Defying Destiny: Black Faggot Returns, Unapologetically Queer And Fiercely Relevant
Press Release – Elephant Publicity
Black Faggot, the blazingly funny and politically charged play by award-winning playwright Victor Rodger ONZM, is making a timely return to the stage this June, this time with the longtime collaborator Anapela Polata'ivao ONZM in the director's chair. Transferring from the Court Theatre season Black Faggot is set to own the Rangatira stage at Q Theatre from June 25-29, continuing its powerful challenge of conventions and celebration of queer Pasifika voices.
Black Faggot captures the diversity of queer Pasifika experiences through a series of (mostly) humorous monologues from a vast array of (mostly) gay Samoan characters. From a camp, closeted member of Destiny Church who finds himself on a march against the Civil Union Bill, to a butch Polynesian who is loudly and unapologetically gay; from an anal Samoan clean freak who's annoyed that his partner's just orgasmed on their brand-new bedspread, to an award-winning fa'afafine artist who relishes explaining the true meaning behind her new work 'Cracker Wanna Poly.'
Victor Rodger weaves humour, hurt and humanity through a range of beautifully drawn characters all struggling to reconcile being gay, black, and part of mainstream New Zealand society. With cracking comic timing, this play is funny and filthy, raw and emotional and full of love.
The cast, including Gideon Smith (Grafted, Camp Be Better) and Jake Arona (Dawn Raids, Fresh Off the Boat, O Le Malaga Fa'a'Atua), promises to deliver an unforgettable production that reclaims the potentially derogatory label 'black faggot' as its own, pushing beyond it to reveal the comedy and drama of life where being gay and Samoan is merely a starting point — not the final word.
Originally premiering at Auckland's Basement Theatre in 2013, Black Faggot was written in direct response to Destiny Church's now-infamous 'Enough is Enough' march on Parliament in 2004 and the 2012 protests against the Marriage Equality bill. As Rodger reflects:
'At the very, very least, one of those kids marching against the bill will be gay and feeling wretched about themselves as they grow up… Black Faggot is a response to that.'
More than a decade on, the play remains painfully relevant, reflected in recent headlines that include: 'Brian Tamaki's Destiny Church Pride protests: Te Atatū witness describes terror inside library,' 'Destiny Church library protest 'intimidating and unacceptable' – police,' and ''Woke churches': Destiny Church bites back as church leaders condemn Pride protests.'
For a generation of young queer people and their allies who didn't have the chance to see Black Faggot 12 years ago, and for those with lived experience over the last decade, this return gives voice to Pasifika queer communities that are still facing public backlash.
'It is my fervent hope that this brand-new production of Black Faggot brings comfort to those who need it and discomfort to those who need it,' says Rodger.
Anapela Polata'ivao ONZM (Samoan) is an award-winning director and actor, known for her powerful storytelling and advocacy for Pasifika voices in the arts. She takes the helm for this landmark production following critical acclaim, including her performance in the cinematic triumph Tinā. With her signature blend of insight and fierce compassion, Polata'ivao breathes new life into this vital work, continuing her long-standing commitment to telling Pasifika stories with honesty and integrity.
Victor Rodger ONZM (Samoan, Scottish) is one of Aotearoa's most daring and decorated playwrights. Born in Ōtautahi, Rodger is known for his bold, provocative works that explore race, sexuality, family, and cultural identity. His body of work includes Sons and My Name is Gary Cooper. Through his company FCC (Flow, Create, Connect), Rodger has championed new Pasifika voices and produced some of the country's most powerful and provocative theatre, including Wild Dogs Under My Skirt and The Savage Coloniser Show, both directed by Anapela.
Black Faggot has resonated globally, with sold-out seasons in New Zealand, Australia, and at the Edinburgh Fringe.
'Turbo-charged hilarity of superior sketch comedy into a poignant and humane plea for tolerance…' — Sydney Morning Herald
'Their manner and style of presentation is engaging and infectious, and their ability to morph from one character to another — gay, straight, male, female — makes this a most entertaining piece of theatre.' — Dominion Post
'Presented with simplicity, humanity, utter conviction, and remarkable insight.' — GayNZ.com
Play Details
Black Faggot
Dates: June 25-29, 2025
Venue: Q Theatre, Auckland
Book tickets at www.qtheatre.co.nz
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Now, he's still that, but he's got an ONZM and is an Arts Laureate to boot. (Director Anapela Polaitavao also, not coincidentally, also has an ONZM and is an Arts Laureate.) The current production sees actors Jake Tupu (Auckland Theatre Company's production of Dawn Raids) and newcomer Gideon Smith take on the kaleidoscope of roles that Rodger has gifted them with. And they really are gifts for the actors; Rodger gives them sharp dialogue and sharper punchlines, and characters across the age, gender and sexuality spectrum. In one moment they can be playing a gay couple arguing about 'mess' on a wall, and in the next, a parent questioning why their son has a poster of Sonny Bill Williams on his roof. Tupu is particularly excellent in inhabiting his roles, although if there's one thing that this production highlights, it's that one actor, Smith in this instance, is often playing set-up to the other actor's spike. It unbalances the production slightly, but never enough to truly detract from the experience. Polataivao lends the production the sort of elegance and grace that an audience has come to expect from her previous work, including Wild Dogs Under My Skirt and The Savage Coloniser Show. The staging is simple and unobtrusive – a stained glass square for the actors to perform in, a large hibiscus flower blooming towards the back of the stage. There are no bells and whistles to the show, and there needn't be. This is ultimately a show that is about characters simply living their lives, queer or otherwise, and frankly, many of those characters are theatrical enough to not need any outside support. A show like Black Faggot shouldn't still be as relevant. Like its spiritual predecessor, Toa Fraser's Bare, it should feel like it captures a moment in time, like lightning in a bottle. 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