Reviewed by Ian Anderson
Black Faggot, performed in Auckland for Pride and Fringe Festival, should tour everywhere. Playwright Victor Rodgers’ examination of the “gay Samoan male experience” is timely and important. It’s also a crowd-pleasing comedy, selling out for its first season.
Direction, by Roy Ward, is spare and character-driven. Iaheto Ah Hi (Sione’s Wedding) and Beulah Koale (Shortland Street) perform in simple black outfits – with no props, no pre-recorded soundtrack, and simple lighting cues. In Auckland’s black-walled Basement Theatre, this simplicity allows the performers space to bounce a range of roles off each other, including various gay men and fa’afafine, their friends, family members, and tormentors. This two-man setup also allows for some excellent gender-bending performance, with Iaheto Ah Hi particularly relishing his portrayals of a Samoan mother and a fa’afafine artist.
Rodgers’ play is well-timed, given the recent press focus on homophobic Pasifika leaders. According to Colmar Brunton polls, around 60% of Pasifika respondents support marriage rights, a similar amount to the general population. However, the play explores the complexity of double oppression for Pasifika queers: particularly the dominance of conservative churches (a closeted Destiny Church member prays to be straight) and the challenge of articulating an identity (a Samoan mother stumbles over whether to call her child “fa’afafine” or “gay”).
The play also acknowledges the racism faced by Pasifika queers, including in gay spaces. In an interview for GayTalk Tonight, writer Victor Rodger notes: “Race is something that always fascinates me and that is absolutely a product of growing up in Christchurch.” While Black Faggot focuses more on struggles within Pasifika communities, the play humorously highlights the corporate palagi monoculture of many gay spaces: “You know the one thing that makes me wish I was straight? The music they play in gay bars.”
Although nodding to the Civil Union and Marriage reforms, Black Faggot focuses mainly on personal relationships rather than legal reforms. The play should remind us of the importance of solidarity within communities; the importance of families supporting their fa’afafine, queer, and gender variant brethren. While some may find the slogan “it gets better,” spoken to a struggling queer kid near the end of the play, overly passive – it doesn’t “get better” until we make it better – the play reminds us that the struggle for liberation has just begun.