Siblings is a beautiful and multi-layered new theatre work exploring the complex universe of sibling relationships, disability, agency, and care—devised by four taangata whaikaha/disabled performers through talanoa, play, and access-led creativity. Premiering at Te Pou Theatre after 3.5 years in development.
Sibling relationships are often described as one of life’s most formative connections—intimate, long-lasting, and sometimes messy. Whether growing up side by side or separated by distance and circumstance, the emotional pull of siblings remains strong. The devised theatre work SIBLINGS, co-directed by Pelenakeke Brown and Barnie Duncan, dares to chart the hidden gravitational forces that govern these bonds—especially when one of the siblings is disabled.
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Jordan Kareroa
Developed over a three-year period through talanoa (open dialogue), creative games, and access-led exploration, SIBLINGS is a disability-led production performed by four disabled artists: Roka Bunyan, Dazz Whippey, Kiriana Sheree, and Jordan Kareroa. Each brings their lived experience to the stage, crafting a collective narrative that challenges conventional ideas of disability, family, and emotional labour.
Rather than unfolding through a tidy plot, the performance is a series of emotionally resonant vignettes. The show invites the audience into a constellation of personal memories, sensory experiences, and deep reflections on identity. It’s an ensemble piece that is both intimate and expansive—about the inherited roles we carry, the moments of care we give and receive, and the boundaries we try to assert within family life.
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Roka Bunyan
What makes SIBLINGS particularly affecting is its decision to centre the perspective of the disabled sibling. In broader societal discourse, attention often leans toward the “burden” or “responsibility” carried by the non-disabled sibling. This production gently turns the focus inward—how does the disabled sibling experience love, support, misunderstanding, or overprotection? The performance lays bare how “care” can sometimes become constraint, how attempts to shield a loved one can instead limit their growth and independence.
The production is grounded in the real-life experiences of the cast. Their stories are not sanitised or made palatable for a mainstream audience. We are instead asked to sit with the discomfort and complexity of real familial relationships—those marked by both tenderness and trauma. One standout motif is a tea stand, onto which the performers place mugs that represent different siblings or whānau members—some close, some estranged, some lost to time or trauma. It’s a quiet but powerful image, using the simplicity of everyday objects to speak volumes about belonging, absence, and memory.
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Dazz Whippey
These themes are further explored through playful reenactments of childhood games, which are not merely nostalgic but serve to unpack the power dynamics, joy, and unspoken rules that develop between siblings over time. Each scene flows into the next without fanfare, creating an atmosphere where even humour is tinged with emotional weight. A scene may start light-hearted but gradually reveal a deeper undercurrent—be it the pain of not being heard, the frustration of being overly protected, the loneliness of feeling unseen even within one’s own family or the contrasting lack of privacy and boundaries that can come with not being seen as able.
The production also bravely addresses heavier subject matter. In one moment, a cast member reflects on the suicide of a sibling and the ripple effect it had on the family. In another, the performers discuss the loss of personal agency, financial exploitation, and being overlooked as capable adults. These moments are delivered with authenticity and care, never veering into melodrama. Instead, they highlight the strength and resilience of those who are too often underestimated.
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Kiriana Sheree
The set design complements this storytelling approach perfectly. A neutral white domestic backdrop and two sheer curtains allow the performers to transform the space with minimal adjustments. These curtains, used fluidly throughout, represent various states of being—privacy, invisibility, confinement, or protection. Their movement adds layers of meaning without overshadowing the performers, keeping the focus squarely on the human stories being shared.
Accessibility is not an afterthought but a cornerstone of this production. With NZSL interpreters at the side of the stage, audio description occurring throughout the production, and wheelchair access prioritised in the front row, SIBLINGS models what it means to create inclusive theatre. Audience members were encouraged to express themselves vocally during the show, allowing for a relaxed environment that honoured different modes of engagement. The only drawback noted was the narrow seating arrangement, which, while creating intimacy, caused some discomfort during a full-house performance.
All in all, SIBLINGS is a production that defies categorisation. It is neither strictly documentary nor purely abstract. It blends movement, dialogue, and symbolism into a potent reflection of life as it is lived by tāngata whaikaha. What emerges is not a spectacle of disability but a celebration of disabled agency, creativity, and insight.
For those unfamiliar with the lived experience of disability, the show is both revealing and humbling. It asks audiences to reconsider their assumptions—not through lectures, but through presence. For those within the disabled community, it offers visibility, recognition, and pride. More than anything, SIBLINGS reminds us that disabled lives are rich with potential, humour, talent, and complexity. When given space—free from assumptions or limitations—their stories do not just add to the theatre landscape, they expand its very definition.
This is not just a show about siblings. It is a show about humanity, seen through a new lens. It is joyful, mournful, playful, and profound. And it will stay with you long after the final bow.
Siblings is being performed at Te Pou Theatre from 24-28 July, 2025.
Tickets can be purchased here
Duration - 1hr (no interval)