Mā is a poignant devised theatre and performance poetry work exploring chosen family, motherhood, and queer identity within the Samoan diaspora. It is an ode to trans fa’afafine, celebrating the coexistence of traditional and chosen families in Aotearoa.
Mā is an expressive and deeply personal piece of devised theatre, blending performance poetry, song, and movement to explore themes of identity, chosen family, and the intersections of motherhood and queerness within the Samoan diaspora. Directed and performed by Jonjon Tolovae, with contributions from Lijah Mavaega, Nikeidrian Lologa-Peters, and a strong creative team, the show is an ode to fa’afafine identity and an affirmation of chosen family bonds.
From the moment the performance begins, it is clear that Mā is more than just a theatrical experience—it is a heartfelt expression of cultural identity and personal storytelling. The production carries an intimate energy, inviting the audience into a space that feels both sacred and celebratory. This is not a conventional narrative-driven piece of theatre; rather, it is a series of poetic reflections, woven together through movement, music, and dialogue.
There is no doubt that Mā struck an emotional chord with its intended audience. The Samoan and Pasifika members of the audience were clearly engaged, responding with warmth, laughter, and ultimately, a standing ovation. The performance successfully conveyed a deep sense of belonging and cultural pride, making it an important and affirming work for those who saw their own experiences reflected on stage.
One of the most striking aspects of the production is its use of language. Samoan is a central component of the storytelling, and while some verses are in English for non-Samoan speakers, much of the dialogue remains in its original form. This choice reinforces the show’s commitment to authenticity, ensuring that the work speaks directly to its community. However, for audience members unfamiliar with the language, this created a barrier to fully understanding the story. Without a shared linguistic or cultural framework, you will find myself limited to relying on visual and auditory cues rather than grasping a cohesive narrative.
That said, Mā is a show that tries to communicate beyond words. The emotions expressed through song, movement, lighting, and facial expressions transcend language in many cases, offering glimpses into the depth of the performers’ experiences. These universal themes of love, family, and acceptance were palpable, allowing even those unfamiliar with the cultural context to connect on an emotional level.
Structurally, the production relies on a minimalist approach, foregoing props in favour of physical performance, vocal layering, and dynamic lighting. This simplicity allows for striking moments of theatricality, such as the clever use of light and sound to create the effect of a door opening. The absence of elaborate set pieces places the focus squarely on the performers, whose presence and energy command attention throughout.
The vocal performances were a highlight, beautifully sung and rich with emotion, reinforcing the show’s central themes of love and familial connection. The harmonies and musical compositions added depth to the storytelling, evoking a strong sense of nostalgia and longing. The music director, Lijah Mavaega, deserves particular recognition for crafting a sonic landscape that felt both intimate and expansive, drawing the audience deeper into the world of the performance.
In addition to its auditory impact, Mā also excels in its use of movement. The choreography, while subtle, was deliberate and expressive, adding layers of meaning to the spoken and sung elements. The performers moved with a fluidity that suggested both strength and vulnerability, embodying the emotional weight of the stories being told.
For some, the experience will be more of an appreciation of artistic expression rather than a fully immersive storytelling journey. While some may leave the theatre somewhat lost in terms of narrative, you cannot deny the power of the piece for those it was intended to reach. Mā is a show that knows exactly who it is speaking to, and in that regard, it excels. It is a celebration of identity and community, and for the right audience, an unforgettable and deeply moving experience.
Despite potential challenges in fully grasping the story, the production’s commitment to representation is to be admired. It is rare to see a work that so unapologetically centres fa’afafine and queer Samoan identities, and the importance of that visibility cannot be overstated. Theatre has the power to validate and uplift communities, and Mā does so with sincerity and passion.
At the same time, there is a conversation to be had about accessibility in theatre. There is always a balance to strike between artistic integrity and audience engagement, particularly when a piece is deeply rooted in a specific cultural or linguistic tradition. While Mā does not need to cater to non-Samoan audiences, a few additional contextual elements might have enhanced the experience for a broader audience without compromising the work’s authenticity.
In the end, though, perhaps Mā is not meant to be universally accessible—and that is entirely valid. Not all theatre is made for everyone, nor should it be. Potential struggles with aspects of the performance does not diminish its impact or its success. On the contrary, it highlights the importance of theatre that speaks directly to specific communities, providing a space for representation and affirmation.
For those who see themselves reflected in Mā, this show is undoubtedly a triumph. It is a bold and heartfelt exploration of identity, a love letter to chosen family, and a testament to the power of storytelling. And even for those who may not be the primary audience, it remains a beautiful and thought-provoking experience—one that lingers long after the final bow.
The short season of Mā runs from the 25th Feb - 1st March, 2025 at Auckland's Loft at Q Theatre. Tickets can be purchased here
Duration: 60 minutes (no intermission)