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The Spinoff
4 days ago
- Entertainment
- The Spinoff
Review: Black Faggot is as relevant now as it was 10 years ago
Sam Brooks reviews the revival of Victor Rodger's seminal play. I remember seeing Victor Rodger's Black Faggot over a decade ago at the Basement Theatre studio. The show had a simple concept – the queer experience told through a Samoan lens, with two actors playing multiple characters, loosely linked by having some relationship to queerness, be they queer people themselves, or simply being in a room with another queer person. It was a hit. The show sold out that initial run in the 65-seat theatre, and toured around the country for over two years with multiple actors switching in and out of the roles, including Beulah Koale, Shimpal Lelisi, Taofia Pelesasa and Fasitua Amosa. It resonated with audiences not just because of the performances and Rodger's trademark sense of humour – absolutely that of a gay man raised on sitcoms and classic Hollywood, but provocatively cheeky – but because it was the first time that most of its audience had ever seen this particular experience onstage. New Zealand is a country that is notoriously bad at reviving plays, even successful ones. Whether it's due to a lack of spaces, funding, or audiences is anybody's guess – it's probably an awful mix of all three. Too often plays get initial runs before all that remains are hazy memories, with the occasional drama nerd pulling a scene or monologue out for an audition or NCEA exam. That's why it's a treat to see any work, really, but especially a work like this, revived. While Black Faggot went around the country for quite a long time – if you didn't see it and wanted to, it's absolutely on you – theatre audiences are different 10 years on. We're in a renaissance of Pasifika theatre, heralded in part by Rodger's championing of other playwrights and poets himself, and Black Faggot is absolutely part of that legacy that deserves to be seen, even re-examined, to quantify that renaissance. Ten years ago, Rodger was one of New Zealand's leading playwrights. 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. But whereas Bare has aged into an absolutely lovely, non-controversial picture of urban New Zealand in the 90s, Black Faggot feels as though it could have been written yesterday (with some jokes ageing like cheap wine, as jokes unfortunately tend to do). The characters and conversations that Rodger is putting in front of us still feel startling, even new. Broadly speaking, queer people still face prejudice and in 2025, there are parts of society that feel even less safe, less open to these kinds of conversation than we were back in 2013. The pockets of society that would been shocked by the lives on display in Black Faggot back then are still likely to be shocked, and are likely even more entrenched in the worldview that allows them to be so. At least on opening night, the unobtrusive but still noticeable presence of a security guard outside Q Theatre was a reminder that the subject matter that Rodger is exploring has become even more polarised amongst a vocal, active, minority. A decade ago, no such security was necessary. There is a glimmer of light within that relevance, however – and it's the thing that was strongest about Black Faggot all those years ago. It's that it isn't a big show. It isn't a show where characters move mountains, metaphorically or otherwise. It isn't a show with heroes and villains. All the characters portrayed onstage, whether they're a young kid pleading with God, a couple fighting about an unfortunate mess on the wallpaper, or a mother wrestling with her kid's sexuality, are just people living their lives. As queer people have always done, and despite some shitty people who think otherwise, will continue to do. That reminder will never not be relevant, and will always be welcome.
NZ Herald
20-06-2025
- Entertainment
- NZ Herald
Black Faggot's Victor Rodger on Destiny Church and why his groundbreaking play remains so relevant today
Like a lot of young homosexuals, it made me feel a lot of self-loathing. But I wasn't raised to denigrate people who were gay. My mother was very young when she had me – she turns 72 this year – but she elected to keep me and I'm so grateful she did. She let me do swirly swirlies in her blue dress when I was going through my Deborah Kerr phase, from The King and I, and she got me the Barbie dolls I craved as a young fella. She was still surprised when I came out when I was 26, but she's always just let me be. When Destiny Church led its 'Enough is Enough' march on Parliament in 2004 against the Civil Union Bill [giving legal recognition to same-sex relationships], I knew without a doubt that at least one of those young men would be gay. Hating on themselves and marching against themselves. I wanted to write something metaphorically for that kid. Then, in 2012, there were more protests against the marriage equality bill, with members of the Pasifika community coming out against it. I knew it was time to finally get over the line. Victor Rodger: "Some seriously appalling things are going down in our own backyard." Photo / Dean Purcell Black Faggot premiered at Auckland's Basement Theatre in 2013. I wanted it to be funny, which it is, and I also wanted to diversify the spectrum of Samoan queer characters, who until then had often been typified by fa'afafine as objects of mirth, with no complexity or layers. Two actors play multiple roles, mostly queer Samoan men, from super camp to super butch and everything in between. There's also a fa'afafine, a Samoan mum, and a pumping iron straight brother, but the spine of the show is a relationship between a young Samoan man on the down low and an out-and-proud Samoan man. When I heard The Court Theatre in Christchurch wanted Black Faggot on its programme this year, I wondered if it was still relevant. I'd thought about doing it myself in 2023, for the 10th anniversary, and had asked myself the same question. A few years ago, I was a dramaturg on a trans rom-com about a Tongan fakaleiti at high school and the captain of the First XV, who takes a bet that he can make her fall in love with him. When we did our first showing to a group of students, they were just so invested in the trans main character having a happy ending. For me, as an older, queer person, I was blown away because that never would have happened in my era. Destiny Church members wearing Man Up T-shirts disrupt the Auckland Rainbow Parade on Ponsonby Road in February. But as they say, the more things change, the more they stay the same. I was in the UK when I saw the headlines: 'Brian Tamaki's Destiny Church pride protests: Te Atatū witness describes terror inside library'. I wasn't expecting something like that to happen, but it didn't surprise me, either. We are living through a period in history right now that is as startling as it is unstable. And here in Aotearoa, we can't kid ourselves that we're in a position to look overseas and say 'Well, at least it's not that bad here', because some seriously appalling things are going down in our own backyard. Back in 2013, I wanted to pull Black Faggot. I was unravelling over all sorts of other life stuff and had convinced myself it was the worst piece of shit that had ever been committed to paper. Everything felt pretty grim and dark. The premiere got a standing ovation, but even that offered no relief. With this new season, I've been able to engage with the show from a much better place. I forbade my mother from seeing it, but she disobeyed me and went to the opening night in Christchurch, which is where I grew up. She's always been concerned with the amount of swearing in my work and that people will think she raised me to talk in the gutter. I did that all on my own. She's also not a great fan of sex, and there's a lot of sex talk in the show. But she coped and was blown away by the two actors, one of whom is the son of a family friend from the same church. There are moments in it when you can hear a pin drop, like when the young Christian character keeps praying to God to be made straight. That resonates with so many of us who've been through the same thing, just wanting to be #normal. On the night I went, there was recognition and there was laughter, but the overriding emotion was celebratory. That's not a word I would have used, but seeing it now, I thought, yes, this is absolutely a celebration. And a necessary one. Victor Rodger is an award-winning playwright based in Wellington and a 2024 Arts Laureate. The new production of Black Faggot, directed by Anapela Polata'ivao (who starred in the feature film Tinā), has just completed a four-week season at The Court in Christchurch and is on at Auckland's Q Theatre from June 25 to 29.
Scoop
29-04-2025
- Entertainment
- Scoop
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.' — Play Details Black Faggot Dates: June 25-29, 2025 Venue: Q Theatre, Auckland Book tickets at
Scoop
29-04-2025
- Entertainment
- Scoop
Defying Destiny: Black Faggot Returns, Unapologetically Queer And Fiercely Relevant
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.' — Play Details Black Faggot Dates: June 25-29, 2025 Venue: Q Theatre, Auckland Book tickets at
