OBSERVER: The Yellow Line
The Yellow Line by Essence Théâtre Productions in conjunction with Nga Matai Purua is a bold play inspired by events at the soon to be closed Port Phillip Prison.
Co-authors Berne-Lee (Nana) Edwards and Alaine Beek, collaborated and researched for the content of the play with both the Maori and Pasifika communities.
While Maori people are indigenous to New Zealand, Pasifika people are native from the many Pacific Islands having moved to New Zealand.
The play revolves around a prison guard – a Pasifika person, played by Tyson Tuala, being tasked with teaching a group of inmates the traditional Maori Haka.
“ It’s not just another Maori or Pasifika story. It’s a story of what culture can do when systems fail us,” Tuala said.
A bare stage with a back wall with a large steel frame of bars that swung open to depict either a cell block or an open exercise yard. The inmates from mixed cultures did not make the teaching straightforward for Tuala. While inmate Wiremu Morris as Kai showed little interest and indeed did not support the early days of learning, there was no doubt of his ability shown later in embracing the Haka.
More receptive was Thisara Hewamanne as Dembe, non Maori who added another perspective with his presence and often with a dash of humour.
A very animated and gregarious performance by DJ Ahipene as TJ stood out as the group prepared to perform the Haka in the exercise yard without stepping over the yellow line that separated them from the prison officials.
Phil Cameron-Smith as Richard the Head Warden was commanding from his desk of authority, while Ross Daniels as Mikey, the Prison Warden showed more respect towards the inmates and often engendered some relief in difficult situations.
Their ultimate Haka performance employed facial contortions, poking out the tongue (men only) and a wide variety of body movement and actions with hands, arms and legs. Happily the audience joined in.
The play embodied “the power of collaboration and the importance of sharing cultural narratives”.
Review by Graeme McCoubrie