked on trade and investment initiatives with Asia since 1987. Former Prime Minister Jenny Shipley is also a partner with Adriana Tong, who has a background in banking, finance and investment management.
WILSON OWEN, The Independent, 23 June 2004.
Click here to view the first production sketches by Designer Robert Gillies.
Click here to view Low Res Video
Click here to view High Res Video
(01.55 - Windows Media 9 format)
The Whale Rider - On Stage
A Journey between Two Worlds
International Stage Show World Premiere
The Civic, Auckland from 21 August, 2004
Auckland, New Zealand
The international launch and world premiere season of the stage production The Whale Rider On Stage is scheduled to open in Auckland, New Zealand, at The Civic on Saturday 21 August.
Written by Witi Ihimaera and adapted for the stage by Director, Toby Gough, the production will star Rawiri Paratene as Koro and Vicky Haughton as Nanny Flowers. The Whale Rider – On Stage will feature songs written by Hinewehi Mohi, and original music that has been inspired by tracing the whales’ ancient migratory path through the oceans of the South Pacific with exotic sounds from Patagonia, the Cook Islands, Antarctica and Whangara, on the East Cape of New Zealand.
The coveted role of Kahu (Paikea), as magnificently portrayed by Keisha Castle-Hughes in the movie, is yet to be cast for the stage. The producers say they are very close to signing a special young girl to play Kahu (Paikea), a role that requires acting, singing, dancing, flying and the required endurance to keep up with the demands of the role.
The Whale Rider – on Stage, will follow closely the story of the novel taking the audience on a journey between two worlds - a duality between the human and whale worlds, land and sea, young and old highlighting the deep spiritual connection between ocean and nature.
The Hamilton-based Kapa Haka Group, Rangimarie, who have won the National Kapa Haka Championship, will play an integral role in the performance.
Production Designer for The Whale Rider – On Stage is Robert Gillies, the visionary designer of Xena Warrior Princess. Gillies is finalising the creation of the magnificent costumes, puppetry, masks and other exciting visual elements of the production that will remain a surprise until the World Premiere on 21 August.
The financing of the project is being executed by Asia Pacific Partners Limited, the Executive Producer, and includes the participation of both international and New Zealand investors. Following the success of the New Zealand production, the Executive Producers anticipate launching an international release. There has already been strong interest from international promoters and producers keen to secure the performance rights for several territories.
Actor, Rawiri Paratene said “making the movie was a dream role for an actor. I felt like I had been cast as King Lear. Now in another absolute dream role for the stage I feel like I have been cast as King Lear plus the Storm!” He said “This ambitious, visionary piece will be a different version – a different story – the oneness of man and nature, a story from the ancestor”, he said.
Vicky Haughton said “the scale of this production is inspiring, being able to extend and explore this universally loved story in a wonderful new theatrical arena is a very exciting venture.”
Producer, Logan Brewer, said “The Whale Rider will be a memorable theatrical event for all the family to enjoy. It is not a traditional musical. It will be more akin to the Lion King. The Whale Rider - On Stage will be dream like and transport you to the underwater world of the whales”.
Tickets will go on sale nationally through Ticketek on Monday 31 May.